Lectures on Russian Literature: Pushkin, Gogol, Turgenef, Tolstoy. Panin Ivan
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we have Tolstoy the preacher, the inspirer.
7. How this law has operated on Russian soil, in Russian hearts, is the purpose of these lectures to show. For while the laws of the spirit are ever the same in essence, the character of their manifestation varies with time and place, just as in Nature the same force appears in the firmament as gravitation when it binds star unto star, as attraction when it binds in the molecule atom unto atom, and in man as love when it binds heart unto heart. The phenomena therefore, natural to all literature, we shall also find here, but modified by the peculiar character of the people.
8. And the first characteristic of the Russian spirit is that it has no originating force. In the economy of the Aryan household, of which the Slavic race is but a member, each member has hitherto had a special office in the discharge of which its originating force was to be spent. The German has thus done the thinking of the race, the American by his inventive faculty has done the physical comforting of the race, the Frenchman the refining of the race, the Englishman the trading of the race; but the Russian has no such force peculiar to him. The office of the Slavonic race has hitherto been passive, and its highest distinction has hitherto been solely either to serve as a sieve through which the vivifying waters of European thought shall pour upon the sleeping body of Asia, or as a dead wall to stem the wild devastating flow of Asiatic barbarism upon European civilization. The virtue of the Slavonic race is thus first of all passivity; and as the virtue of a pipe is to be smooth and hollow, so the virtue of the Russian is first of all passive receptivity.
9. Look not therefore for creative originality in Russian literature. There is not a single form of literary development that is native to the Russian soil, not a single contribution to philosophy, to art, to letters, the form of which can be said to have been born on Russian soil. Its literary forms, like its civilization (or that which passes for its civilization), have been borrowed bodily from the west. But as action and reaction are always equal, so this very limitation of the Russian national character has been the source of many virtues of spiritual life, which Europe and America might well learn to acquire, all the more now when western thought has matured to such ripeness as to be nigh decay.
10. And herein you have the explanation of the powerful hold Russian literature has suddenly gained upon thoughtful hearts. Wiseacres, marvelling at the meaning of the outburst of enthusiasm for Russian literature, mutter “fashionable craze,” and henceforth rest content. But, O my friends, believe it not. Craze will go as craze has come, but the permanent force in Russian literature which now stirs the hearts of men is not to be disposed of by gossip at tea-table. Fashion can hug a corpse for a while, and proclaim its ghastly pallor to be delicacy of complexion, and the icy touch of its hand to be reserved culture, but it cannot breathe the breath of Life into what is dead. And the present enthusiasm is kept awake, rest assured, not because of fashion, but in spite of it. Craze will surely go, but with it will not go that which appeals in Russian literature to all earnest souls, because of its permanent elements over which fashion has no control.
11. For the Russians have elements in their writings quite notable in themselves at all times, but more notable now when letters everywhere else seem to run to waste and ruin,—elements without which all writing must become in due course of time so much blacking of paper, and all speech only so much empty sound; elements without which all writing is sent off, not weighted in one corner, that it may, like unto the toy, after never so much swaying to and fro, still find its upright equilibrium, but rather like unto the sky-rocket, sent up into empty space whizzing and crackling, to end in due time in total explosion and darkness.
12. And of these elements the first is Intensity. What the Russian lacks in originality he makes up in strength; what he lacks in breadth he makes up in depth. The Russian is nothing if not intense. When he loves, he loves with all his heart; when he adores, he adores with all his soul; when he submits, he submits with all his being; when he rebels, he rebels with all his force. When Peter decides to introduce western civilization into his empire, it must be done in a day and throughout the country at once; and if human nature does not yield quickly enough to the order for change from above, soldiers must march about the streets with shears in their hands to cut off the forbidden beard and long coat. When tyrant Paul dies by the hands of assassins, a scene of joy at the deliverance takes place which is only possible on Russian streets: strangers fly into each other's arms, embrace, kiss each other, amid gratulations for the relief. When the foreign invader is to be repelled, no sacrifice is too great for the Russian; and he does not shrink even from setting fire to his own Mecca, the beloved mother Moscow. When Alexander II. undertakes to liberate Russia, he crowds all reforms upon it at once,—emancipation of serfs, trial by jury, local self-government, popular education. And when an autocratic reaction arrives, it comes with the same storm-like rapidity and ubiquity. From a free country Russia is changed in one night, through the pistol-shot of a Karakozof, into a despotic country, just as if some Herman had waved his magic wand, and with his “presto, change,” had conjured up the dead autocracy into life again. When finally aristocratic youth is fired with the noble desire to help the ignorant peasant, home, family, station, fortune, career, all is forsaken, and youth goes forth to live with peasant, like peasant, that it may the better instruct him. This intensity which thus permeates all life of Russia is likewise visible in its literature; but while in practical life titanesqueness is a drawback, in literature, which is the nation's ideal life, it finds its most fruitful field. Hence the Russian writer may oft, indeed, be mistaken, frequently even totally wrong, but he is never uninteresting, because always powerful.
13. In times when feebleness has become so feeble as even to invent a theory, making thinness of voice, weakness of stamina, and general emasculation literary virtues; when intellect can find adequate interest only in the chess-puzzles of a Browning, and the sense of humor can find adequate sustenance only in the table-leaping antics of a Mark Twain, and the conscience can be goaded into remorse only by the sight of actual starvation, it is well to turn to these Russians and learn that one of the secrets of their overwhelming power is their intensity.
14. Gogol, for instance, never sets you laughing explosively. Such laughter is only on the surface; but you can hardly read a page of his without feeling a general sense of mirth suffused as it were through every limb, and the cheek can laugh no more than the spinal column. So, too, Turgenef never sets you a weeping, but the sadness he feels he sends from his pages, circulating through your blood, and while the eye will not indeed drop a tear, for such grief is likewise mostly on the surface, the breast will heave a sigh. And Tolstoy never fires you to go forth and do a particularly good deed; he never, like Schiller, sends you off to embrace your friend, but on laying down his book you feel a general discontent with yourself, and a longing for a nobler life than yours is takes possession of the soul.
15. This is the result of the all-absorbing, all-devouring native intensity of the Russian spirit.
16. And this intensity accounts for the suddenness with which the Russian spirit has blazed forth on the horizon, so that the successive stages of development are scarcely visible. The darkness which overcast the letters of Russia before Pushkin disappears not slowly, but the sky is lighted up suddenly by innumerable lights. Stars of the first magnitude stud it, now here, now there, until the bewildered observer beholds not twinkling points but shining luminaries. In scarcely half a century Russia has brought forth Pushkin, Lermontof, Gogol, Dostoyefsky, Turgenef, Tolstoy; and as the institutions of Western Europe became russified by the mere wave of an imperial hand, so Russian literature became modernized as if by the wave of a magic wand.
17. This national characteristic of intensity gives Russian literature a hot-house aspect. Its atmosphere is not only fragrant, but oppressively fragrant; and as in America after the civil war generals and colonels were almost too numerous for social comfort, so in Russia great authors are in well-nigh painful abundance, and the student is embarrassed not with the difficulty of selecting from the midst of poverty, but with the difficulty of selecting from the midst of riches. And not only is its aspect that of a hot-house, but its very character has been affected. Such is the intensity of the national spirit of Russia, that it can do well but one thing at a time, and all its strength can go into only one literary form at a time. From 1800 to 1835 Russian literature is like a field on a midsummer evening, full of all manner of musical sound, and whatever hath articulate voice does nothing but sing. Batushkof sings, Pushkin sings,