Essays on Russian Novelists

by William Lyon Phelps

This whole epilogue is a programme--the programme of the self-conscious founder of Russian Realism. It came from a man who had deliberately turned his back on Romanticism, even on the romanticism of his friend and teacher, Pushkin, and who had decided to venture all alone on a new and untried path in Russian literature. He fully realised the difficulties of his task, and the opposition he was bound to encounter. He asks and answers the two familiar questions invariably put to the native realist. The first is, "I have enough trouble in my own life: I see enough misery and stupidity in the world: what is the use of reading about it in novels?" The second is, "Why should a man who loves his country uncover her nakedness?"

Gogol's realism differs in two important aspects from the realism of the French school, whether represented by Balzac, Flaubert, Guy de Maupassant, or Zola. He had all the French love of veracity, and could have honestly said with the author of Une Vie that he painted 'humble vérité. But there are two ground qualities in his realistic method absent in the four Frenchmen: humour and moral force. Gogol could not repress the fun that is so essential an element in human life, any more than he could stop the beating of his heart; he saw men and women with the eyes of a natural born humorist, to whom the utter absurdity of humanity and human relations was enormously salient. And he could not help preaching, because he had boundless sympathy with the weakness and suffering of his fellow-creatures, and because he believed with all the tremendous force of his character in the Christian religion. His main endeavour was to sharpen the sight of his readers, whether they looked without or within; for not even the greatest physician can remedy an evil, unless he knows what the evil is.

Gogol is the great pioneer in Russian fiction. He had the essential temperament of all great pioneers, whether their goal is material or spiritual. He had vital energy, resolute courage, clear vision, and an abiding faith that he was travelling in the right direction. Such a man will have followers even greater than he, and he rightly shares in their glory. He was surpassed by Turgenev, Dostoevski, and Tolstoi, but had he lived, he would have rejoiced in their superior art, just as every great teacher delights in being outstripped by his pupils. He is the real leader of the giant three, and they made of his lonely path a magnificent highway for human thought. They all used him freely: Tolstoi could hardly have written The Cossacks without the inspiration of Gogol, Turgenev must have taken the most beautiful chapter in ÊVirgin Soil directly from Old-fashioned Farmers, and Dostoevski's first book, Poor Folk, is in many places almost a slavish imitation of The Cloak--and he freely acknowledged the debt in the course of his story. The uncompromising attitude toward fidelity in Art which Gogol emphasised in The Portrait set the standard for every Russian writer who has attained prominence since his day. No one can read Chekhov and Andreev without being conscious of the hovering spirit of the first master of Russian fiction. He could truthfully have adapted the words of Joseph Hall:--

I first adventure: follow me who list,
And be the second Russian Realist.

I first adventure: follow me who list,
And be the second Russian Realist.

III

TURGENEV

TURGENEV was born on the 28 October 1818, at Orel, in south central Russia, about half-way between Moscow and Kiev. Thus, although the temperament of Turgenev was entirely different from that of Gogol, he was born not far from the latter's beloved Ukraine. He came honestly by the patrician quality that unconsciously animated all his books, for his family was both ancient and noble. His mother was wealthy, and in 1817 was married to a handsome, unprincipled military officer six years younger than herself. Their life together was an excellent example of the exact opposite of domestic bliss, and in treating the boy like a culprit, they transformed him--as always happens in similar cases--into a severe judge of their own conduct. The father's unbridled sensuality and the mother's unbridled tongue gave a succession of moving pictures of family discord to the inquisitive eyes of the future novelist. His childhood was anything but cheerful, and late in life he said he could distinctly remember the salt taste of the frequent tears that trickled into the corners of his mouth. Fortunately for all concerned, the father died while Turgenev was a boy, leaving him with only one--even if the more formidable--of his parents to contend with. His mother despised writers, especially those who wrote in Russian; she insisted that Ivan should make an advantageous marriage, and "have a career"; but the boy was determined never to marry, and he had not the slightest ambition for government favours. The two utterly failed to understand each other, and, weary of his mother's capricious violence of temper, he became completely estranged. Years later, in her last illness, Turgenev made repeated attempts to see her, all of which she angrily repulsed. He endeavoured to see her at the very last, but she died before his arrival. He was then informed that on the evening of her death she had given orders to have an orchestra play dance-music in an adjoining chamber, to distract her mind during the final agony. And her last thought was an attempt to ruin Ivan and his brother by leaving orders to have everything sold at a wretched price, and to set fire to other parts of the property. His comment on his dead mother was "Enfin, il faut oublier."

It is significant that Turgenev has nowhere in all his novels portrayed a mother who combined intelligence with goodness.

French, German, and English Turgenev learned as a child, first from governesses, and then from regular foreign tutors. The language of his own country, of which he was to become the greatest master that has ever lived, he was forced to learn from the house-servants. His father and mother conversed only in French; his mother even prayed in French. Later, he studied at the Universities of Moscow, St. Petersburg, and Berlin. At Berlin he breathed for the first time the free air of intellectual Europe, and he was never able long to live out of that element again. One of his closest comrades at the University was Bakunin, a hot-headed young Radical, who subsequently became a Nihilist agitator. There is no doubt that his fiery harangues gave Turgenev much material for his later novels. It is characteristic, too, that while his student friends went wild at the theatre over Schiller, Turgenev immensely preferred Goethe, and could practically repeat the whole first part of Faust by heart. Turgenev, like Goethe, was a natural aristocrat in his manner and in his literary taste--and had the same dislike for extremists of all kinds. With the exception of Turgenev's quiet but profound pessimism, his temperament was very similar to that of the great German--such a man will surely incur the hatred of the true Reformer type.