The harsh, cruel, tyrannical rule of Biron produced a strong reaction, ending in a revolution, which raised to the throne the Princess Elizabeth, Peter's unmarried daughter, who had lived in retirement and neglect during the German regime. She was expected to rid the country of foreigners, and she did what she could to fulfil the expectations that were entertained of her. With loud protestations of patriotic feelings, she removed the Germans from all important posts, demanded that in future the members of the Academy should be chosen from among born Russians, and gave orders that the Russian youth should be carefully prepared for all kinds of official activity.
This attempt to throw off the German bondage did not lead to intellectual independence. During Peter's violent reforms Russia had ruthlessly thrown away her own historic past with whatever germs it contained, and now she possessed none of the elements of a genuine national culture. She was in the position of a fugitive who has escaped from slavery, and, finding himself in danger of starvation, looks about for a new master. The upper classes, who had acquired a taste for foreign civilisation, no sooner threw off everything German than they sought some other civilisation to put in its place. And they could not long hesitate in making a choice, for at that time all who thought of culture and refinement turned their eyes to Paris and Versailles. All that was most brilliant and refined was to be found at the Court of the French kings, under whose patronage the art and literature of the Renaissance had attained their highest development. Even Germany, which had resisted the ambitious designs of Louis XIV., imitated the manners of his Court. Every petty German potentate strove to ape the pomp and dignity of the Grand Monarque; and the courtiers, affecting to look on everything German as rude and barbarous, adopted French fashions, and spoke a hybrid jargon which they considered much more elegant than the plain mother tongue. In a word, Gallomania had become the prevailing social epidemic of the time, and it could not fail to attack and metamorphose such a class as the Russian Noblesse, which possessed few stubborn deep-rooted national convictions.
At first the French influence was manifested chiefly in external forms--that is to say, in dress, manners, language, and upholstery--
but gradually, and very rapidly after the accession of Catherine II., the friend of Voltaire and the Encyclopaedists, it sank deeper. Every noble who had pretensions to being "civilised"
learned to speak French fluently, and gained some superficial acquaintance with French literature. The tragedies of Corneille and Racine and the comedies of Moliere were played regularly at the Court theatre in presence of the Empress, and awakened a real or affected enthusiasm among the audience. For those who preferred reading in their native language, numerous translations were published, a simple list of which would fill several pages. Among them we find not only Voltaire, Rousseau, Lesage, Marmontel, and other favourite French authors, but also all the masterpieces of European literature, ancient and modern, which at that time enjoyed a high reputation in the French literary world--Homer and Demosthenes, Cicero and Virgil, Ariosto and Camoens, Milton and Locke, Sterne and Fielding.
It is related of Byron that he never wrote a description whilst the scene was actually before him; and this fact points to an important psychological principle. The human mind, so long as it is compelled to strain the receptive faculties, cannot engage in that "poetic" activity--to use the term in its Greek sense--which is commonly called "original creation." And as with individuals, so with nations. By accepting in a lump a foreign culture a nation inevitably condemns itself for a time to intellectual sterility.
So long as it is occupied in receiving and assimilating a flood of new ideas, unfamiliar conceptions, and foreign modes of thought, it will produce nothing original, and the result of its highest efforts will be merely successful imitation. We need not be surprised therefore to find that the Russians, in becoming acquainted with foreign literature, became imitators and plagiarists. In this kind of work their natural pliancy of mind and powerful histrionic talent made them wonderfully successful.
Odes, pseudo-classical tragedies, satirical comedies, epic poems, elegies, and all the other recognised forms of poetical composition, appeared in great profusion, and many of the writers acquired a remarkable command over their native language, which had hitherto been regarded as uncouth and barbarous. But in all this mass of imitative literature, which has since fallen into well-
merited oblivion, there are very few traces of genuine originality.
To obtain the title of the Russian Racine, the Russian Lafontaine, the Russian Pindar, or the Russian Homer, was at that time the highest aim of Russian literary ambition.
Together with the fashionable literature the Russian educated classes adopted something of the fashionable philosophy. They were peculiarly unfitted to resist that hurricane of "enlightenment"
