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10 10 PREFACE. In all primitive literature, the classical hero was the only one considered worthy of attention, representing in action all ideas on religions, mon- archical, social, and moral subjects, existing from time immemorial. In exaggerating the qualities of his hero, either for good or evil, the classic poet took for his model what he deemed should or should not be expected of him, rather than what such a character would be in reality.

For the last century, other views have gradu- ally prevailed. Observation, rather than imagina- tion, has been employed. The writer constantly gives us a close analysis of actions and feelings, rather than the diversion and excitement of intrigues and the display of passions. Classic art was like a king who has the right to govern, punish, reward, and choose his favorites from an aristocracy, obliging them to adopt conven- tional rules as to manners, morals, and modes of speech. The new art tries to imitate nature in its unconsciousness, its moral indifference. It ex- presses the triumph of the masses over the indi- vidual, of the crowd over the solitary hero, of the relative over the absolute. It has been called natural, realistic; would the word democratic suffice to define it, or not? It would be short- sighted in us not to perceive that political changes are only episodes in the great and uni- versal change which is taking place.

Man has undertaken to explain the Universe,