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RUSSIA ing the origin and the historical problems of the primitive national chronicles of Russia. In 1728 the Academy of Sciences began the publication of the "S. Petersburgskija Viedomosti", under the direction of the academician Muller, who in 1755 also founded the first scientific-literary periodical, called the "Ezhemiesatchny j a sotchinenia".

LITERATURE OF RUSSIA IN THE EIGHTEENTH CENTURY.—During the reign of Catherine II French influence upon Russian literature became greater instead of decreasing. The writings of the French Encyclopedists and materialist philosophy became popular; Voltaire and Rousseau were much esteemed, and Catherine II became entirely imbued with a Voltairean spirit. She did not limit herself to favoring scientific institutions, and to creating new ones, but aspired to literary laurels. She wrote spelling-books, stories for children, letters on education, comedies, newspaper articles, and several volumes of memoirs in French, in which, with a cynical simplicity of style, she relates some of the ugliest episodes of her unchaste life. During her reign many literary publications were established. The empress herself did not disdain to contribute to the "Vsiakaja vsiatchina" (General Miscellany). Dionysius Ivanovitch Fonvizin (1744-92) wrote comedies which, like the "Brigadier", and the "Nedorosl" (Pupil), became popular in Russia. Gabriel Romanovitch Derzhavin (1743-1816), of Tatar origin, assimilated the classical and modern literatures, and as a lyric poet sought to rise to the height of Horace and Pindar. His encomiastic odes are an apotheosis of the reign of Catherine II. In his religious songs, with his "Ode to God" (1784), which the Russians regard as the most beautiful monument of their national poetry, he perhaps attains sublimity of inspiration. His moral and philosophical odes and his Anacreontic verses reveal in him a great poetical genius. His tragedies "Pozharski", "Tiemnji" and "Euprassia" do not join dramatic quality to their elegance of form. Mikhail Matveievitch Kheraskoff, of Wallachian origin, by his poems "Rossiada" and "Vladimir", which have been forgotten, deserves the title of the Virgil or the Homer of Russia. Ippolit Feodorovitch Bogdanovitch (1743-1803), in his poem "Dushenka", imitated La Fontaine's "Amours de Psyche et de Cupidon". Basil Ivanovitch Maikoff (1728-78) distinguished himself as a writer of comic poetry; Kniazhnin (1742-91) wrote tragedies and comedies; "Iabeda" (The Calumny), a comedy by Kapnist (1757-1828), was also among the plays that became popular.

The scientific movement was greatly promoted by the Academy of Sciences of St. Petersburg, by the University of Moscow, and by the Russian Academy, which was opened in 1783. Among those who distinguished themselves in historical work or in the study of the social and political conditions of Russia were Shsherbatoff (1733-90), who wrote six volumes of a "History of Russia"; Boltin (1735-92), whose learned volumes of "Observations on the History of Russia", edited by Leclerc, were much praised by Soloveff; Radishsheff (1749-1802), whose "Journey from St. Petersburg to Moscow", describing the miseries of the peasants and the abuses of the Russian bureaucracy cost its author an exile of ten years in Siberia. The archpriest of Moscow, Alekseieff, wrote the first ecclesiastical encyclopedia, while the Bishop Damascenus Rudneeff, who died in 1795, published his "Russian Library", which contains an account of Russian literature, from its origin to the eighteenth century. Tchulkoff and Mikhail Popoff collected the monuments of the popular literature of their country.

LITERATURE OF RUSSIA IN THE NINETEENTH CENTURY.—In the nineteenth century, Russian literature freed itself little by little from the yoke of foreign imitation, perfected the language, making it a most adequate means for the expression of the highest conceptions of the mind and the most delicate affections of the heart, and through a number of men of genius, won a place of honor is the history of universal literature. The merit of this transformation, of this new direction of Russian thought, is in great measure due to Nikolai Mikhailovitch Karamzin (1766-1826), who acquired a great fame in his country through his letters on travels that he made in Europe, his novels, and the part that he took in the establishment of the periodicals "Moskovski Zhurnal" and the "Viestnik Europy" (Courier of Europe). But his greatest claim to glory is the "Istorija gosudarstva rossiiskago" (History of the Russian Empire), a masterpiece of style, exposition, and eloquence, which contributed more than anything else to the formation of Russian prose. Historical criticism may find more to say of this work, but the literary merit of it will never be eclipsed. The work formed a literary school, to which belong Ivan Ivanovitch Dmitrieff (1760-1837), an exponent of elegance in poetry, author of poetical stories, satires, and fables; and Izmailoff, who became famous through his "Journey in Southern Russia" etc. In the realm of dramatic poetry, there became famous Ozeroff, by his tragedy "Oedipus in Athens" (1804); "Fingal" (1805); "Dmitri Donskoi" (1807), and "Polissena" (1809); the most noted satirists were Gortchakoff and Nakhimoff. But the greatest poetical glory of this period was Vassili Andreievitch Zhukovski (1783-1852), the master of romanticism in Russia, author of the Russian national hymn "Bozhe, carja Khrani", and an indefatigable translator of Homer, Schiller, Goethe, Bürger, Uhland, Rukkert, Byron, and Scott. His elegies are full of passion and sentiment; his ballads, imitations of the German, became popular; they reveal in him a vivid poetical imagination.

Ivan Andreievitch Kryloff (1768-1844) owes his celebrity rather to his comedies than to his fables, which, it is true, are imitations of La Fontaine, but are written with so much simplicity, elegance, and richness of style, with such variety of rhythm and expression, that they form a veritable literary jewel, the value of which can be appreciated only by those who have a thorough knowledge of Russian. His comedies, "Modnaja lavka" (The Custom Shop) and "Urok dotchkam" (A Lesson to Girls), are of less literary merit. As a writer of comedy, Alexander Sergeievitch Griboiedoff (1790-1829) rose to the pinnacle of the art in a play that is the masterpiece of Russian theatrical composition, "Gore ot uma" (The Misfortune of Having Talent), a work which is full of pessimism on the social conditions of Russia and civilization generally; many of its verses have become proverbs.

The epoch of Nicholas I, which was one of fierce absolutism, was nevertheless one of glory in the development of Russian literature. Russian genius being oppressed, withdrew within itself, and revealed to the world the treasures of the aesthetic sentiments of the Russian soul. Among the greatest poets of this period there stands pre-eminent Alexander Pushkin (1799-1837), whose career was brought to an end in a duel, when his genius was at its height. Melchior Vogue rightly considers him one of the greatest poets that ever lived. He began his literary career at the age of fifteen, when he was a student in the lyceum of Tsarskoye Selo. His first lyric poems bear the date of 1814, and are a revelation of his genius. He adopted Byron and Zhukovski for his models. Among those lyric poems his invective against the calumniators of Russia ("K klevetnikam Rossii"), written in 1831, is famous. Of his epic works we may cite the famous "Rusalka, the Prisoner of the Caucasus" ("Kavkazski pliennik") in 1821;