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herald of europe • September 2004
erature and enlightenment and expressed the hope that the political section “for
the sake of Europe will not be very rich and interesting”[7]. The journal is divid-
ed into two parts: “Literature and Miscellany” and “Politics”, but politics dominate
the journal not only in the form of European news but also as open discussion of
Russia’s internal reforms. “Literature and Miscellany” brings to a close Karamzin’s
work as a poet, translator, story writer and reformer of the Russian literary lan-
guage, whereas “Politics” concentrates his earlier scattered ideas and remarks on
historical, political and social questions into a comprehensive system and points
to the future development of his career.
I.
In certain respects the literary section of the Messenger of Europe continues the
traditions of the Moscow Journal. Of the original five features Karamzin planned
for his earlier journal, three – Russian works in verse and prose, translations, and
interesting anecdotes–remained; a fourth-critical reviews of Russian books – was
continued with severe limitations in its scope and, consequently, in its interest, and
the fifth – drama criticism – was completely rejected.
There is little that was new or interesting in the literary works Karamzin chose to
translate. He turned once more to Mme de Genlis, whose religiosity, cloying mor-
alizing and attacks on “false” philosophers pervaded a series of stories appearing
from part II of the journal. Characteristic of the prevailing tastes of the day was
the translation of a tale by August Lafontaine[8], who rivaled Genlis, Marmontel
and Kotzebue in popularity with the Russian reading public. English, French and
German journals provided Karamzin with a wealth of Eastern allegories, moral
fables and news snippets of a literary nature.
Despite the orientation on foreign literature, which Karamzin had himself indicat-
ed in an editorial at the end of 1802[9], original contributions from Karamzin and
his friends provided the main literary interest in the journal. Ivan Dmitriyev, now
living in retirement in Moscow and collaborating closely with Karamzin, regular-
ly contributed poems; there were also poems by Gavriil Derzhavin, Michael
Kheraskov and Yury Neledinsky-Meletsky, but the one poem of particular note
was Vasily Zhukovsky’s version of Gray’s Elegy[10]. Karamzin’s own verse in the
Messenger of Europe, which included the Hymn to Fools (Gimm gluptsam),
Melancholy (Melankholiya) and To Virtue (K dobrodeteli), formed a distinctive
and important coda to his work as a poet, but it is his prose rather than his verse
which marks the final stage of his role as a literary innovator. A Knight of Our
Time (Rytsar’ nashego vremeni), Martha (Marfa-posadnitsa), My Confession
(Moya ispoved’) and The Man of Feeling and the Cold-Blooded Man
(Chuvstvitel’nyy i kholodnyy) reveal his search for new themes and narrative tech-
niques[11].
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herald of europe • September 2004
Karamzin’s unwillingness to continue his drama and book reviews was rooted in
his changed attitude towards literary criticism. In the opening ‘Letter to the Editor’,
which he wrote himself, Karamzin formulated his new position:
But does criticism really teach one how to write? Do not models and examples act
more strongly? And have not talents everywhere preceded learned and stern
judgement? La critique est aisee, et l’art est difficile! Write who ever is able to write
well: that is the best criticism of bad books![12]
At the end of 1802 he was insisting:
As far as the criticism of new Russian books is concerned, we do not consider it a
true requirement of our literature (not to mention the unpleasantness of dealing
with the easily injured vanity of people). It is more useful for an author to be
judged than to judge. Good criticism is the luxury of literature; it is born of great
riches, and as yet we are not Croesuses. It is better to add to the general estate than
to be concerned with its evaluation[13].
Karamzin was now in direct opposition to the standpoint he had adopted in the
Moscow Journal in the dispute between Vasily Podshivalov and Fyodor Tumansky
over the value of criticism[14]. He had learnt from bitter experience how resent-
ful such writers as Tumansky and Nikolai Nikolev were of criticism: he knew also
that his critical reviews had been considered an impertinence by the Moscow
freemasons and parodied by Ivan Krylov and Alexander Klushin in their Spectator
(Zritel’)[15]. Clear evidence of his volte-face was the exclusion of the exchanges
between Tumansky and Podshivalov from the second edition of the Moscow
Journal, which was published at this time (1802–3). But Karamzin’s change of
heart came equally from his new patriotic fervour and his conviction that young
Russian authors were to be encouraged rather than condemned: “We are not aris-
tocrats in literature: we do not look at names but at works, and we are sincerely
glad to help the emergence of young authors”[16].
The change in emphasis in Karamzin’s attitude did not bring an absolute renunci-
ation of criticism: although, as the Soviet critic Georgy Makogonenko has demon-
strated[17], Karamzin tended to substitute for the review articles of a more gener-
ic nature. He stated: “…we make no promise that sometimes we will not discuss
old and new Russian books, it is merely that we do not accept a definite obligation
to be critics”[18]. The criticism in the Messenger of Europe, unlike that in the
Moscow Journal, is indeed occasional and unsystematic, but nonetheless of con-
siderable extent and importance. Karamzin exercised restraint when reviewing
Russian works, but was outspoken with foreign literature.
Karamzin reviewed recent foreign, predominantly French, works, which were not
yet available in Moscow, such as Jean-Jaques Barthelemy’s Voyage en Italie, Mme
de Stael’s Delphine and Chateaubriand’s Genie du Christianisme.[19] Karamzin’s
attack on Chateaubriand’s work is heavily ironical – and both the technique and
tone are reminiscent of his review of Nikolev’s Spoilt Darling (Baloven’), in the
Moscow Journal: