ACQUAINTANCE
On Russian Novelists by William Lyon Phelps
RUSSIAN NATIONAL CHARACTER AS SHOWN IN RUSSIAN FICTION
KUPRIN'S PICTURE OF GARRISON LIFE
Lectures on Russian Novelists by Ivan Panin
Plays:
INTRODUCTION
The plays selected for translation in this volume are, for the most part, modern. Von Vízin alone belongs to an earlier date, that of the late eighteenth century. Nevertheless it will be found that they have this in common: they are, while still Russian, at the same time European. This separation of artists into two categories, the national and the European, is quite simple of comprehension.
The national author, often the favourite in his own country and one who has strengthened and enriched its language to a great degree, is nevertheless hardly to be appreciated in translation by readers of other European countries. Lomonósov, the “father of the Russian language,” poet, panegyrist and critic, is an example; so is Dr. Johnson. But a European artist can be appreciated by any foreign reader in an adequate translation, that is, a translation approximating to what the author would have written in that language.
Von Vízin, the first real Russian dramatist, comes in the rank of European artists. He is in everything Russian; his subject, characters and treatment are all Russian, but his plays are written with that “brilliant common-sense” which may be regarded as the characteristic of the European artist. It is well worth pointing out how his work, coming to an end during the first period of the French Revolution, approaches in spirit the work of the other authors in this book, who wrote a round century after him. This phenomenon is similar to much that can be observed not only in Russian art, but in Russian politics and society.
Denis Ivánovich Von Vízin (the name at Pushkin’s suggestion was Russianised into “Vonvízin” during the nineteenth century) was descended from a German prisoner of war. He was born in 1745 and educated at first by his father, his gratitude to whom he showed in the characters of Oldthought, in The Minor, and Flatternot, in The Choice of a Tutor. In 1760, after five years in a preparatory school he became a student at the Moscow University. In the next year he published a book of translations of Holberg’s fables. In 1762 he joined the Imperial Guard, but this life did not please him and he became a translator in the Foreign Office. In 1766 he finished his comedy The Brigadier, which was at once greeted as “our first comedy of manners." The Minor, written in a similar style round a character resembling Goldsmith’s Tony Lumpkin, was produced in 1782. Most of the characteristics of these five-act comedies are to be found in the little farce in this book, The Choice of a Tutor, written probably in 1792, the year of Von Vízin’s death. A significant event in his life is that in 1774 he drew up a plan of a constitution for Panin, the minister, whose secretary he had become five years before, to present to the Emperor. This constitution, with a hundred others, had to lie aside for the whole of the nineteenth century, while the political progress of Russia was at a standstill. It is usual to consider this the fault of autocratic emperors, but perhaps it was due to the horror of the nation at the apparition of Napoleon as the result of the French Revolution. It is at least the characteristic of Russian literature after the first quarter of the nineteenth century that it attempted to withdraw from the course of European progress, and to find a national path instead. The marvellous Dostoiévsky is always exotic to us, so (in a less degree, as his genius was less) is Turgéniev, so is Ostróvsky
