Russian literature. A short introduction

transition from a view of the writer as metatextual ironist to an emphasis upon responsibility to society can clearly be seen in the case of Nikolay Gogol. Gogol’s story The Nose (1836) had poked fun at the idea of morally improving literature: the tale ended not with a moral, but with the narrator sputtering into silence as he tried to explain what meaning there could possibly be in an anecdote about Major Kovalyov’s lost nose reincarnated as a senior civil servant. But a decade later, Gogol had developed a very different notion of the writer’s vocation. In his notorious treatise, Selected Passages From Correspondence with Friends (1847), he claimed that Pushkin had been the only reader of Dead Souls to understand the high moral purpose of the novel, and asserted: ‘A writer’s duty is not only to provide pleasant amusement for the mind and the taste; he will pay dearly if his works do not disseminate something of use to the soul and if they convey no moral instruction to their readers.’ While a great many of Gogol’s opinions in Selected Passages were attacked by both radicals and conservatives (not many people were impressed by Gogol’s suggestion that the landowner should burn banknotes in front of his peasants in order to teach them indifference to money), his emphasis on the writer’s duty to convey ‘moral instruction’ was not challenged. Rather, the central point in criticism of Selected Passages, as voiced, for example, in a famous open letter written by Belinsky to Gogol in 1847, was that Gogol had betrayed the writer’s duty to be a moral instructor by imparting the wrong sort of message. Radicals and conservatives alike now valued literature on the grounds of its ideinost’, or confrontation of important topical issues.

To be sure, ideinost’ did not reign unchallenged after 1840. The conviction among politically committed critics that realist fiction, or indeed journalistic reportage, were superior to lyric poetry provoked the authors of verse into questioning utilitarian theories of literature. (A notable case in point was Apollon Grigoriev, a Moscow critic, author of ‘gypsy romances’, and vehement enemy of Belinsky, Nekrasov, and Dobrolyubov, as well as one of many Russian writers to have been a drinker on an epic scale.) In the late nineteenth century, the Russian