MIKHAIL PETROVICH ARTSYBASHEV (1878-1927): A CENTENNIAL PRESENTATION AND ASSESSMENT by SALLY MARGARET O'DELL M.A., University of British Columbia, 1972 THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in . THE FACULTY OF GRADUATE STUDIES Department of Slavonic Studies We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1980 © Sally Margaret O'Dell, 1980 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Departmen^ . t. ofj. Slavonic Studies The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 March 25, 1980 ABSTRACT MIKHAIL PETROVICH ARTSYBASKEV (1878-1927); A CENTENNIAL PRESENTATION AND ASSESSMENT As there has been no comprehensive literary study of the works of M. P. Artsybashev (1878-1927), it is the purpose of this dissertation to explore both the breadth and the depth of this author's most productive and significant prose period (1900-1912). Artsybashev1s literary and journalistic career spans over twenty-five years, from the appearance of his first short story in 19 00, to the period of his emigra• tion in Warsaw at which time he co-edited the anti-Bolshevik newspaper, Za svobodu (192 4-1927). During the prose period discussed herein, one may note a leading theme which was defined by the critics of Artsybashev's time as "Ultraindi- vidualism" (L' vov-Rogachevskii).. Artsybashev called this philosophy "anarchical individualism," thus aligning himself with a popular social philosophy that developed in late nine• teenth, early twentieth century Russia. Artsybashev's Collected Works comprise ten volumes, with additional works appearing in separate editions. Trans• lations of his works appear in most major Western European languages as well as Danish and Japanese. His more popular works — stories, novels and plays — enjoyed success with American critics, who immediately accepted the author as one who wrote in the tradition of Russian literature. His ii iii writing does indeed reflect the influence of the two great nineteenth-century Russian Realists —Tolstoy and Dostoevsky. His realistic technique is now and then overlaid with ele• ments of impressionism and expressionism, placing him within the framework of the fin de siecle artistic sensibilities. The organization of this study follows the chronolog• ical order of the works discussed, thus tracing themes, characterization, style, and narration. The views of Artsy- bashev's critics, which are noted throughout, illustrate to what extent the opinions .(concerning this writer were most often vastly divided. Chapter I focuses on the author's earliest stories, which depict the individual tormented and limited by society. The long story "Smert'- Lande" is also presented here as a tie between these first stories and the novel San in. The special place of "Smert' Lande" among the author's other creations is discussed. Chapter II focuses on Sanin and the reception it was given by the critics. Chapter III views stories of contemporary Russian society, considering both personal and social problems. The theme of man's mortality dominates the stories discussed in Chapter IV. One of the manifestations of the existential dilemma, suicide, is the theme of Artsybashev1s large novel U posled- nei cherty, presented in Chapter V. The final chapter, VI, attempts to discuss this author more generally, and to place him as an important minor prose writer of early twentieth iv century Russia. Artsybashevrs life-long search for the answers to the eternal questions aligns him with the mainstream of the Russian Realist literary tradition. The battles waged by his characters against crushing fate may also be seen to prefigure the existentialist writings of Albert Camus and his formulation of the doctrine of the Absurd Man. Indeed, the beginnings of the twentieth century, with its manifold anxieties and challenges, are mirrored in Artsybashev's work. TABLE OF CONTENTS CHAPTER PAGE ABSTRACT ii LIST OF FIGURES . , vii PREFACE viii ACKNOWLEDGEMENTS xi TRANSLATION, TRANSLITERATION AND ABBREVIATIONS xiii INTRODUCTION AND BIOGRAPHICAL SKETCH .... 1 I. EARLY STORIES (1901-1904) 17 Part 1: Society, the Individual and Nature . 17 "Pasha Tumanov," "Kupriian," "Krov'," "Podpraporshchik Gololobov," "Smekh," "Iz podvala." Part 2: "Smert' Lande" — The Life of a Twentiety-Century Saint 7 8 II. SANIN (1903, published 1907): THE INDIVIDUAL LIBERATED 101 Part 1: The Novel 101 Part 2: Notes from the Critics 125 III. THE EBB AND FLOW OF THE HUMAN WAVE: STORIES 1904-1907 154 Part 1: Man and Woman 154 Zhena," "Bunt," "Schast'e," "Uzhas." vi CHAPTER PAGE Part 2: The Revolution of 1905 187 "Teni utra," "Krovavoe piatno," "Chelovecheskaia volna." IV. THE ANARCHY OF DEATH: STORIES 1906-1910 . 214 "Milliony," "Rabochii Shevyrev," "Palata neizlechimykh," "Bratiia Arimafeiskie," "Silnee smerti," "Zlodei." V. U POSLEDNEI CHERTY (BREAKING POINT) — SUICIDE (1911-1912) . - 256 VI. THE PROSE OF M.P. ARTSYBASHEV 29 3 NOTES 310 BIBLIOGRAPHY 331 LIST OF FIGURES PAGE Figure 1 M.P. Artsybashev xiv vii PREFACE The following pages represent the work of over four years. One would perhaps wish that there had been even more time to read and digest the ten volumes of the Collected Works of Artsybashev and the many and varied works of his critics. The purpose of this work is to acquaint the student of literature with the main stories and two major novels of Artsybashev which make up the core of his literary oeuvre. In choosing for a dissertation topic the works of this controversial author, I am not necessarily prepared to defend Artsybashev's thoughts and ideas as they exist in these works as fundamental truths. Nor do I wish to use Artsybashev's words and heroes as a mouthpiece for my own views. I endeavor to render only a sympathetic appreciation and presentation of Artsybashev*s work — a task which has not been attempted before. My approach to these works can only be termed general. It seems to me that the most out• standing features of his work are the philosophies expressed and lived by his characters; his plots and action, creating dramatic tension which mounts throughout each story; his skill at nature description; and the totality of all of the above which amounts to a sensitive understanding and bold portrayal of life. It does not seem relevant to use a more formalistic approach to Artsybashev: that is, strictly stylistics, structuralism or semiotics. There are authors viii ix such as Pil'niak or Belyi, of this early twentieth-century period, who do benefit from such approaches because of their elaborate styles. I leave this work (closer text studies) to other scholars, if indeed they feel it would be useful. This does not imply that stylistics will be disregarded, rather that I use a more eclectic and general approach to the criticism of these works. Because these works are not well known to either the specialist or the student of Russian literature, it is also necessary to give somewhat detailed accounts of the stories. Now and then, during my years of study of the works of M. P. Artsybashev, I have met scholars (other than those immediately concerned with my dissertation) who have given me encouragement. Recently, Professor R. F. Christian mentioned one of Artsybashev*s stories in the context of Tolstoy's interest in vegetarianism. The story was given a sympathetic appreciation by Professor Christian (and Tolstoy himself). The Soviet playwright, Samuel Aleshin, whom I met when he visited Canada, expressed the opinion that Artsyba• shev was a writer who was in many ways ahead of his time, and deserved more attention. My correspondence with Nicholas Luker concerning Artsybashev and Kuprin has been most profit• able and encouraging. Late last year, I spoke with Dr. Bernice Rosenthal (whose work on Merezhkovskii has been published in book form), who expressed interest in my work, indicating that she felt this work would be welcomed. X Above all, when reading and discussing the works of Artsybashev, I have tried to be faithful to the author's philosophy and vision. Many of the issues presented in the works of this author are still viable and indeed important today — the new morality, suicide, war protest, fear of death, man alone — all these are facets of modern life to be reckoned with by the people of the twentieth century and the authors who chronicle these times. ACKNOWLEDGMENTS I would like to extend my sincerest thanks to Dr. Michael Futrell, who supervised this thesis. The work and I both grew from his patience, prodding and dedication. I would also like to thank my readers for their various comments. Professors Turner, Petro, Merivale and Czaykowski each gave ideas and inspiration to this work, A special word of appreciation to Dr. Merivale, who read this thesis very closely and helped to give it shape. A final word of appreciation to Dr. Gleb Sekulin, my external examiner, for his assistance. I am also grateful to the Department of Slavonic Studies as a whole for its moral and financial support. The University itself has been most helpful through its many scholarship programs, and especially through its Acadia Camp Family Housing, which gave me a real home. The University Library aided me greatly. This thesis could not have been completed without the help of Jack Mcintosh, Slavic Bibliographer, or Interlibrary Loans. The University of Helsinki Interlibrary Loans was especially cooperative in promptly sending the materials I requested.