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Russian literature. Golden Age
The 19th century is traditionally referred to as the "Golden Era" of Russian literature. Romanticism permitted a flowering of especially poetic talent: the names of Vasily Zhukovsky and later that of his protégé Alexander Pushkin came to the fore. Pushkin is credited with both crystallizing the literary Russian language and introducing a new level of artistry to Russian literature. His best-known work is a novel in verse, Eugene Onegin. An entire new generation of poets including Mikhail Lermontov, Yevgeny Baratynsky, Konstantin Batyushkov, Nikolay Nekrasov, Aleksey Konstantinovich Tolstoy, Fyodor Tyutchev, and Afanasy Fet followed in Pushkin's steps.
Prose was flourishing as well. The first great Russian novelist was Nikolai Gogol. Then came Nikolai Leskov, Ivan Turgenev, Mikhail Saltykov-Shchedrin, all mastering both short stories and novels, and novelist Ivan Goncharov. Leo Tolstoy and Fyodor Dostoyevsky soon became internationally renowned to the point that many scholars such as F. R. Leavis have described one or the other as the greatest novelist ever. In the second half of the century Anton Chekhov excelled in writing short stories and became perhaps the leading dramatist internationally of his period. Other important 19th-century developments included the fabulist Ivan Krylov; non-fiction writers such as Vissarion Belinsky and Alexander Herzen; playwrights such as Aleksandr Griboyedov, Aleksandr Ostrovsky and the satirist Kozma Prutkov (a collective pen name).
Nineteenth century Russian literature perpetuated disparate ideas of suicide; it became another facet of culture and society in which men and women were regarded and treated differently. A woman could not commit the noble, heroic suicide that a man could; she would not be regarded highly or as a martyr, but as a simple human who, overcome with feelings of love gone unfulfilled and having no one to protect her from being victimized by society, surrendered herself. Many of the 19th century Russian heroines were victims of suicide as well as victims of the lifestyle of St. Petersburg, which was long argued to have imported the very idea of and justifications for suicide into Russia. St. Petersburg, which was built as a Western rather than a Russian city was long accused by supporters of traditional Russian lifestyles as importing Western ideas—the ideas of achieving nobility, committing suicide and, the synthesis of these two ideas, the nobility of suicide being among them.
Novels set in Moscow in particular, such as Anna Karenina, and Bednaia Liza (Poor Liza), follow a trend of female suicides which suggest a weakness in character which exists only because they are women; they are said by readers to be driven by their emotions into situations from which suicide seems to be the only escape. These instances of self-murder have no deeper meaning than that and, in the case of Bednaia Liza, the setting of Moscow serves only to provide a familiarity which will draw the reader to it, and away from Western novels.
Contrastingly, many novels set in St. Petersburg viewed suicide primarily through the lens of a male protagonist (as in Fyodor Dostoyevsky’s Crime and Punishment) as opposed to the females who held the spotlight in the aforementioned titles. Beyond that, instead of the few females who commit suicide in these Petersburg texts being propelled to such lengths by a love so powerful and inescapable that it consumed them, financial hardships and moral degradation which they faced in the Imperial Capital contaminated or destroyed their femininity; related to this, prostitution became markedly more prominent in popular literature in the 19th century.
Another new aspect of literary suicides introduced in the Petersburg texts is that authors have shifted their gazes from individuals and their plot-driving actions to presentations of broad political ideologies, which are common to Greek and Roman heroes—this step was taken in order to establish a connection between Russian male protagonists who take their own lives and Classic tragic heroes, whereas the women of the literature remained as microcosms for the stereotyped idea of the female condition. The idea of suicide as a mode of protecting one’s right to self-sovereignty was seen as legitimate within the sphere of St. Petersburg, a secular and “Godless…” capital. Unlike Classic tragic heroes, the deaths of male protagonists, such as in Nikolai Gogol’s Nevskii Prospekt and Dmitry Grigorovich’s Svistul’kin, did not bring about great celebrations in their honor, or even faint remembrances amongst their comrades. In fact, both protagonists die lonely deaths, suffering quietly and alone in their final hours. Until the Russian revolution in 1917, such themes remained prominent in literature.
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