The Mantle, and Other Stories. Nikolai Vasilevich Gogol

As a novel-writer and a dramatist, Gogol appears to me to deserve a minute study, and if the knowledge of Russian were more widely spread, he could not fail to obtain in Europe a reputation equal to that of the best English humorists.

A delicate and close observer, quick to detect the absurd, bold in exposing, but inclined to push his fun too far, Gogol is in the first place a very lively satirist. He is merciless towards fools and rascals, but he has only one weapon at his disposal—irony. This is a weapon which is too severe to use against the merely absurd, and on the other hand it is not sharp enough for the punishment of crime; and it is against crime that Gogol too often uses it. His comic vein is always too near the farcical, and his mirth is hardly contagious. If sometimes he makes his reader laugh, he still leaves in his mind a feeling of bitterness and indignation; his satires do not avenge society, they only make it angry.

As a painter of manners, Gogol excels in familiar scenes. He is akin to Teniers and Callot. We feel as though we had seen and lived with his characters, for he shows us their eccentricities, their nervous habits, their slightest gestures. One lisps, another mispronounces his words, and a third hisses because he has lost a front tooth. Unfortunately Gogol is so absorbed in this minute study of details that he too often forgets to subordinate them to the main action of the story. To tell the truth, there is no ordered plan in his works, and—a strange trait in an author who sets up as a realist—he takes no care to preserve an atmosphere of probability. His most carefully painted scenes are clumsily connected—they begin and end abruptly; often the author's great carelessness in construction destroys, as though wantonly, the illusion produced by the truth of his descriptions and the naturalness of his conversations.

The immortal master of this school of desultory but ingenious and attractive story-tellers, among whom Gogol is entitled to a high place, is Rabelais, who cannot be too much admired and studied, but to imitate whom nowadays would, I think, be dangerous and difficult. In spite of the indefinable grace of his obsolete language, one can hardly read twenty pages of Rabelais in succession. One soon wearies of this eloquence, so original and so eloquent, but the drift of which escapes every reader except some Œdipuses like Le Duchat or Éloi Johanneau. Just as the observation of animalculæ under the microscope fatigues the eye, so does the perusal of these brilliant pages tire the mind. Possibly not a word of them is superfluous, but possibly also they might be entirely eliminated from the work of which they form part, without sensibly detracting from its merit. The art of choosing among the innumerable details which nature offers us is, after all, much more difficult than that of observing them with attention and recording them with exactitude.

The Russian language, which is, as far as I can judge, the richest of all the European family, seems admirably adapted to express the most delicate shades of thought. Possessed of a marvellous conciseness and clearness, it can with a single word call up several ideas, to express which in another tongue whole phrases would be necessary. French, assisted by Greek and Latin, calling to its aid all its northern and southern dialects—the language of Rabelais, in fact, is the only one which can convey any idea of this suppleness and this energy. One can imagine that such an admirable instrument may exercise a considerable influence on the mind of a writer who is capable of handling it. He naturally takes delight in the picturesqueness of its expressions, just as a draughtsman with skill and a good pencil will trace delicate contours. An excellent gift, no doubt, but there are few things which have not their disadvantages. Elaborate execution is a considerable merit if it is reserved for the chief parts of a work; but if it is uniformly lavished on all the accessory parts also, the whole produces, I fear, a monotonous effect.

I have said that satire is, in my opinion, the special characteristic of Gogol's talent: he does not see men or things in a bright light. That does not mean that he is an unfaithful observer, but his descriptions betray a certain preference for the ugly and the sad elements in life. Doubtless these two disagreeable elements are only too easily found, and it is precisely for that reason that they should not be investigated with insatiable curiosity. We would form a terrible idea of Russia—of “Holy Russia,” as her children call her—if we only judged her by the pictures which Gogol draws. His characters are almost entirely confined to idiots, or scoundrels who deserve to be hung. It is a well-known defect of satirists to see everywhere the game which they are hunting, and they should not be taken too literally. Aristophanes vainly employed his brilliant genius in blackening his contemporaries; he cannot prevent us loving the Athens of Pericles.

Gogol generally goes to the country districts for his characters, imitating in this respect Balzac, whose writings have undoubtedly influenced him. The modern facility of communication in Europe has brought about, among the higher classes of all countries and the inhabitants of the great cities, a conventional uniformity of manners and customs, e.g. the dress-coat and round hat. It is among the middle classes remote from great towns that we must look to-day for national characteristics and for original characters. In the country, people still maintain primitive habits and prejudices—things which

Скачать книгу