Part 10 (1/2)
November, 1888.
In the November number of the _Syeverny Vyestnik_ there is an article by the poet Merezhkovsky about your humble servant. It is a long article. I commend to your attention the end of it; it is characteristic. Merezhkovsky is still very young, a student--of science I believe. Those who have a.s.similated the wisdom of the scientific method and learned to think scientifically experience many alluring temptations. Archimedes wanted to turn the earth round, and the present day hot-heads want by science to conceive the inconceivable, to discover the physical laws of creative art, to detect the laws and the formulae which are instinctively felt by the artist and are followed by him in creating music, novels, pictures, etc.
Such formulae probably exist in nature. We know that A, B, C, do, re, mi, fa, sol, are found in nature, and so are curves, straight lines, circles, squares, green, blue, and red.... We know that in certain combinations all this produces a melody, or a poem or a picture, just as simple chemical substances in certain combinations produce a tree, or a stone, or the sea; but all we know is that the combination exists, while the law of it is hidden from us. Those who are masters of the scientific method feel in their souls that a piece of music and a tree have something in common, that both are built up in accordance with equally uniform and simple laws. Hence the question: What are these laws? And hence the temptation to work out a physiology of creative art (like Boborykin), or in the case of younger and more diffident writers, to base their arguments on nature and on the laws of nature (Merezhkovsky). There probably is such a thing as the physiology of creative art, but we must nip in the bud our dreams of discovering it.
If the critics take up a scientific att.i.tude no good will come of it: they will waste a dozen years, write a lot of rubbish, make the subject more obscure than ever--and nothing more. It is always a good thing to think scientifically, but the trouble is that scientific thinking about creative art will be bound to degenerate in the end into searching for the ”cells”
or the ”centres” which control the creative faculty. Some stolid German will discover these cells somewhere in the occipital lobes, another German will agree with him, a third will disagree, and a Russian will glance through the article about the cells and reel off an essay about it to the _Syeverny Vyestnik_. The _Vyestnik Evropi_ will criticize the essay, and for three years there will be in Russia an epidemic of nonsense which will give money and popularity to blockheads and do nothing but irritate intelligent people.
For those who are obsessed with the scientific method and to whom G.o.d has given the rare talent of thinking scientifically, there is to my mind only one way out--the philosophy of creative art. One might collect together all the best works of art that have been produced throughout the ages and, with the help of the scientific method, discover the common element in them which makes them like one another and conditions their value. That common element will be the law. There is a great deal that works which are called immortal have in common; if this common element were excluded from each of them, a work would lose its charm and its value. So that this universal something is necessary, and is _the conditio sine qua non_ of every work that claims to be immortal. It is of more use to young people to write critical articles than poetry. Merezhkovsky writes smoothly and youthfully, but at every page he loses heart, makes reservations and concessions, and this means that he is not clear upon the subject. He calls me a poet, he styles my stories ”novelli” and my heroes ”failures”--that is, he follows the beaten track. It is time to give up these ”failures,” superfluous people, etc., and to think of something original. Merezhkovsky calls my monk [Translator's Note: ”Easter Eve.”] who composes the songs of praise a failure. But how is he a failure? G.o.d grant us all a life like his: he believed in G.o.d, and he had enough to eat and he had the gift of composing poetry.... To divide men into the successful and the unsuccessful is to look at human nature from a narrow, preconceived point of view. Are you a success or not? Am I? Was Napoleon? Is your servant Va.s.sily? What is the criterion? One must be a G.o.d to be able to tell successes from failures without making a mistake.
MOSCOW, November 7, 1888.
... It is not the public that is to blame for our theatres being so wretched. The public is always and everywhere the same: intelligent and stupid, sympathetic and pitiless according to mood. It has always been a flock which needs good shepherds and dogs, and it has always gone in the direction in which the shepherds and the dogs drove it. You are indignant that it laughs at flat witticisms and applauds sounding phrases; but then the very same stupid public fills the house to hear ”Oth.e.l.lo,” and, listening to the opera ”Evgeny Onyegin,” weeps when Tatyana writes her letter.
... The water-carrier has stolen from somewhere a Siberian kitten with long white fur and black eyes, and brought it to us. This kitten takes people for mice: when it sees anyone it lies flat on its stomach, stalks one's feet and rushes at them. This morning as I was pacing up and down the room it several times stalked me, and _a la tigre_ pounced at my boots. I imagine the thought of being more terrible than anyone in the house affords it the greatest delight.
November 11, 1888.
I finished to-day the story [Footnote: ”A Nervous Breakdown.”] for the Gars.h.i.+n _sbornik_: it is such a load off my mind. In this story I have told my own opinion--which is of no interest to anyone--of such rare men as Gars.h.i.+n. I have run to almost 2,000 lines. I speak at length about prost.i.tution, but settle nothing. Why do they write nothing about prost.i.tution in your paper? It is the most fearful evil, you know. Our Sobolev street is a regular slave-market.
November 15, 1888.
My ”Party” has pleased the ladies. They sing my praises wherever I go. It really isn't bad to be a doctor and to understand what one is writing about. The ladies say the description of the confinement is _true_. In the story for the Gars.h.i.+n _sbornik_ I have described spiritual agony.
(No date), 1888.
... You say that writers are G.o.d's elect. I will not contradict you.
Shtcheglov calls me the Potyomkin of literature, and so it is not for me to speak of the th.o.r.n.y path, of disappointments, and so on. I do not know whether I have ever suffered more than shoemakers, mathematicians, or railway guards do; I do not know who speaks through my lips--G.o.d or someone worse. I will allow myself to mention only one little drawback which I have experienced and you probably know from experience also. It is this. You and I are fond of ordinary people; but other people are fond of us because they think we are not ordinary. Me, for instance, they invite everywhere and regale me with food and drink like a general at a wedding. My sister is indignant that people on all sides invite her simply because she is a writer's sister. No one wants to love the ordinary people in us. Hence it follows that if in the eyes of our friends we should appear to-morrow as ordinary mortals, they will leave off loving us, and will only pity us. And that is horrid. It is horrid, too, that they like the very things in us which we often dislike and despise in ourselves. It is horrid that I was right when I wrote the story ”The First-Cla.s.s Pa.s.senger,” in which an engineer and a professor talk about fame.
I am going away into the country. Hang them all! You have Feodosia. By the way, about Feodosia and the Tatars. The Tatars have been robbed of their land, but no one thinks of their welfare. There ought to be Tatar schools.
Write and suggest that the money which is being spent on the sausage Dorpat University, where useless Germans are studying, should be devoted to schools for Tatars, who are of use to Russia. I would write about it myself, but I don't know how to.
December 23, 1888.
... There are moments when I completely lose heart. For whom and for what do I write? For the public? But I don't see it, and believe in it less than I do in spooks: it is uneducated, badly brought up, and its best elements are unfair and insincere to us. I cannot make out whether this public wants me or not. Burenin says that it does not, and that I waste my time on trifles; the Academy has given me a prize. The devil himself could not make head or tail of it. Write for the sake of money? But I never have any money, and not being used to having it I am almost indifferent to it. For the sake of money I work apathetically. Write for the sake of praise? But praise merely irritates me. Literary society, students, Pleshtcheyev, young ladies, etc., were enthusiastic in their praises of my ”Nervous Breakdown,”