The greatest joy that Gorky finds in his work for the Soviet Government is in the tremendous task of preserving the art of old Russia and creating new art. Even in the throes of the revolution when Gorky opposed the Bolshevik rule, he was working with the government to preserve the old art.
Under his direction a museum was established in a fine structure, wherein were stored thousands of art treasures recovered during the revolution. Bourgeoisie who fled to other countries left their unoccupied homes full of beautiful things. The Soviet Government took possession of these homes at once and removed valuable art to the museum. Manifestos were sent broadcast appealing to the people to preserve these things which were now theirs. In Petrograd the following bulletin, under the title “Appeal for the Preservation of Works of Art,” appeared:
“Citizens! The old landlords have gone. Behind them remains a tremendous inheritance. Now it belongs to the whole people. Guard this inheritance; take care of the palaces. They will stand as the palaces of the art of the whole people. Preserve the pictures, the statues, the buildings—these are a concentration of the spiritual force of yourselves and of your forefathers. Art is that beauty which men of talent have been able to create even under the lash of despotism. Do not touch a single stone, safeguard monuments, buildings, ancient things, and documents. All these are your history, your pride.”
“But it was impossible to save everything,” Gorky told me. “There were the soldiers and the peasants, who had never had a chance to see any of these beautiful things in the past. The people did not wish to destroy these things. They only threw away what seemed worthless to them. One priceless painting was found in a garbage can. But it was found and brought back by the people themselves. And now it is in the museum where every one may see it.”
Gorky is head of the “World Literature Publishing House,” a vast institution organized by the Soviet Government to publish the best literary and scientific productions of all countries in popular editions for the Russian masses. A great staff of literary and professional men and women are enrolled in this work. Already about six hundred books have been edited and are ready for publication, although only thirty volumes had been printed when the work had to stop on account of the lack of paper. As soon as paper is available they hope to begin printing millions of volumes in editions which will be within the reach of all the Russian people.
In addition to this work Gorky has been devoting much time to the preparation of a series of motion-picture scenarios, composed with scientific historical exactness, showing the history of man from the Stone Age down through the Middle Ages to the time of Louis XVI of France, and finally to the present day. This work was begun in July 1919, and when I talked with Gorky in September of the same year, he told me that they had already finished twenty-five scenarios. He described the extraordinary difficulties under which the work was going forward; the actors and actresses who were often undernourished, persevered over all obstacles, inspired by an enthusiasm which Gorky thought would have been impossible in any other country. The Soviet Government was aiding the production in every way. The best actors and actresses in the country had been enlisted in this work along with historians and scientists. The films were being sent into the remote towns and villages, and thousands of small theatres already were being built.
The motion picture theatres in general in Petrograd were not showing the ordinary romances that we see in this country in films. The motion picture was used largely for educating the people and showing the development of industry, the proper care of children and the advantages of sanitary conditions. Russia is in great need of education so far as sanitation is concerned. In the large cities the sanitation is modern, but in smaller towns and in the villages the people have no idea of a sewage system.
The theatre of Soviet Russia had already been organized throughout the country at the time of my visit. The production of plays and scenarios was included in the educational program of the government. The theatres were organized into one corporation and subsidized by the Soviet Government, which did not, however, interfere in any way with the artistic work of the producers. I saw Schiller’s “Robbers” and Gorky’s “Lower Depths” produced wonderfully. The people crowded to the theatres. The first four performances each week are set aside for the Soviet workers.
Gorky assured me that the elements opposed to Soviet rule “do not find any support among the rank and file. The working class strongly supports the Soviets, and most of the peasants approve, although the village youth is still indifferent.”
The Jewish people were playing an important part in the revolutionary reconstruction of the country, Gorky said, but added that he did not mean the class of Jews who had been influential in the old régime. The Jews who had come forward under the revolution were the ones who had formerly been kept within the pale. They felt that a new freedom had been offered them by the Soviet Government, that they would be treated as brothers, and so they were rendering valuable constructive service.