Russian literatureKropotkin, Petr Alekseevich, kniaz
History
Russian literature
Kropotkin, Petr Alekseevich, kniaz
Russian literature -- 19th century -- History and criticism
Finally, in the early eighties, when the terrible struggle of the
terrorists against autocracy was over, and with the advent of Alexander
III. reaction was triumphant, the satires of Schedrin became a cry of
despair. At times the satirist becomes great in his sad irony, and his
_Letters to my Aunt_ will live, not only as an historical but also as a
deeply human document.
It is also worthy of note that Saltykóff had a real talent for writing
tales. Some of them, especially those which dealt with children under
serfdom, were of great beauty.
LITERARY CRITICISM
The main channel through which political thought found its expression
in Russia during the last fifty years was literary criticism, which
consequently has reached with us a development and an importance
that it has in no other country. The real soul of a Russian monthly
review is its art-critic. His article is a much greater event than the
novel of a favourite writer which may appear in the same number. The
critic of a leading review is the intellectual leader of the younger
generation; and it so happened that throughout the last half-century
we have had in Russia a succession of art-critics who have exercised
upon the intellectual aspects of their own times a far greater, and
especially a far more wide-spread influence than any novelist or
any writer in any other domain. It is so generally true that the
intellectual aspect of a given epoch can be best characterised by
naming the art-critic of the time who exercised the main influence.
It was Byelínskiy in the thirties or forties, Tchernyshévskiy and
Dobrolúboff in the fifties and the early sixties, and Písareff in
the later sixties and seventies, who were respectively the rulers of
thoughts in their generation of educated youth. It was only later
on, when real political agitation began--taking at once two or three
different directions, even in the advanced camp--that Mihailóvskiy, the
leading critic from the eighties until the present time, stood not for
the whole movement but more or less for one of its directions.
Public-domain text, read in full here on John Shaqi.
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