Russia: Its People and Its Literature

by condesa de Emilia Pardo Bazán

[V.]

Herzen and the Nihilist Novel.

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 famous natural 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 every new man carries 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 the new 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 these new men in 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 no new 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.