The old Afanasi Ivanovitch does not try to kill himself; but he dies slowly day by day from the ever-growing regret for her whom he has lost, from the wound, always more keen and more deep, which has been left in his heart, or, if the expression be preferred, left in his very flesh by the torn cluster of his imperishable habits.
“I have never written from imagination,” said Gogol: “it is a talent which I do not possess.” “Pushkin,” he says in another place, “has hit it right when in speaking of me he declared that he had never known in any other writer an equal gift of making a vivid picture of the miseries of actual life, in sketching with a firm touch the nothingness of a good-for-nothing man.” This talent, which will be seen illustrated in such a brilliant way in the great romance of “Dead Souls,” already begins to give a striking character to the stories written by Gogol about St. Petersburg. Here he describes in a most fascinating way the mortifications, the humiliations, the tortures even, which he had felt or anticipated at the time of the painful beginning of his literary career, and his wearisome sojourn in the bureaucracy.
“The Portrait,” for example, is a fantastic tale which is distinguished from the stories of the former collection by a satiric accent full of bitterness. It is the account of a painter kept in the depths of wretchedness just as long as he takes his art seriously. A happy chance places in his hands a sum of money which allows him to engage rooms on the Nevsky Prospekt. He allows trickery to usurp the place of work. He grows rich from the day when he loses his talent: however, the feeling of having deserted his ideal follows him like remorse, and this remorse leads him straight to madness.
“The Cloak” is the story of a small official, gentle, conscientious, but timid, slow, and absent-minded. The poor devil has a fixed purpose,—the purchase of a cloak to keep him from the cold. This never-to-be-realized idea finally unsettles his somewhat feeble brain.
It is noticeable that the most lugubrious refrains serve for the conclusion of these different moral analyses. “The recollections of a Lunatic,” known in France under the title “Les Mémoires d’un Fou,” take the reader one step farther into this region of mental trouble, which is explored with a boldness truly disquieting. Involuntarily one thinks of the author’s own final insanity; and the tale has the effect of a prelude, or at least of a prognostication.
At the risk of repetition, I lay especial emphasis upon this evolution which took place in the mind and in the work of Nikolaï Gogol. In the “Evenings at the Farm,” the satirical note scarcely appears, except in a few details; it is found tempered, and as it were refreshed, by a pure breath of poetry; Nature spoke there almost as much as man, and she spoke a language of very penetrating sweetness and of superb grandeur. In the novels on St. Petersburg, satire has already entirely usurped her place. There is added, to be sure, an element of fancy, and of caprice, which is no longer the poetry of the first novels, but which still draws on the imagination; a troubled, unregulated imagination, which in Gogol shows a physical and moral state sufficiently akin to the hyperæsthesia of seers, of the insane. This period of excitement is followed by several years of rather morose observation and contemplation, during which Gogol writes or plans for his two great works, the comedy of “The Revizor,” and the romance of “The Dead Souls.” Here we are in full satire, and the satire is fully in the domain of reality,—reality often vulgar, and sometimes odious. The author paints only what he sees; and if amid the objects of his contemplation, and his keen pitiless glance, there passes often as it were a shade of illusion, it is only a gloomy illusion, a reflection of melancholy obscuring the real day, and making the colors of things more sombre, the aspect of men more pitiable.
It is not that the romance of “The Dead Souls,” and especially the comedy of “The Revizor,” have not details, or even whole scenes, which are very amusing. There is no satire without gayety; and Gogol understands how to indulge in raillery, that is to say, how to make fun at the expense of another, as perfectly as any satirist that ever lived. But never was laughter more bitter than his, and it never came nearer the ancient definition, “cachinnus perfidum ridens.” This bitterness of style is only too well explained by a morbid state of mind, the first manifestations of which can be traced back even to Gogol’s infancy, while its tragic end was madness.
VI.
The comedy of “The Revizor” (The Inspector-General) is therefore a satire,—a satire on Russian functionaryism. The action takes place in a small provincial city. The tchinovniks of the district have met at the mayor’s, for news has just been brought of the approaching visit of the revizor. “What can you expect?” asks the mayor[16] with a sigh: “it is a judgment from God! Hitherto it has fallen on other cities. It is our turn now.”
Like a prudent man, he has taken his measures, and he advises the other employees to do likewise. “You,” he says to the director of the hospital,—“you will do well to take pains that every thing is on a good footing.... Let ’em put on white cotton nightcaps, and don’t allow the patients to look like chimney-sweeps as they usually do.—And you,” he says to the doctor, “you must look out that each bed has its label in Latin, or some other language.... And it would be better not to have so many patients, for they won’t fail to throw the blame on the administration.” The director of the hospital explains the method of treatment which is adopted. No costly medicines: man is a simple being; if he dies, he dies; if he recovers, he recovers. Besides, any other method would be scarcely practicable with a German doctor who does not understand Russian, and consequently cannot tell at all what his patients say.