Text 4 Culture

I. Before reading the text say what you know on the following points: a) the Westernizers and the Slavophiles; b) the arts in the 1^st half of the 19^th century; c) the prominent writers and poets of that epoch.

The official emphasis on Russian nationalism contributed to a debate on Russia’s place in the world, the meaning of Russian history, and the future of Russia. One group, the Westernizers, believed that Russia remained backward and primitive and could progress only through more Europeanization. Another group, the Slavophiles, enthusiastically favored the Slavs and their culture and customs, and had a distaste for westerners and their culture and customs.

The Slavophiles viewed Slavic philosophy as a source of wholeness in Russia and were skeptical of Western rationalism and materialism. Some of them believed that the Russian peasant commune, or “Mir”, offered an attractive alternative to Western capitalism and could make Russia a potential social and moral saviour representing thus a form of Russian messianism.

Despite the repressions of this period, Russia experienced a flowering of literature and the arts. Through the works of Aleksandr Pushkin, Nikolai Gogol, Ivan Turgenev, and numerous others, Russian literature gained international stature and recognition. Ballet took root in Russia after its importation from France, and classical music became firmly established with the compositions of Mikhail Glinka (1804–1857).

During the 1830s a gradual decline in poetry and a rise of prose took place, a shift that coincided with a change in literary institutions. The aristocratic salon, which had been the seedbed for Russian literature, was gradually supplanted by the monthly “thick journals”, the editors and critics of which became Russia’s tastemakers. The turn to prose was signaled in the work of Pushkin, whose Tales of the Late Ivan Petrovich Belkin (1831), The Queen of Spades (1834), and The Captain’s Daughter (1836) all appeared before his death in 1837. Also in the 1830s the first publications appeared by Nikolay Gogol, a comic writer of Ukrainian origin, whose grotesquely hilarious oeuvre includes the story The Nose, the play The Government Inspector (both 1836), and the epic novel Dead Souls (1842).

Although Gogol was then known primarily as a satirist, he is now appreciated as a verbal magician whose works seem akin to the absurdists of the 20th century. One final burst of poetic energy appeared in the late 1830s in the verse of Mikhail Lermontov, who also wrote A Hero of Our Time (1840), the first Russian psychological novel.

In the 1840s the axis of Russian literature shifted decisively from the personal and Romantic to the civic and realistic, a shift presided over by the Great Russian literary critic Vissarion Belinsky. Belinsky desired a literature primarily concerned with current social problems, although he never expected it to give up the aesthetic function entirely. By the end of the 1840s, Belinsky’s ideas had triumphed. Early works of Russian realism include Ivan Goncharov’s antiromantic novel A Common Story (1847) and Fyodor Dostoyevsky’s Poor Folk (1846). From the 1840s until the turn of the 20th century, the realist novel dominated Russian literature, though it was by no means a monolithic movement. In the early period the favoured method was the “physiological sketch”, which often depicted a typical member of the downtrodden classes; quintessential examples are found in Ivan Turgenev’s 1852 collection A Sportsman’s Sketches.