Reality is revolting and disappointing to any artist, but Lunacharsky possesses enough recuperative powers to overcome his artistic sensitiveness. If he had not had enough also of that saving grace of fanaticism which marks all leaders, he would have lacked the enthusiasm which has carried him through every battle for culture which he has had to wage since the dramatic crash of the Tsardom. Only once did he actually lose heart and Lenin overcame that attack of panic by showering responsibility upon him. Given responsibility he showed more courage than men of coarser grain.
Lunacharsky’s battles in the five years he has been in office have not been concerned with bullets. “Illiteracy,” he told me once, “is the great curse of Russia; we must fight illiteracy like the plague.” And he fought it like the plague. This delicate poet, who in appearance is more like a scholarly Frenchman than a Russian, who has the manners and elegance of another age, has left off composing sonnets to fight ignorance, superstition, drunkenness, prejudice, disease, dirt.... And he has been more bitterly attacked than any other official of the new Russian Government.
With practically nothing at his disposal he had to plan and execute a vast educational campaign. That is why his achievements are so extraordinary. When Fedore Chaliapin was here last winter, winning the heart of America by his sweet and wonderful voice, he and I talked a good deal about Lunacharsky and the difficulties which confronted him. “Remember,” said Chaliapin, “if you have no pens and no paper and no ink, you cannot write; if you have no wood you cannot make a fire—in Russia all these things were literally true. Under such circumstances, no matter how willing the government might be, art and education must suffer with the rest.”
I will not go into figures here, but one can get an idea of what Lunacharsky has done. He has practically eliminated adult illiteracy from the cities, he has established thousands of schools. Only a very few of them, to be sure, are up to the required mark, but every school opened is an achievement. And there is not a single part of Russia, however remote or however dark, where a school has not been started.
But establishing and maintaining schools and universities was only a part of the work allotted to Lunacharsky. He had to build new theatres, keep up the standard of the old and show himself worthy of that great responsibility Lenin bestowed upon him when he made him guardian of all the art treasures of Russia.
If Nikolai Lenin had been a mediocrity, he would never have appointed Lunacharsky guardian of the art of Russia, and Russian art would now be scattered to the four winds, swallowed up in private collections or enriching the pockets of speculators. A mediocrity will not admit his limitations even if he is aware of them, but Lenin somehow understands that a man cannot spend his life studying political economy and carrying on revolutionary propaganda, and at the same time be an art connoisseur. What is more remarkable is that he allowed Lunacharsky to tell him so. The story of Lunacharsky’s appointment is interesting and characteristic of the Russian Premier’s method of political generalship.
When the Red and White forces were struggling for the possession of the Kremlin in Moscow in 1917, a wire to Petrograd announced that the beautiful and fantastic church of Vassili Blazhanie on the Red Square had been razed to the ground. Lunacharsky, poet, scholar, playwright and revolutionist, as well as friend and follower of Lenin, wrote an open letter to the press in which he gave vent to his horror. He stated: “What is taking place in Moscow is a horrible and irreparable misfortune!” He wrote another letter to Lenin, renouncing all connection with the revolution. And he took to his bed, ill with shock and disappointment.
Lenin did not accept his resignation. Lenin never accepts resignations from men who are valuable to the state. Instead, he went to call on Lunacharsky, and an amazing conversation took place which was repeated to me by a friend of both men.
Lenin, with his usual directness, said to Lunacharsky, “Do not be overcome by this calamity. If this church is destroyed, let us build a bigger and a better one.”
Lunacharsky, in tears of anguish, explained to Lenin that such a thing was not possible; such a lovely, imaginative piece of architecture might never again be created. Lenin listened and went thoughtfully away. A few days later Lunacharsky was given charge of the entire art of Russia.