Essays on Russian Novelists by William Lyon Phelps
page 37 of 210 (17%)
page 37 of 210 (17%)
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other volumes of stories and sketches, of which the immortal "Taras
Bulba" was included in one. These other tales show an astonishing advance in power of conception and mastery of style. I do not share the general enthusiasm for the narrative of the comically grotesque quarrel between the two Ivans: but the three stories, "Old-fashioned Farmers," "The Portrait," and "The Cloak," show to a high degree that mingling of Fantasy with Reality that is so characteristic of this author. The obsolete old pair of lovers in "Old-fashioned Farmers" is one of the most charming and winsome things that Gogol wrote at this period: it came straight from the depths of his immeasurable tenderness. It appealed to that Pity which, as every one has noticed, is a fundamental attribute of the national Russian character. In "The Portrait," which is partly written in the minute manner of Balzac, and partly with the imaginative fantastic horror of Poe and Hoffmann, we have the two sides of Gogol's nature clearly reflected. Into this strange story he has also indicated two of the great guiding principles of his life: his intense democratic sympathies, and his devotion to the highest ideals in Art. When the young painter forsakes poverty and sincerity for wealth and popularity, he steadily degenerates as an artist and eventually loses his soul. The ending of the story, with the disappearance of the portrait, is remarkably clever. The brief tale called "The Cloak" or "The Overcoat" has great significance in the history of Russian fiction, for all Russian novelists have been more or less influenced by it. Its realism is so obviously and emphatically realistic that it becomes exaggeration, but this does not lessen its tremendous power: then suddenly at the very end, it leaves the ground, even the air, and soars away into the ether of Romance. Although these stories were translated into English by Miss Hapgood |
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