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“But all this is theorising; let us come back to our supposed novelist. The position of our novelist in this case would be perfectly definite; he could not write in any other form but the historical, for there is no fine type in our day, and if there were remnants of it left they would not, according to the prevalent ideas of the day, have retained their beauty. Oh! and in historical form it is possible to depict a multitude of extremely attractive and consolatory details! It is possible so to fascinate the reader indeed that he will take the historical picture for the possible and the actual. Such a work, if executed with great talent, would belong not so much to Russian literature as to Russian history.

“It would be a picture artistically worked out of the Russian ideal, having a real existence so long as it was not guessed that it was an ideal. The grandson of those heroes who have been depicted in a picture of a Russian family of the upper middle cultivated class during three generations, side by side with and in connection with Russian history — that descendant of his forefathers would not be depicted in his modern type except in a somewhat misanthropic solitary and distinctly melancholy aspect. He is even bound to appear a somewhat strange figure, so that the reader might from the first glance recognise him as one retreating from the field of action, and might be convinced there was no field of action left for him. A little further and even that misanthrope, that grandson of heroes, will disappear entirely; new characters will appear, unknown to us as yet, and a new ideal; but what sort of characters? If they are without beauty, then the Russian novel is impossible in the future. But alas! will the novel be the only thing impossible?

“I will not pursue this further, but will hasten back to your manuscript. Consider, for instance, both the families of M. Versilov (for this once I will venture to be quite open). I won’t enlarge on Andrey Petrovitch himself; but he is anyway of a good old family. He is a nobleman of ancient lineage, and at the same time a Parisian communard. He is a true poet and loves Russia, yet denies her absolutely. He is without any sort of religion, but yet almost ready to die for something indefinite, to which he cannot give a name, but in which he fervently believes, like a number of Russian adherents of European civilisation of the Petersburg period of Russian history. But enough of him. As for his legitimate family, I won’t discuss his son, and indeed, he is not worthy of the honour. All who have eyes know what upstarts like that come to in Russia, and what they bring others to as well. Then his daughter, Anna Andreyevna — she is surely a girl of strong character? A figure on the scale of the Mother Abbess Mitrofania, not that I mean to predict anything criminal — which would be unjust on my part.

“If you can assure me, Arkady Makarovitch, that that family is an exceptional phenomenon it will rejoice my heart. But would it not be on the contrary a truer conclusion, that a multitude of unquestionably aristocratic Russian families are with irresistible force passing in masses into exceptional families and mingling with them in the general lawlessness and chaos. A typical example of such an exceptional family is sketched by you in your manuscript. Yes, Arkady Makarovitch, you are A MEMBER OF AN EXCEPTIONAL FAMILY, in contrary distinction to the aristocratic types who have had such a very different childhood and adolescence from yours.

“I must say I should not like to be a novelist whose hero comes of an exceptional family!

“To describe him is an ungrateful task and can have no beauty of form. Moreover these types are in any case transitory, and so a novel about them cannot have artistic finish. One may make serious mistakes, exaggerations, misjudgments. In any case, one would have to guess too much. But what is the writer to do who doesn’t want to confine himself to the historical form, and is possessed by a longing for the present? To guess . . . and make mistakes.

“But such an autobiography as yours might serve as material for a future work of art, for a future picture of a lawless epoch already passed. Oh, when the angry strife of the day has passed, and the future has come, then a future artist will discover beautiful forms for depicting past lawlessness and chaos. Then such autobiographies as yours — so long as they are sincere — will be of use and provide material in spite of their chaotic and fortuitous character . . . they will preserve at any rate some faithful traits by which one may guess what may have lain hidden in the heart of some raw youth of that troubled time — a knowledge not altogether valueless since from raw youths are made up the generations.”