He did for Russian music what his contemporary, Pushkin, did for Russian literature, each in his own department representing a national movement. Perhaps it is not too far-fetched a theory to trace this movement to the momentous date of 1812, when it fell to the lot of Russia to administer the first check in Napoleon's triumphant career. Ever since the reign of Peter the Great it had been the fashion to ape foreign habits, to speak foreign tongues, to import foreign music, to mimic foreign literature. But when a foreign invader, who had marched all-conquering through the rest of Europe, appeared in serious earnest at the very gates of Moscow, there was a rebound: slumbering patriotism awoke with a great shout, and, united by a common danger, all classes gathered together for the protection of their Tsar and their Kremlin. To have repulsed a Napoleon was a mighty deed, which could reveal to the Russians of what stuff they were made. It taught them to rely upon each other and be strong in themselves; and as the art of a nation is invariably the outcome of its history, so the rising generation of Russian thinkers looked inwards rather than abroad. Glinka, Pushkin, and their followers sought no foreign aid; they represent a Russian Renaissance. They were content, indeed, to abide by the forms universally adopted elsewhere, but the spirit of their art manifestation was Russian to its core. In literature, Pushkin and Gogol were never weary of delineating their compatriots in every grade of Sclavonic society, whilst Glinka took his musical inspirations from his native folk-songs and dance-rhythms--from the historic chronicles of his country or its legendary lore. In reality, the foreign influences and environment with which he came so continuously into contact served more and more to convince him that Russia in her turn had as great a mission in music as any other nation. For thirty years the idea was gradually gaining strength in his mind. "I want," he said to a friend, "to write an essentially national opera both as regards subject and music; something which no foreigner can possibly accuse of being borrowed, and which shall come home to my compatriots as a part of themselves."