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“We cannot imagine anything more foolish than this nonsense. Such is the way the
new French authors write. I assure readers that my new translation is as faithful as
any in the world”[20].
Foreign works in Russian translation were also reviewed. Karamzin was particu-
larly enthusiastic about Nikolayi Strakhov’s translation of Barthelemy’s Voyage du
jeune Anacharsis, which he considered one of the most outstanding works of the
18th Century[21], and he praised the “zealous patriotism” of A. Storkh, whose his-
torical survey of Russian trade was being translated from German[22]. The third
such review – of a translation of Etienne Francois de Lantier’s Voyages d’ Antenor
(Antenorovy puteshestviya po Gretsii i Azii, Moscow 1802), is particularly inter-
esting for its similarity to Karamzin’s reviews of translated works in the Moscow
Journal; it is even introduced under the heading “Criticism” and reveals his old
techniques at every turn. An examination of the book’s contents is followed by
close attention to the quality of the translation. Nevertheless, aware that a review
of this nature contradicted his new position, Karamzin was at pains to minimize
the effect of his criticism:
“But isn’t such criticism carping? We are not to blame if we find here no very
important mistakes; and thus discovering from our unsuccessful attempt at criti-
cism that the translator has taken measures to ensure against criticism, we close
the Russian Antenor”[23].
These reviews apart, the main criticism in the Messenger is contained in two major
articles, one by Dmitriyev and the other by Karamzin. Dmitriyev’s On Russian
Comedies (O russkikh komediyakh) is the only dramatic criticism in the journal:
it advances a concept of genteel comedy in opposition to coarse naturalism and
attacks the vogue for vulgar farce and comedy[24]. Karamzin’s article is devoted to
the life and work of Ippolit Bogdanovich, whose death in 1802 occasioned a flood
of inept epitaphs in the Messenger[25]. On Bogdanovich and his Works (O
Bogdanoviche i yego sochineniyakh) is a notable milestone in the history of
Russian literary criticism. Karamzin attempted to trace Bogdanovich’s develop-
ment as an author, to analyse his main work Dushen’ka, and to compare it with La
Fontaine’s Les Amours de Psyche et de Cupidon, which was its model. Uniting an
exposition of certain systematic theories on the nature and obligations of art, a
wide knowledge of his subject, and an ability to write in a lucid and engaging style,
Karamzin was obviously at the same time serving his basic thesis in the Messenger
– applaud, rather than condemn, things Russian – and thereby modifying his true
assessment of Bogdanovich’s worth. As late as 1800 Gavriil Kamenev heard
Karamzin criticising Bogdanovich’s work, particularly certain lines from his trans-
lation of Voltaire’s poem on the Lisbon earthquake[26], although by 1803 he could
write: “Bogdanovich translated [the poem] so successfully that many lines match
the beauty and strength of the French.[27]” In addition, Karamzin tended to re-
create Bogdanovich in his own sentimentalist image and basic facts from
Bogdanovich’s biography serve as a starting point for an exposition of Karamzin’s
views on the joys of artistic creation, on the requirements for a peaceful life, or
even on the undesirability of stern criticism[28]. On the other hand, Karamzin’s
comparison of the relative values of prose and verse on the basis of concrete exam-
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herald of europe • September 2004
ples and his assessment of Bogdanovich’s contribution to Russian literature are
objective and valuable.
II.
Karamzin’s desire to review Russian literature more indulgently than he had done
in the 1790s and to relate its development to post-Petrine Russia’s advance towards
enlightenment was already evident in the “Pantheon of Russian Authors” (Panteon
rossiyskikh avtorov, 1801-2) which, although conceived in Paul’s reign, is pre-emi-
nently in the spirit of Alexander’s. Karamzin in fact reviewed his “Pantheon” in the
Messenger and printed in full his notes on Prokopovich, Trediakovsky and
Lomonosov. These are prefaced by his attempt at a periodization of 18th Century
Russian literature:
Feofan and Kantemir comprise this first epoch: this is followed by Lomonosov and
Sumarokov; the third must be termed the reign of Catherine the Great, already
rich in the number of authors; and we are still awaiting the fourth[29].
Karamzin was engaged not only in formulating an apology for earlier Russian lit-
erature but in directing Russia’s immediate literary development. The fourth peri-
od was to be the reign of Alexander, which he had described in his programme for
the Messenger as a time when the sciences and arts by their rapid progress prom-
ise even greater successes; when talents, in free peace and ease, can devote them-
selves to all subjects which are useful and dear to the soul; when in the present
intellectual climate, literature should have a greater influence than ever before on
morality and happiness[30].
Despite the fact that there was still a lack of talent and taste in Russian authors, he
believed that “in Russia literature can be even more useful than in other lands: feel-
ing is newer and fresher in us; the beautiful therefore acts more strongly on the
heart and bears greater fruit”[31].
Karamzin had clearly rejected his view of literature as private consolation for the
poet and his friends, to which he had been driven by adverse conditions in Russia
and Europe. His path to a utilitarian and patriotic view of art was both logical and
predictable. The disillusionment he had suffered from events in France bolstered
his patriotic feeling and suggested the important role that Russia might play in
European affairs. The task of literature was therefore not only to consolidate
Russia’s eminence in the eyes of Europe but also to inspire pride in Russians:
“It is nearer and dearer for Russian talent to praise what is Russian in this happy
time, when the Monarch and Providence itself call us to true glory. Russians must
be taught to respect what is their own; they must be shown how it can become the
subject for an artist’s inspiration and for the strong effects of art on the heart. Not