Isabel Florence Hapgood

“ There is one point to be noted about Nekrásoff which was somewhat neglected by the critics during his lifetime. No other Russian poet of that day was so fond of calling attention to the bright sides of the national life, or depicted so many positive, ideal, brilliant types with such fervent, purely Schilleresque, enthusiasm as Nekrásoff. And most significant of all, his positive types are not of an abstract, fantastic character, clothed in flesh and blood of the period and environment, filled with conflicting, concrete characteristics—not one of them resembles any other. ”

“ There are women in Russian hamlets
With a dignified calmness of face;
With a beautiful strength in their movements,
With mien and glance of an empress in grace.
A blind man alone could ignore them;
And he who can see them must say:
"She passes—'tis as though the sun shineth!
She looks—'tis giving rubles away!"
A noble-minded, splendid peasant woman, who has worthily fulfilled all the duties of her hard lot, at last becomes a widow. The manner of it; the quaint folk-remedies employed to heal the sick man; the making of the shroud by the bereaved wife ”

“ Romanticism established, as its first principles, freedom of creation and nationality of poetry, and these principles survived romanticism itself. Now, while romanticism preached freedom of creation, it circumscribed this freedom by selecting as subjects for poetical compositions chiefly the extraordinary sides of life, its majestic moments. Its heroes were always choice, powerful natures, who suffered profoundly because of the lot of all mankind, and were capable of gigantic conflicts against the whole world. ”

“ And all of a sudden, everything has become instinct with life; forests, pools, and steppes. The magnificent thunder of the Ukraína nightingale becomes audible, and one fancies that the moon, in the midst of the sky, has paused to listen to it.... As though enchanted, the hamlet dreams upon the heights. The mass of the cottages gleams still whiter, still more agreeably under the light of the moon; still more dazzlingly do their lowly walls stand out against the darkness. The songs have ceased. Everything is still. Pious people are all asleep. ”

“ He is not the poet of any one class of society, of any one party or circle, but expresses in his poetry the thoughts of a whole cycle of his native land, the tears of all his contemporaries and fellow-countrymen. ”

“ Petersburg bureaucrats, Count Lyéff Nikoláevitch Tolstóy penetrated more profoundly into the depths of the spirit of the times than any other writer of the period in the matter of analysis and skepticism which characterized that school, and carried them to the extremes of pitiless logic and radicalness, approaching more closely than any other to democratic and national ideals. But notwithstanding all his genius, Count Tolstóy was not able to free himself to any great extent from his epoch, his environment, his contemporaries. ”

“ Among the writers who followed Grigoróvitch in his studies of peasant life, was Iván Sergyéevitch Turgéneff (1818-1883) , who may be said not only to have produced the most artistic pictures of that sphere ever written by a Russian, but to have summed up in his longer novels devoted to the higher classes, in a manner not to be surpassed, and in a language and style as polished and brilliant as a collection of precious stones—a whole obscure period of changes and unrest. ”

“ Thanks to his own genius (as well as to the atmosphere of the epoch in which he lived) , he solved for himself, quite independently of any foreign influence, the problem of bringing Russian literature down from the clouds to everyday real life. He realized that the world was no longer living in a sort of modern epic, as it had been during the French Revolution and the Napoleonic campaigns, and that literature must conform to the altered conditions. Naturally, in his new quest after truth, Gógol-Yanóvsky (to give him his full name) mingled romanticism and realism at first. ”

“ Nevertheless, a profound difference exists between Count Tolstóy and Dostoévsky. In the former we see an absence of conservatism and devotion to tradition. His attitude towards all doctrines is that of unconditional freedom of thought, and subjecting them to daring criticism, he chooses from among them only that which is in harmony with the inspirations of his own reason. He is a genuine individualist, to his very marrow. By the masses of the common people, he does not mean the Russian nation only, but all the toilers and producers of the earth, without regard to nationality ”

“ A passion for writing poetry was in the air in the '20's. But although he yielded to this and to the promptings of his genius, it was a long time before he was able to clothe his thoughts in tolerable form. An unhappy love had a powerful influence on the development of his poetical talent, and his versified efforts suddenly became fervent songs of love and hate, of melancholy, soulful cries of grief and woe, full of melodious expressions of the world about him. One of Byelínsky's friends, whose family lived near Vorónezh, made his acquaintance, read his poems and applauded much in them. ”

“ The difference between "The Brigadier" and "The Hobbledehoy" is so great that they must be read in the order of their production if the full value of the impression created by the earlier play is to be appreciated. "The Hobbledehoy" was wholly unlike anything which had been seen hitherto in Russian literature. Had the authorities permitted Von Vízin to print his collection of satires, he would have stood at the head of that branch of literature in that epoch; as it was, this fine comedy contains the fullest expression of his dissatisfaction at the established order of things in general. ”

“ The persons of the drama talk and act in defiance of him, so to speak, as they would talk and act in real life, and decided changes in their fate take place. But Ostróvsky accomplished far more than the creation of a Russian theater: he brought the stage to the highest pitch of ideal realism, and discarded all ancient traditions. The subjects of his plays are distinguished for their classic simplicity; life itself flows slowly across the stage, as though the author had demolished a wall and were exhibiting the actual life within the house. ”

“ Akúlka's mother came along, espied the splashed frock and spattered chemise on her daughter. "Where didst thou soil thyself, thou hussy?" "Malásha splashed me on purpose." Akálka's mother seized Malásha, and struck her on the nape of the neck. Malásha shrieked so that the whole street heard her. Malásha's mother came out. "What art thou beating my child for?" The neighbor began to rail. One word led to another, the women scolded each other. The peasant men ran forth, a big crowd assembled in the street. Everybody shouted, nobody listened to anybody else. ”

“ Her cold indifference galls him, and increases his love. He writes three letters, to which she does not reply. Then he forces himself into her boudoir and finds her reading one of his letters and weeping over it. She then confesses that she loves him still, but dismisses him with the assurance that she will remain true to her noble and loving husband. Tatyána is regarded as one of the finest, most vividly faithful portraits of the genuine Russian woman in all Russian literature; while Olga is considered fully her equal, as a type, and in popular sympathy ”

“ His plays, like life, break off short, after the climax, with some insignificant scene, generally between personages of secondary rank, and he tries to convince the audience that in life there are no beginnings, no endings; that there is no moment after which one would venture to place a full period. Moreover, they are "plays of life" rather than either "comedies" or "tragedies," as he chanced to label them; they are purely presentations of life. In their scope they include almost every phase of Russian life, except peasant and country life, which he had no chance to study. ”

“ There is hardly any other Russian writer over whose merits such heated discussions take place as over Nekrásoff, one party maintaining that he was a true poet, with genuine inspiration; the other, that he was as clever with his poetry in a business sense, as he was with financial operations, and that he possessed no feeling, inspiration, or poetry.27 The truth would seem to lie between these two extremes. Like all the other writers of his day—like writers in general—he was unconsciously impressed by the spirit of the time, and changed his subjects and treatment as it changed ”

“ In the work of Shevtchénko it is possible to follow the curious transformation from what may be called the collective-folk creative power, to the purely individual. His figures, subjects, and the quiet, heart-rending sadness of his poems are precisely the same as those to be met with in any Little Russian folk-ballad. The majority of his poems are not inventions, but are taken directly from popular legends and traditions, and the personality of the poet vanishes in a flood of purely popular poetry. ”

“ The authorities of the Lyceum were endeavoring to exterminate the spirit of Púshkin, who had died only the year before, and severely repressed all scribbling of poetry, which did not in the least prevent almost every boy in the school from trying his hand at it and dreaming of future fame. Thus incited, Saltykóff, from the moment of his entrance, earned the ill-will of the authorities by his passionate love of verse writing and reading, and when he graduated, in 1844, it was in the lower half of his class, and with one rank lower in the civil service than the upper half of the class. ”