Daily life and social customs

The 19th century

The first quarter of the 19th century was dominated by Romantic poetry. Vasily Zhukovsky’s 1802 translation of Thomas Gray’s “An Elegy Written in a Country Church Yard” ushered in a vogue for the personal, elegiac mode that was soon amplified in the work of Konstantin Batyushkov, Prince Pyotr Vyazemsky, and the young Aleksandr Pushkin. Although there was a call for civic-oriented poetry in the late 1810s and early ’20s, most of the strongest poets followed Zhukovsky’s lyrical path. However, in the 1820s the mature Pushkin went his own way, producing a series of masterpieces that laid the foundation for his eventual recognition as Russia’s national poet (the equivalent of William Shakespeare for English readers or Dante for Italians). Pushkin’s works include the Byronic long poems The Prisoner of the Caucasus (1820–21) and The Gypsies (1824), the novel in verse Yevgeny Onegin (published 1833), and the Shakespearean tragedy Boris Godunov (1831), as well as exquisite lyrical verse. Pushkin’s poetry is remarkable for its classical balance, brilliant and frequently witty use of the Russian literary language, and philosophical content.

During the 1830s a gradual decline in poetry and a rise of prose took place, a shift that coincided with a change in literary institutions. The aristocratic salon, which had been the seedbed for Russian literature, was gradually supplanted by the monthly “thick journals,” the editors and critics of which became Russia’s tastemakers. The turn to prose was signaled in the work of Pushkin, whose Tales of the Late Ivan Petrovich Belkin (1831), The Queen of Spades (1834), and The Captain’s Daughter (1836) all appeared before his death in 1837. Also in the 1830s the first publications appeared by Nikolay Gogol, a comic writer of Ukrainian origin, whose grotesquely hilarious oeuvre includes the story The Nose, the play The Government Inspector (both 1836), and the epic novel Dead Souls (1842). Although Gogol was then known primarily as a satirist, he is now appreciated as a verbal magician whose works seem akin to the absurdists of the 20th century. One final burst of poetic energy appeared in the late 1830s in the verse of Mikhail Lermontov, who also wrote A Hero of Our Time (1840), the first Russian psychological novel.

In the 1840s the axis of Russian literature shifted decisively from the personal and Romantic to the civic and realistic, a shift presided over by the great Russian literary critic Vissarion Belinsky. Belinsky desired a literature primarily concerned with current social problems, although he never expected it to give up the aesthetic function entirely. By the end of the 1840s, Belinsky’s ideas had triumphed. Early works of Russian realism include Ivan Goncharov’s antiromantic novel A Common Story (1847) and Fyodor Dostoyevsky’s Poor Folk (1846).

From the 1840s until the turn of the 20th century, the realist novel dominated Russian literature, though it was by no means a monolithic movement. In the early period the favoured method was the “physiological sketch,” which often depicted a typical member of the downtrodden classes; quintessential examples are found in Ivan Turgenev’s 1852 collection A Sportsman’s Sketches. In these beautifully crafted stories, Turgenev describes the life of Russian serfs as seen through the eyes of a Turgenev-like narrator; indeed, his powerful artistic depiction was credited with convincing Tsar Alexander II of the need to emancipate the serfs. Turgenev followed Sketches with a series of novels, each of which was felt by contemporaries to have captured the essence of Russian society. The most celebrated is Fathers and Sons (1862), in which generational and class conflict in the period of Alexander II’s reforms is described through the interactions of the Kirsanov family (father, son, and uncle) with the young “nihilist” Bazarov.

The two other great realists of the 19th century were Dostoyevsky and Leo Tolstoy. Dostoyevsky, who was arrested in 1849 for his involvement in a socialist reading group, reentered the literary scene in the late 1850s. He experienced a religious conversion during his imprisonment, and his novels of the 1860s and ’70s are suffused with messianic Orthodox ideas. His major novels—Crime and Punishment (1866), The Idiot (1868–69), The Possessed (1872), and The Brothers Karamazov (1879–80)—are filled with riveting, often unstable characters and dramatic scenes. While Dostoyevsky delves into the psychology of men and women at the edge, Tolstoy’s novels treat the everyday existence of average people. In both War and Peace (1865–69) and Anna Karenina (1875–77), Tolstoy draws beautifully nuanced portraits filled with deep psychological and sociological insight.

By the early 1880s the hegemony of the realist novel was waning, though what would replace it was unclear. Russian poetry, notwithstanding the civic verse of Nikolay Nekrasov and the subtle lyrics of Afanasy Fet, had not played a central role in the literary process since the 1830s, and drama, despite the able work of Aleksandr Ostrovsky, was a marginal literary activity for most writers. The only major prose writer to appear in the 1880s and ’90s was Anton Chekhov, whose specialty was the short story. In his greatest stories—including The Man in a Case (1898), The Lady with a Lapdog (1899), The Darling (1899), and In the Ravine (1900)—Chekhov manages to attain all the power of his great predecessors in a remarkably compact form. Toward the end of his career, Chekhov also became known for his dramatic work, including such pillars of the world theatrical repertoire as Uncle Vanya (1897) and The Cherry Orchard (first performed 1904). Chekhov’s heirs in the area of short fiction were Maxim Gorky (later the dean of Soviet letters), who began his career by writing sympathetic portraits of various social outcasts, and the aristocrat Ivan Bunin, who emigrated after the Russian Revolution of 1917 and received the Nobel Prize for Literature in 1933.

The 20th century

The beginning of the 20th century brought with it a new renaissance in Russian poetry and drama, a “Silver Age” that rivaled, and in some respects surpassed, the Pushkinian “Golden Age.” The civic orientation that had dominated Russian literature since the 1840s was, for the moment, abandoned. The avant-garde’s new cry was “art for art’s sake,” and the new idols were the French Symbolists. The first, “decadent” generation of Russian Symbolists included the poets Valery Bryusov, Konstantin Balmont, and Zinaida Gippius. The second, more mystically and apocalyptically oriented generation included Aleksandr Blok (perhaps the most talented lyric poet Russia ever produced), the poet and theoretician Vyacheslav Ivanov, and the poet and prose writer Andrey Bely. The Symbolists dominated the literary scene until 1910, when internal dissension led to the movement’s collapse.

The period just before and immediately following the Russian Revolution of 1917 was marked by the work of six spectacularly talented, difficult poets. Anna Akhmatova’s brief, finely chiseled lyrics brought her fame at the outset of her career, but later in life she produced such longer works as Requiem, written from 1935 to 1940 but published in Russia only in 1989, her memorial to the victims of Joseph Stalin’s purges (particularly her son, who was imprisoned in 1937). The Futurists Velimir Khlebnikov and Vladimir Mayakovsky engaged in innovative experiments to free poetic discourse from the fetters of tradition. Marina Tsvetayeva, another great poetic experimenter, produced much of her major work outside the country but returned to the Soviet Union in 1939, only to commit suicide there two years later. Boris Pasternak, who won the Nobel Prize for Literature in 1958, produced lyrics of great depth and power in this period, and Osip Mandelshtam created some of the most beautiful and haunting lyric poems in the Russian language.

Many of the writers who began to publish immediately after the 1917 revolution turned to prose, particularly the short story and the novella. Those who had been inspired by the recent revolution and the subsequent Russian Civil War (1918–20) included Boris Pilnyak (The Naked Year [1922]), Isaak Babel (Red Cavalry [1926]), and Mikhail Sholokhov, who was awarded the Nobel Prize for Literature in 1965. Others described life in the new Soviet Union with varying degrees of mordant sarcasm; the short stories of Mikhail Zoshchenko, the comic novels of Ilya Ilf and Yevgeny Petrov, and the short novel Envy (1927) by Yury Olesha fall into this category. Writing in Russian also flourished in communities of anticommunist exiles in Germany, France, Italy, and the United States, as represented by writers as various as the novelists Vladimir Nabokov and Yevgeny Zamyatin and the theologian-philosophers Vladimir Nikolayevich Lossky, Sergey Bulgakov, and Nikolay Berdyayev.

In the first decade after the revolution, there were also advances in literary theory and criticism, which changed methods of literary study throughout the world. Members of the Moscow Linguistic Circle and of OPOYAZ (Obshchestvo Izucheniya Poeticheskogo Yazyka; Society for the Study of Poetic Language) in Petrograd (now St. Petersburg) combined to create Formalist literary criticism (see Formalism), a movement that concentrated on analyzing the internal structure of literary texts. At the same time, Mikhail Bakhtin began to develop a sophisticated criticism concerned with ethical problems and ways of representing them, especially in the novel, his favourite genre.

By the late 1920s the period of Soviet experimentation had ended. Censorship became much stricter, and many of the best writers were silenced. During the late 1920s and the ’30s, there appeared what became known as the classics of Socialist Realism, a literary method that in 1934 was declared to be the only acceptable one for Soviet writers. Only a few of these works produced in this style—notably Fyodor Gladkov’s Cement (1925), Nikolay Ostrovsky’s How the Steel Was Tempered (1932–34), and Valentin Katayev’s Time, Forward! (1932)—have retained some literary interest. The real masterpieces of this period, however, did not fit the canons of Socialist Realism and were not published until many years later. They include Mikhail Bulgakov’s grotesquely funny The Master and Margarita (1966–67) and Andrey Platonov’s dark pictures of rural and semiurban Russia, The Foundation Pit (1973) and Chevengur (1972).

With Stalin’s death in 1953 and the subsequent “thaw,” new writers and trends appeared in the 1950s and early ’60s. Vibrant young poets such as Joseph Brodsky, Yevgeny Yevtushenko, and Andrey Voznesensky exerted a significant influence, and Aleksandr Solzhenitsyn emerged from the Soviet prison-camp system (Gulag) and shocked the country and the world with details of his brutal experiences as depicted in One Day in the Life of Ivan Denisovich (1962). “Youth” prose on the model of American writer J.D. Salinger’s fiction appeared as well, particularly in the work of Vasily Aksyonov and Vladimir Voynovich. By the late 1960s, however, most of these writers had again been silenced. Solzhenitsyn—who was charged with treason shortly after the publication of the first volume of The Gulag Archipelago in 1973—and Brodsky, Aksyonov, and Voynovich had all been forced into exile by 1980, and the best writing was again unpublishable.

Practically the only decent writing published from the late 1960s through the early 1980s came from the “village prose” writers, who treated the clash of rural traditions with modern life in a realistic idiom. The most notable members of this group were the novelist Valentin Rasputin and the short-story writer Vasily Shukshin. The morally complex fiction of Yury Trifonov, staged in an urban setting (e.g., The House on the Embankment [1976]), stands somewhat apart from the works of Rasputin and Shukshin that praise Russian rural simplicity. Nevertheless, as in the 1930s and ’40s, the most important literature of this period was first published outside the Soviet Union. Notable writers included Varlam Shalamov, whose exquisitely artistic stories chronicled the horrors of the prison camps; Andrey Sinyavsky, whose complex novel Goodnight! appeared in Europe in 1984, long after he had been forced to leave the Soviet Union; and Venedikt Yerofeyev, whose grotesque latter-day picaresque Moscow-Petushki—published in a clandestine (samizdat) edition in 1968—is a minor classic.

Some of the best work published in the 1980s was in poetry, including the work of conceptualists such as Dmitry Prigov and the meta-metaphoric poetry of Aleksey Parshchikov, Olga Sedakova, Ilya Kutik, and others. The turbulent 1990s were a difficult period for most Russian writers and poets. The publishing industry, adversely affected by the economic downturn, struggled to regain its footing in the conditions of a market economy. Nonetheless, private foundations began awarding annual literary prizes, such as the Russian Booker Prize and the Little Booker Prize. The so-called Anti-Booker Prize—its name, a protest against the British origins of the Booker Prize, was selected to emphasize that it was a Russian award for Russian writers—was first presented in 1995 by the Nezavisimaya Gazeta. Tatyana Tolstaya began to occupy a prominent role following the publication of her novel The Slynx (2000), a satire about a disastrous hypothetical future for Moscow. Some critics considered the decade the “twilight period in Russian literature,” because of the departure from traditional psychological novels about contemporary life in favour of detective novels. Indeed, such novels were among the best-selling fiction of the period, particularly the work of Boris Akunin, whose Koronatsiia (“Coronation”) won the Anti-Booker Prize in 2000. (For further discussion, see Russian literature.)