The main body of the Passages consists of Gogol's advice to Russian landowners, provincial officials and, generally, Christians. County squires are regarded as the agents of God, hard working agents holding shares in paradise and getting more or less substantial commissions in earthly currency. "Gather all your mouzhiks and tell them that you make them labor because this is what God intended them to do—not at all because you need money for your pleasures; and at this point take out a banknote and in visual proof of your words burn it before their eyes. ..." The image is pleasing; the squire standing on his porch and demonstrating a crisp, delicately tinted banknote with the deliberate gestures of a professional magician; a Bible is prepared on an innocent-looking table; a boy holds a lighted candle; the audience of bearded peasants gapes in respectful suspense; there is a murmur of awe as the banknote turns into a butterfly of fire; the conjuror lightly and briskly rubs his hands—just the inside of the fingers; then after some patter he opens the Bible and lo, Phoenix-like, the treasure is there.
The censor rather generously left out this passage in the first edition as implying a certain disrespect for the Government by the wanton destruction of state money—much in the same way as the worthies in The Government Inspector condemned the breaking of state property (namely chairs) at the hands of violent professors of ancient history. One is tempted to continue this simile and say that in a sense Gogol in those Selected Passages seemed to be impersonating one of his own delightfully grotesque characters. No schools, no books, just you and the village priest—this is the educational system he suggests to the squire. "The peasant must not even know that there exist other books besides the Bible." "Take the village priest with you everywhere .... Make him your estate manager." Samples of robust curses to be employed whenever a lazy serf is to be pricked to the quick are supplied in another astounding passage. There are also some grand bursts of irrelevant rhetoric — and a vicious thrust at the unlucky Pogodin. We find such things as "every man has become a rotten rag" or "compatriots, I am frightened"—the "compatriots" ("saw-are-tea-chesstven-nikee") pronounced with the intonation of "comrades" or "brethren"—only more so.
The book provoked a tremendous row. Public opinion in Russia was essentially democratic—and, incidentally, deeply admired America. No Tsar could break this backbone (it was snapped only much later by the Soviet regime). There were several schools of civic thought in the middle of the last century; and though the most radical one was to degenerate later into the atrocious dullness of Populism, Marxism, Internationalism and what not (then to spin on and complete its inevitable circle with State Serfdom and Reactionary Nationalism), there can be no doubt whatever that in Gogol's time the
"Westerners" formed a cultural power vastly exceeding in scope and quality anything that reactionary fogeys could think up. Thus it would not be quite fair to view the critic Belinski, for instance, as merely a forerunner (which phylogenetically he of course was) of those writers of the 1860s and 1870s who virulently enforced the supremacy of civic values over artistic ones; what they meant by "artistic" is another question: Chernyshevski or Pisarev would solemnly accumulate reasons to 37
Vladimir Nabokov: Lectures on Russian literature
prove that writing textbooks for the people was more important than painting "marble pillars and nymphs"—which they thought was "pure art." Incidentally this outdated method of bringing all esthetic possibilities to the level of one's own little conceptions and capacités in the water color line when criticizing "art for art" from a national, political or generally philistine point of view, is very amusing in the argumentation of some modern American critics. Whatever his naive shortcomings as an appraiser of artistic values, Belinski had as a citizen and as a thinker that wonderful instinct for truth and freedom which only party politics can destroy—and party politics were still in their infancy. At the time his cup still contained a pure liquid; with the help of Dobrolyubov and Pisarev and Mikhaylovski it was doomed to turn into a breeding fluid for most sinister germs. On the other hand Gogol was obviously stuck in the mud and had mistaken the oily glaze on a filthy puddle for a mystic rainbow of sorts. Belinski's famous letter, ripping up as it does the Selected Passages ("this inflated and sluttish hullaballoo of words and phrases") is a noble document. It contained too a spirited attack on Tsardom so that distribution of copies of the "Belinski letter" soon became punishable by Hard Labor in Siberia. Gogol, it seems, was mainly upset by Belinski's hints at his fawning upon aristocrats for the sake of financial assistance. Belinski, of course, belonged to the "poor and proud" school; Gogol as a Christian condemned "pride."
In spite of the torrents of abuse, complaints and sarcasm that flooded his book from most quarters, Gogol kept a rather brave countenance. Although admitting that the book had been written "in a morbid and constrained state of mind" and that "inexperience in the art of such writing had, with the Devil's help, transformed the humility I actually felt into an arrogant display of self-sufficiency" (or, as he puts it elsewhere, "I let myself go like a regular Khlestakov"), he maintained with the solemnity of a staunch martyr that his book was necessary, and this for three reasons: it had made people show him what he was; it had shown him and themselves what they were; and it had cleansed the general atmosphere as efficiently as a thunderstorm. This was about equal to saying that he had done what he had intended to do: prepare public opinion for the reception of the second part of Dead Souls.
During his long years abroad and hectic visits to Russia Gogol kept jotting down on scraps of paper (in his carriage, at some inn, in a friend's house, anywhere) odds and ends relating to the supreme masterpiece. At times he would have quite a series of chapters which he would read to his most intimate friends in great secret; at others he would have nothing; sometimes a friend would be copying pages and pages of it and sometimes Gogol insisted that not a word had been penned yet—everything was in his brain. Apparently there were several minor holocausts preceding the main one just before his death.
At a certain point of his tragic efforts he did something which, in view of his physical frailty, was rather in the nature of a feat: he journeyed to Jerusalem with the object of obtaining what he needed for the writing of his book —divine advice, strength and creative fancy—much in the same fashion as a sterile woman might beg the Virgin for a child in the painted darkness of a medieval church. For several years, however, he kept postponing this pilgrimage: his spirit, he said, was not ready; God did not wish it yet; "mark the obstacles he puts in my way"; a certain state of mind (vaguely resembling the Catholic "grace") had to come into being so as to ensure a maximum probability of success in his (absolutely pagan) enterprise; moreover, he needed a reliable traveling companion who would not be a bore; would be silent or talkative at moments exactly synchronizing with the pilgrim's prismatic mood; and who, when required, would tuck in the traveling rug with a soothing hand. When at last in January, 1848, he launched upon his hazardous enterprise, there was just as little reason for its not turning into a dismal flop as there ever had been.