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Petr Kropotkin-Ideals and Realities in Russian Literature

Petr Kropotkin-Ideals and Realities in Russian Literature

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01/15/2013

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Pëtr Kropotkin 
Ideals and Realities inRussian Literature
1915
The Anarchist Library
 
Contents
1 The Russian Language. . . . . . . . . . . . . . . . . . . . . . . . 3
The Russian Language. . . . . . . . . . . . . . . . . . . . . . . . 3Early Folk-Literature: Folk-lore — Songs — Sagas. . . . . . . . 5Lay of Igor’s Raid. . . . . . . . . . . . . . . . . . . . . . . . . . 8The Annals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Mediæval Literature. . . . . . . . . . . . . . . . . . . . . . . . . 10Correspondence between John IV. and Kúrbiskíy. . . . . . . . . 12Split in the Church — Memoirs of Avvakúm. . . . . . . . . . . . 13The Eighteenth Century — Peter I. and his contemporaries. . . 14The Times of Catherine II.. . . . . . . . . . . . . . . . . . . . . 17The Freemasons: First Manifestation of Political Thought. . . . 18The First Years of the Nineteenth Century. . . . . . . . . . . . . 20The Decembrists. . . . . . . . . . . . . . . . . . . . . . . . . . . 22
2 Púshkin — Lérmontoff . . . . . . . . . . . . . . . . . . . . . . . . 25
Púshkin: Beauty of form. . . . . . . . . . . . . . . . . . . . . . . 25Púshkin and Schiller. . . . . . . . . . . . . . . . . . . . . . . . . 26His youth; his exile; his later career and death. . . . . . . . . . . 26Fairy tales:
. . . . . . . . . . . . . . . . . . 27His Lyrics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29“Byronism”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Drama. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
. . . . . . . . . . . . . . . . . . . . . . . . . . 30Lérmontoff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33His Life. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33The Caucasus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Poetry of Nature. . . . . . . . . . . . . . . . . . . . . . . . . . . 34Influence of Shelley. . . . . . . . . . . . . . . . . . . . . . . . . . 35
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36Love of freedom. . . . . . . . . . . . . . . . . . . . . . . . . . . . 37His Death. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Púshkin and Lérmontoff as Prose-Writers. . . . . . . . . . . . . 38Other poets and novelists of the same epoch. . . . . . . . . . . . 39Krylóff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39The minor poets. . . . . . . . . . . . . . . . . . . . . . . . . . . 40
3 gol. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Little Russia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432
 
. . . . . . . . . . . 43Village life and humour. . . . . . . . . . . . . . . . . . . . . . . 43
. . . . . . . 44
. . . . . . . . . . . . . . . . . . . . . . 45
. . . . . . . . . . . . . . . . . . . . . . . . 47Its influence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Realism in the Russian novel. . . . . . . . . . . . . . . . . . . . 56
4 Turguéneff — Tolstóy. . . . . . . . . . . . . . . . . . . . . . . . 57
Turguéneff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57The main features of his Art. . . . . . . . . . . . . . . . . . . . 57Pessimism of his early novels. . . . . . . . . . . . . . . . . . . . 60
. . . . . . . . . . . . . . . . . . . . . . . 60His series of novels representing the leading types of Russian society61
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62Lavrétskiy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Helen and Insároff . . . . . . . . . . . . . . . . . . . . . . . . . . 65Why
was misunderstood. . . . . . . . . . . . . 66Bazároff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
. . . . . . . . . . . . . . . . . . . . . . 68
: movement towards the people. . . . . . . . . . . . . 70Verses in Prose. . . . . . . . . . . . . . . . . . . . . . . . . . . . 71Tolstóy — Childhood and Boyhood. . . . . . . . . . . . . . . . . 71During and After the Crimean War. . . . . . . . . . . . . . . . . 72
, in search of an ideal. . . . . . . . . . . . . . . . . . . . . 74Small stories
. . . . . . . . . . . . . . . . . . . . 76Educational work. . . . . . . . . . . . . . . . . . . . . . . . . . . 77
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
. . . . . . . . . . . . . . . . . . . . . . . . . . . 81Religious crisis. . . . . . . . . . . . . . . . . . . . . . . . . . . . 83His interpretation of the Christian teaching. . . . . . . . . . . . 89Main points of the Christian ethics. . . . . . . . . . . . . . . . . 91Latest works of Art. . . . . . . . . . . . . . . . . . . . . . . . . . 93
. . . . . . . . . . . . . . . . . . . . . . . . . . . 94
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Goncharóff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97The Russian Malady of Oblómovism — Is it exclusively Russian?102
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102Dostoyévskiy — His first Novel. . . . . . . . . . . . . . . . . . . 103General Character of his Work. . . . . . . . . . . . . . . . . . . 104
. . . . . . . . . . . . . . . . . . . . 105
. . . . . . . . . . . . . . . . . . . . . 105
. . . . . . . . . . . . . . . . . . . . . . . 105
. . . . . . . . . . . . . . . . . . . . . . 107Nekrásoff — Discussions about his Talent. . . . . . . . . . . . . 108His Love of the People. . . . . . . . . . . . . . . . . . . . . . . . 1093

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