An Outline of Russian Literature. Baring MauriceЧитать онлайн книгу.
produced, and the first original play written in Russia was The Prodigal Son, by Simeon Polotsky.
Thus, at the end of the seventeenth century, Russia was ready for any one who should be able to give a decisive blow to the now crumbling wall between herself and the West. For, by the end of the seventeenth century, Russia, after having been centralized in Moscow by Ivan III, and enlarged by Ivan IV, had thrown off the Tartar yoke. She had passed through a period of intestine strife, trouble, anarchy, and pretenders, not unlike the Wars of the Roses; she had fought Poland throughout the whole of the seventeenth century, from her darkest hour of anarchy, when the Poles occupied Moscow. It was then that Russia had arisen, expelled the invaders, reasserted her nationality and her independence, and finally emerged out of all these vicissitudes, the great Slavonic state; while Poland, Russia’s superior in culture and civilization, had sunk into the position of a dependency.
The man whom the epoch needed was forthcoming. His name was Peter. He carried on the work which had been begun, but in quite an original manner, and gave it a different character. He not only made a breach in the wall, but he forced on his stubborn and conservative subjects the habits and customs of the West. He revolutionized the government and the Church, and turned the whole country upside down with his explosive genius. He abolished the Russian Patriarchate, and crushed the power of the Church once and for all, by making it entirely depend on the State, as it still does. He simplified the Russian script and the written language; he caused to be made innumerable translations of foreign works on history, geography, and jurisprudence. He founded the first Russian newspaper. But Peter the Great did not try to draw Russia into an alien path; he urged his country with whip, kick, and spur to regain its due place, which it had lost by lagging behind, on the path it was naturally following. Peter the Great’s reforms, his manifold and superhuman activity, produced no immediate fruits in literature. How could it? To blame him for this would be like blaming a gardener for not producing new roses at a time when he was relaying the garden. He was completely successful in opening a window on to Europe, through which Western influence could stream into Russia. This was not slow in coming about; and the foreign influence from the end of the reign of Peter the Great onwards divided directly into two different currents: the French and the German. The chief representatives of the German influence in the eighteenth century were Tatishchev, the founder of Russian history, and Michael Lomonosov.
Michael Lomonosov (1714-1765), a man with an incredibly wide intellectual range, was a mathematician, a chemist, an astronomer, a political economist, a historian, an electrician, a geologist, a grammarian and a poet. The son of a peasant, after an education acquired painfully in the greatest privation, he studied at Marburg and Freiburg. He was the Peter the Great of the Russian language; he scratched off the crust of foreign barbarisms, and still more by his example than his precepts – which were pedantic – he displayed it in its native purity, and left it as an instrument ready tuned for a great player. He fought for knowledge, and did all he could to further the founding of the University of Moscow, which was done in 1755 by the Empress Elizabeth. This last event is one of the most important landmarks in the history of Russian culture.
The foremost representative of French influence was Prince Kantemir (1708-44), who wrote the first Russian literary verse – satires – in the pseudo-classic French manner, modelled on Boileau. But by far the most abundant source of French ideas in Russia during the eighteenth century was Catherine II, the German Princess. During Catherine’s reign, French influence was predominant in Russia. The Empress was the friend of Voltaire, Montesquieu, and Diderot. Diderot came to St. Petersburg, and the Russian military schools were flooded with French teachers. Voltaire and Rousseau were the fashion, and cultured society was platonically enamoured of the Rights of Man. Catherine herself, besides being a great ruler and diplomatist, was a large-minded philosopher, an elegant and witty writer. But the French Revolution had a damping effect on all liberal enthusiasm, for the one thing an autocrat, however enlightened, finds difficulty in understanding, is a revolution.
This change of point of view proved disastrous for the writer of what is the most thoughtful book of the age: namely Radishchev, an official who wrote a book in twenty-five chapters called A Journey from St. Petersburg to Moscow. Radishchev gave a simple and true account of the effects of serfdom, a series of pictures drawn without exaggeration, showing the appalling evils of the system, and appealing to the conscience of the slave-owners; the book contained also a condemnation of the Censorship. It appeared in 1790, with the permission of the police. It was too late for the times; for in 1790 the events in France were making all the rulers of Europe pensive. Radishchev was accused of being a rebel, and was condemned to death. The sentence was commuted to one of banishment to Eastern Siberia. He was pardoned by the Emperor Paul, and reinstated by the Emperor Alexander; but he ultimately committed suicide on being threatened in jest with exile once more. Until 1905 it was very difficult to get a copy of this book. Thus Radishchev stands out as the martyr of Russian literature; the first writer to suffer for expressing opinions at the wrong moment: opinions which had they been stated in this case twenty years sooner would have coincided with those published by the Empress herself.
Catherine’s reign, which left behind it many splendid results, and had the effect of bestowing European culture on Russia, produced hardly a single poet or prose-writer whose work can be read with pleasure to-day, although a great importance was attached to the writing of verse. There were poets in profusion, especially writers of Odes, the best known of whom was Derzhavin (1743-1816), a brilliant master of the pseudo-classical, in whose work, in spite of its antiquated convention, elements of real poetical beauty are to be found, which entitle him to be called the first Russian poet. But so far no national literature had been produced. French was the language of the cultured classes. Literature had become an artificial plaything, to be played with according to French rules; but the Russian language was waiting there, a language which possessed, as Lomonosov said, “the vivacity of French, the strength of German, the softness of Italian, the richness and powerful conciseness of Greek and Latin” – waiting for some one who should have the desire and the power to use it.
CHAPTER II
THE NEW AGE – PUSHKIN
The value of Russian literature, its peculiar and unique message to the world, would not be sensibly diminished, had everything it produced from the twelfth to the beginning of the nineteenth century perished, with the exception of The Raid of Prince Igor. With the beginning of the nineteenth century, and the accession of Alexander I, the New Age began, and the real dawn of Russian literature broke. It was soon to be followed by a glorious sunrise. The literature which sprang up now and later, was profoundly affected by public events; and public events during this epoch were intimately linked with the events which were happening in Western Europe. It was the epoch of the Napoleonic wars, and Russia played a vital part in that drama. Public opinion, after enthusiasm had been roused by the deeds of Suvorov, was exasperated and humiliated by Napoleon’s subsequent victories over Russian arms. But when Napoleon invaded Russia in 1812, a wave of patriotism swept over the country, and the struggle resulted in an increased sense of unity and nationality. Russia emerged stronger and more solid from the struggle. As far as foreign affairs were concerned, the Emperor Alexander I – on whom everything depended – played his national part well, and he fitly embodied the patriotic movement of the day. At the beginning of his reign he raised great hopes of internal reform which were never fulfilled. He was a dreamer of dreams born out of his due time; a pupil of La Harpe, the Swiss Jacobin, who instilled into him aspirations towards liberty, truth and humanity, which throughout remained his ideals, but which were too vague to lead to anything practical or definite. His reign was thus a series of more or less undefined and fitful struggles to put the crooked straight. He desired to give Russia a constitution, but the attempts he made to do so proved fruitless; and towards the end of his life he is said to have been considerably influenced by Metternich. It is at any rate a fact that during these years reaction once more triumphed.
Nevertheless windows had been opened which could not be shut, and the light which had streamed in produced some remarkable fruits.
When Alexander I came to the throne, the immediate effect of his accession was the ungagging of literature, and the first writer of importance to take advantage of this new state of things was Karamzin (1726-1826). In 1802 he started a new review called the Messenger of Europe. This