Russia: Its People and Its Literature Part 1

Russia: Its People and Its Literature.

by Emilia Pardo Bazan.

PREFACE.

Emilia Pardo Bazan, the author of the following critical survey of Russian literature, is a Spanish woman of well-known literary attainments as well as wealth and position. Her life has been spent in a.s.sociation with men of mark, both during frequent sojourns at Madrid and at home in Galicia, "the Switzerland of Spain," from which province her father was a deputy to Cortes.

Books and libraries were almost her only pleasures in childhood, as she was allowed few companions, and she says she could never apply herself to music. By the time she was fourteen she had read widely in history, sciences, poetry, and fiction, excepting the works of the French romanticists, Dumas, George Sand, and Victor Hugo, which were forbidden fruit and were finally obtained and enjoyed as such. At sixteen she married and went to live in Madrid, where, amid the gayeties of the capital, her love for literature suffered a long eclipse.

Her father was obliged, for political reasons, to leave the country after the abdication of Amadeus, and she accompanied him in a long and to her profitable period of wandering, during which she learned French, English, and Italian, in order to read the literatures of those tongues.

She also plunged deep into German philosophy, at first out of curiosity, because it was then in vogue; but she confesses a debt of grat.i.tude to it nevertheless.

While she was thus absorbed in foreign tongues and literatures, she remained almost entirely ignorant of the new movement in her own land, led by Valera, Galdos, and Alarcon. The prostration which characterized the reign of Isabella II. had been followed by a rejuvenation born of the Revolution of 1868. When this new literature was at last brought to her notice, she read it with delighted surprise, and was immediately struck by something resembling the spirit of Cervantes, Hurtado, and other Spanish writers of old renown. Inspired by the possibility of this heredity, she resolved to try novel-writing herself,--a thought which had never occurred to her when her idea of the novel had been bounded by the romantic limitations of Victor Hugo and his suite. But if the novel might consist of descriptions of places and customs familiar to us, and studies of the people we see about us, then she would dare attempt it.

As yet, however, no one talked of realism or naturalism in Spain; the tendency of Spanish writers was rather toward a restoration of elegant Castilian, and her own first novel followed this line, although evidently inspired by the breath of realism as far as she was then aware of it. The methods and objects of the French realists became fully manifest to her shortly afterward; for, being in poor health, she went to Vichy, where in hours of enforced leisure she read for the first time Balzac, Flaubert, Goncourt, and Daudet. The result led her to see the importance of their aims and the force of their art, to which she added the idea that each country should cultivate its own tradition while following the modern methods. These convictions she embodied first in a prologue to her second novel, "A Wedding Journey," and then in a series of articles published in the "Epoca" at Madrid, and afterward in Paris; these she avers were the first echoes in Spain of the French realist movement.

All of her novels have been influenced by the school of art to which she has devoted her attention and criticism, and her study of which has well qualified her for the essays contained in this volume. This work on Russian literature was published in 1887, but prior to its appearance in print the Senora de Bazan was invited to read selections from it before the Ateneo de Madrid,--an honor never before extended to a woman, I believe.

Few Spanish women are accustomed to speaking in public, and she thus describes her own first attempt in 1885, when, during the festivities attending the opening of the first railway between Madrid and Coruna, the capital of her native province, she was asked to address a large audience invited to honor the memory of a local poet:--

"Fearful of attempting so unusual a performance, as well as doubtful of the ability to make my voice heard in a large theatre, I took advantage of the presence of my friend Emilio Castelar to read to him my discourse and confide to him my fears. On the eve of the performance, Castelar, ensconced in an arm-chair in my library, puzzled his brains over the questions whether I should read standing or sitting, whether I should hold my papers in my hand or no, and having an artist's eye to the scenic effect, I think he would have liked to suggest that I pose before the mirror!

But I was less troubled about my att.i.tude than by the knowledge that Castelar was to speak also, and before me, which would hardly predispose my audience in my favor....

The theatre was crowded to suffocation, but I found that this rather animated than terrified me. I rose to read (for it was finally decided that I should stand), and I cannot tell how thin and hard and unsympathetic my voice sounded in the silence. My throat choked with emotion; but I was scarcely through the first paragraph when I heard at my right hand the voice of Castelar, low and earnest, saying over and over again, 'Very good, very good! That is the tone! So, so! 'I breathed more freely, speaking became easier to me; and my audience, far from becoming impatient, gave me an attention and applause doubly grateful to one whose only hope had been to avoid a fiasco. Castelar greeted me at the close with a warm hand-grasp and beaming eyes, saying, 'We ought to be well satisfied, Emilia; we have achieved a notable and brilliant success; let us be happy, then!'"

Probably the Senora de Bazan learned her lesson well, and had no need of the friendly admonitions of Castelar when she came to address the distinguished audience at the Ateneo, for she is said to have "looked very much at ease," and to have been very well received, but a good deal criticised afterward, being the first Spanish woman who ever dared to read in the Ateneo.

Turning from the auth.o.r.ess to the work, I will only add that I hope the American reader may find it to be what it seemed to me as I read it in Spanish,--an epitome of a vast and elaborate subject, and a guide to a clear path through this maze which without a guide can hardly be clear to any but a profound student of belles-lettres; for cla.s.sicism, romanticism, and realism are technical terms, and the purpose of the modern novel is only just beginning to be understood by even fairly intelligent readers. In the belief that the interest awakened by Russian literature is not ephemeral, and that this great, young, and original people has come upon the world's stage with a work to perform before the world's eye, I have translated this careful, critical, synthetical study of the Russian people and literature for the benefit of my intelligent countrymen.

F.H.G.

Chicago, March, 1890.

Book I.

THE EVOLUTION OF RUSSIA.

I.

Scope And Purpose of the Present Essay.

The idea of writing something about Russia, the Russian novel, and Russian social conditions (all of which bear an intimate relations.h.i.+p to one another), occurred to me during a sojourn in Paris, where I was struck with the popularity and success achieved by the Russian authors, and especially the novelists. I remember that it was in the month of March, 1885, that the Russian novel "Crime and Punishment," by Dostoiewsky, fell into my hands and left on my mind a deep impression.

Circ.u.mstances prevented my following up at that time my idea of literary work on the subject; but the next winter I had nothing more important to do than to make my projected excursion into this new realm.

My interest was quickened by all the reports I read of those who had done the same. They all declared that one branch of Russian literature, that which flourishes to-day in every part of Europe, namely, the novel, has no rival in any other nation, and that the so much discussed tendency to the pre-eminence of truth in art, variously called realism, naturalism, etc., has existed in the Russian novel ever since the Romantic period, a full quarter of a century earlier than in France. I saw also that the more refined and select portion of the Parisian public, that part which boasts an educated and exacting taste, bought and devoured the works of Turguenief, Tolsto, and Dostoiewsky with as much eagerness as those of Zola, Goncourt, and Daudet; and it was useless to ascribe this universal eagerness merely to a conspiracy intended to produce jealousy and humiliation among the masters and leaders of naturalism or realism in France, even though I may be aware that such a conspiracy tacitly exists, as well as a certain amount of involuntary jealousy, which, in fact, even the most ill.u.s.trious artist is p.r.o.ne to display.

I do not ignore the objections that might be urged against going to foreign lands in search of novelties, and I should decline to face them if Russian literature were but one of the many caprices of the exhausted Parisian imagination. I know very well that the French capital is a city of novelties, hungry for extravagances which may entertain for a moment and appease its yawning weariness, and that to this necessity for diversion the _decadent_ school (which has lately had such a revival, and claims the aberrations of the Spanish Gongora as its master), though aided by some talent and some technical skill, owes the favor it enjoys.

Some years ago I attended a concert in Paris, where I heard an orchestra of Bohemians, or Zingaras, itinerant musicians from Hungary. I was asked my opinion of them at the close, and I frankly confessed that the orchestra sounded to me very like a jangling of mule-bells or a caterwauling; they were only a little more tolerable than a street band of my own country (Spain), and only because these were gypsies were their sc.r.a.pings to be endured at all. Literary oddities are puffed and made much of by certain Parisian critics very much as the Bohemian musicians were, as, for example, the j.a.panese novel "The Loyal Ronins,"

and certain romantic sketches of North American origin.

It is but just, nevertheless, to acknowledge that in France the mania for the exotic has a laudable aim and obeys an instinct of equity. To know everything, to call nothing outlandish, to accord the highest right of human citizens.h.i.+p, the right of creating their own art and of sacrificing according to their own rites and customs on the altar sacred to Beauty, not only to the great nations, but to the decayed and obscure ones,--this surely is a generous act on the part of a people endowed with directive energies; the more so as, in order to do this, the French have to overcome a certain petulant vanity which naturally leads them to consider themselves not merely the first but the only people.

But confining myself now to Russia, I do not deny that to my curiosity there were added certain doubts as to the value of her literary treasures. During my investigations, however, I have discovered that, apart from the intrinsic merit of her famous authors, her literature must attract our attention because of its intimate connections with social, political, and historical problems which are occupying the mind of Europe to-day, and are outcomes of the great revolutionary movement, unless it would be more correct to say that they inspired and directed that movement.

I take this opportunity to confess frankly that I lack one almost indispensable qualification for my task,--the knowledge of the Russian language. It would have been easy for me, during my residence in Paris, to acquire a smattering of it perhaps, enough to conceal my ignorance and to enable me to read some selections in poetry and prose; but not so easy thus to learn thoroughly a language which for intricacy, splendid coloring, and marvellous flexibility and harmony can only be compared, in the opinion of philologists, to the ancient Greek. Of what use then a mere smattering, which would be insufficient to give to my studies a positive character and an indisputable authority? Two years would not have been too long to devote to such an accomplishment, and in that length of time new ideas, different lines of thought, and unexpected obstacles might perhaps arise; the opportunity would be gone and my plan would have lost interest.

Still, I mentioned my scruples on this head to certain competent persons, and they agreed that ignorance of the Russian language, though an ignorance scarcely uncommon, would be an insuperable difficulty if I proposed to write a didactic treatise upon Russian letters, instead of a rapid review or a mere sketch in the form of a modest essay or two.

They added that the best Russian books were translated into French or German, and that in these languages, and also in English and Italian, had been published several able and clever works relative to Muscovite literature and inst.i.tutions, solid enough foundations upon which to build my efforts.

It may be said, and with good reason, that if I could not learn the language I might at least have made a trip to Russia, and like Madame de Stael when she revealed to her countrymen the culture of a foreign land, see the places and people with my own eyes. But Russia is not just around the corner, and the women of my country, though not cowardly, are not accustomed to travel so intrepidly as for example the women of Great Britain. I have often envied the good fortune of that clever Scotchman, Mackenzie Wallace, who has explored the whole empire of Russia, ridden in sleighs over her frozen rivers, chatted with peasants and _popes_, slept beneath the tents of the nomadic tribes, and shared their offered refreshment of fermented mare's-milk, the only delicacy their patriarchal hospitality afforded. But I acknowledge my deficiencies, and can only hope that some one better qualified than I may take up and carry on this imperfect and tentative attempt.

I have tried to supply from other sources those things which I lacked.

Not only have I read everything written upon Russia in every language with which I am acquainted, but I have a.s.sociated myself with Russian writers and artists, and noted the opinions of well-informed persons (who often, however, be it said in parenthesis, only served to confuse me by their differences and opposition). A good part of the books (a list of which I give at the end) were hardly of use to me, and I read them merely from motives of literary honesty. To save continual references I prefer to speak at once and now of those which I used princ.i.p.ally: Mackenzie Wallace's work ent.i.tled "Russia" abounds in practical insight and appreciation; Anatole Leroy-Beaulieu's "The Empire of the Czars" is a profound, exact, and finished study, so acknowledged even by the Russians themselves in their most just and calm judgments; Tikomirov's "Russia, Political and Social" is clear and comprehensible, though rather radical and pa.s.sionate, as might be expected of the work of an exile; Melchior de Voguie's "The Russian Novel" is a critical study of incomparable delicacy, though I do not always acquiesce in his conclusions. From these four books, to which I would add the remarkable "History of Russia" by Rambaud, I have drawn copious draughts; and giving them this mention, I may dispense with further reference to them.

II.

The Russian Country.

If we consider the present state of European nations, we shall observe a decided decline of the political fever which excited them from about the end of the last century to the middle of the present one. A certain calm, almost a stagnation with some, has followed upon the conquest of rights more craved than appreciated. The idea of socialistic reforms is agitated darkly and threateningly among the ma.s.ses, openly declaring itself from time to time in strikes and riots; but on the other hand, the middle cla.s.ses almost everywhere are anxious for a long respite in which to enjoy the new social conditions created by themselves and for themselves. The middle cla.s.ses represent the largest amount of intellectual force; they have withdrawn voluntarily (through egoism, prudence, or indifference) from active political fields, and renounced further efforts in the line of experiment; the arts and letters, which are in the main the work of well-to-do people, cry out against this withdrawal, and, losing all social affinities, become likewise isolated.

France possesses at this moment that form of government for which she yearned so long and so convulsively; yet she has not found in it the sort of well-being she most desired,--that industrial and economical prosperity, that coveted satisfaction and compensation which should restore to the c.o.c.k of Brenus his glittering spurs and scarlet crest.

She is at peace, but doubtful of herself, always fearful of having to behold again the vandalism of the Commune and the catastrophes of the Prussian invasion. Italy, united and restored, has not regained her place as a European power, nor, in rising again from her glorious ashes, can she reanimate the dust of the heroes, the great captains and the sublime artists, that lie beneath her monuments. And it is not only the Latin nations that stand in more or less anxious expectation of the future. If France has established her much desired republic, and Italy has accomplished her union, England also has tasted all the fruits of the parliamentary system, has imparted her vigor to magnificent colonies, has succeeded in impressing her political doctrines and her positive ideas of life upon the whole continent; while Germany has obtained the military supremacy and the amalgamation of the fatherland once dismembered by feudalism, as well as the fulfilment of the old Teutonic dream of Caesarian power and an imperial throne,--a dream cherished since the Middle Ages. For the Saxon races the hour of change has sounded too; in a certain way they have fulfilled their destinies, they have accomplished their historic work, and I think I see them like actors on the stage declaiming the closing words of their roles.

One plain symptom of what I have described seems to me to be the draining off of their creative forces in the domain of art. What proportion does the artistic energy of England and Germany bear to their political strength? None at all. No names nowadays cross the Channel to be put up beside--I will not say those of Shakspeare and Byron, but even those of Walter Scott and d.i.c.kens; there is no one to wear the mantle of the ill.u.s.trious author of "Adam Bede," who was the incarnation of the moral sense and temperate realism of her country, and at the same time an eloquent witness to the extent and limit allowed by these two tendencies, both of puritanic origin, to the laws of aesthetics and poetry. On the other side of the Rhine the tree of Romance is dry, though its roots are buried in the mysterious sub-soil of legend, and beneath its branches pa.s.s and repa.s.s the heroes of the ballads of Burger and Goethe, and within its foliage are crystallized the brilliant dialectics of Hegel. To put it plainly, Germany to-day produces nothing within herself, particularly if we compare this to-day with the not distant yesterday.

But I would be less general, and set forth my idea in a clearer manner.

It is not my purpose to sacrifice on the altar of my theme the genius of all Europe. I recognize willingly that there are in every nation writers worthy of distinction and praise, and not only in nations of the first rank but in some also of second and third, as witness those of Portugal, Belgium, Sweden, modern Greece, Denmark, and even Roumania, which can boast a queenly auth.o.r.ess, extremely talented and sympathetic. I merely say--and to the intelligent reader I need give but few reasons why--that it is easy to distinguish the period in which a people, without being actually sterile, and even displaying relatively a certain fecundity which may deceive the superficial observer, yet ceases to produce anything virile and genuine, or to possess vital and creative powers.

To this general rule I consider France an exception, for she is really the only nation which, since the close of the Romantic period, has seen any spontaneous literary production great enough to traverse and influence all Europe,--a phenomenon which cannot be explained by the mere fact of the general use of the French tongue and customs. It will be understood that I refer to the rise and success of Realism, and that I speak of it in a large sense, not limiting my thoughts to the master minds, but considering it in its entirety, from its origin to its newest ramifications, from its antecedent encyclopedists to its latest echoes, the pessimists, _decadents_, and other fanatics. Looking at what are called French naturalists or realists in a group, as a unity which obliterates details, I cannot deny to France the glory of presenting to the world in the second half of this century a literary development, which, even if it carries within itself the germs of senility and decrepitude (namely, the very materialism which is its philosophic basis, its very extremes and exaggerations, and its erudite, and reflective character, a quality which however unapparent is nevertheless perfectly demonstrable), yet it shows also the vigor of a renaissance in its valiant affirmation of artistic truth, its zeal in maintaining this, in the faith with which it seeks this truth, and in the effectiveness of its occasional revelations thereof. When party feeling has somewhat subsided, French realism will receive due thanks for the impulse it has communicated to other peoples; not a lamentable impulse either, for nations endowed with robust national traditions always know how to give form and shape to whatever comes to them from without, and those only will accept a completed art who lack the true conditions of nationality, even though they figure as States on the map.

There are two great peoples in the world which are not in the same situation as the Latin and Saxon nations of Europe,--two peoples which have not yet placed their stones in the world's historic edifice. They are the great transatlantic republic and the colossal Sclavonic empire,--the United States and Russia.

What artistic future awaits the young North American nation? That land of material civilization, free, happy, with wise and practical inst.i.tutions, with splendid natural resources, with flouris.h.i.+ng commerce and industries, that people so young yet so vigorous, has acquired everything except the acclimatization in her vast and fertile territory of the flower of beauty in the arts and letters. Her literature, in which such names as Edgar Poe s.h.i.+ne with a world-wide l.u.s.tre, is yet a prolongation of the English literature, and no more. What would that country not give to see within herself the glorious promise of that spirit which produced a Murillo, a Cervantes, a Goethe, or a Meyerbeer, while she covers with gold the canvases of the mediocre painters of Europe!

But that art and literature of a national character may be spontaneous, a people must pa.s.s through two epochs,--one in which, by the process of time, the myths and heroes of earlier days a.s.sume a representative character, and the early creeds and aspirations, still undefined by reflection, take shape in popular poetry and legend; the other in which, after a period of learning, the people arises and shakes off the outer crust of artificiality, and begins to build conscientiously its own art upon the basis of its never-forgotten traditions. The United States was born full-grown. It never pa.s.sed through the cloudland of myth; it is utterly lacking in that sort of popular poetry which to-day we call folk-lore.

But when a nation carries within itself this powerful and prolific seed, sooner or later this will sprout. A people may be silent for long years, for ages, but at the first rays of its dawning future it will sing like the sphinx of Egypt. Russia is a complete proof of this truth. Perhaps no other nation ever saw its aesthetic development unfold so unpromisingly, so cramped and so stunted. The stiff and unyielding garments of French cla.s.sicism have compressed the spirit of its national literature almost to suffocation; German Romanticism, since the beginning of this century, has lorded it triumphantly there more than in any other land. But in spite of so many obstacles, the genius of Russia has made a way for itself, and to-day offers us a sight which other nations can only parallel in their past history; namely, the sudden revelation of a national literature.