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 relationship 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 Dostoiëwsky, fell into my hands and left on my mind a deep impression. Circumstances 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, Tolstoï, and Dostoiëwsky 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 illustrious artist is prone 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 scrapings 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 Japanese 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 citizenship, 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 institutions, 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 Staël 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 associated 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 principally: Mackenzie Wallace's work entitled "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 passionate, as might be expected of the work of an exile; Melchior de Voguié'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.