Exploring Gogol 9780804765329

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Exploring Gogol

STUDIES OF THE HARRIMAN INSTITUTE, COLUMBIA UNIVERSITY

Robert A. Maguire

EXPLORING

GOGOL

STANFORD UNIVERSITY PRESS STANFORD, CALIFORNIA

Stanford University Press Stanford, California © 1994 by the Board of Trustees of the Leland Stanford Junior University Printed in the United States of America CIP data appear at the end of the book. Stanford University Press publications are distributed exclusively by Stanford University Press within the United States, Canada, Mexico, and Central America; they are distributed exclusively by Cambridge University Press throughout the rest of the world. Original printing 1994 Last figure below indicates year of this printing: 04 03 02 01 oo 99 98 97 96 95

For Hugh McLean

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Contents

Preface ix Three Notes to the Reader xv Major Events in Gogol's Life xvii Works by Gogol Cited in the Text and Notes xix PART ONE: PLACE

1. Bounded Space 3 2. Displacement: "Old-World Landowners" 22. 3. Equilibrium as Place: "The Two Ivans" 35 4. Place Within: "Diary of a Madman" 49 5. Place as Nature 67 6. Some Sources of Place 82, PART TWO: THE APPREHENDING EYE

7. 8. 9. 10.

The Art of Seeing 97 Rome 115 Imitation: "The Portrait" An Anxious Eye 155

135

PART THREE: WORD 11. From Eye to Word 181 12. The Word in Dead Souls 214 13. The Retrieval of the Past 2.5 5 14. WordWielders 273 15. The Search for a Language of Self 295 16. The Failure of the Word 318 Notes 345 Works Cited Index 391

377

Preface

WHEN I first encountered Gogol, longer ago than now seems plausible, he did not conform to my expectations of what a "great" nineteenthcentury fiction writer should be. For one thing, the corpus was modest: a mere fourteen volumes (albeit substantial ones) in the only existing complete works, of which seven covered the stories, plays, and Dead Souls, and the rest, nonfiction. I found few ontological excursions of the kind that make Tolstoy, Dostoevsky, and Stendhal so discussable, by casual readers as well as scholars. There were virtually no exciting or even very interesting plots of the kind that take us back again and again to Pushkin, Poe, and Dickens. There were none of those rounded characters, to borrow E. M. Forster's once fashionable term, whom we can treat almost like real human beings, such as Raskolnikov, Emma Bovary, and Becky Sharp. At most I could identify two or three well-made stories of the kind that readers of Chekhov and Maupassant enjoy as a matter of course. It was all but impossible to paraphrase a story by Gogol, and I was usually hard put, on finishing one, to say with much confidence what it was "about." Yet the simplicity was only apparent. Except in format, these works were not really prose fictions at all, but tightly knotted poems, which produced a profound, disturbing, unforgettable impression. Reading Gogol was like visiting a house where the door was open and welcoming but we were admitted only part way. We had to be satisfied with what we could see by craning our necks from the well-lighted hallway, but we yearned to explore the whole house, particularly the attic and the basement. Over the years I

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Preface

have returned to that house again and again, with exploration as my purpose. The book offered here has been written in the first instance as an account of these explorations, and in the second instance as a testimony to my belief that Gogol is accessible not only to specialists but to readers with no knowledge of Russian. In fact, it is to them that I primarily address myself. Gogol has intrigued and baffled critics ever since the i83o's, when his first works began to appear. I am well aware of the enormous weight of commentary that has accumulated since then. Indeed, the whole history of Russian literary criticism could be written around the various strategies that have been devised for dealing with what early came to be known as "the Gogol problem." Having fallen off steeply under Stalinism, criticism in what was then the Soviet Union began to revive about twenty years ago; and it is Gogol who has been attracting some of the most subtle and powerful readers, like Sergei Bocharov, Yury Lotman, and Yury Mann. Understandably, foreign critics discovered Gogol much later than did the Russians, really only in the past half century. First came the Germans, then the French, and then, beginning in the 1960*5, the British and Americans. Ever since, the level of awareness about Gogol has been steadily rising in the English-speaking world. When I was a graduate student, more than thirty years ago, almost no one wrote Ph.D. dissertations on Gogol. Neither did I. Now, however, they are common, and many are of such high quality that they can pass into print with little revision. This growing critical achievement confirms that Gogol's magic continues to travel and to work its spell. An outstanding recent instance of Gogol scholarship is the volume entitled Essays on Gogol, edited by Fusso and Meyer, which includes contributions by several of our best specialists. Critical writing on Gogol, in Russia and abroad, has moved in essentially four directions. One considers an aspect, such as the grotesque, or Ukrainian elements, or rhetorical devices, and follows it throughout. Another discovers a key to everything in a single theme, like demonism, or in a dominant psychological trait, like homosexuality. A third sees Gogol as a reflection of certain social and political issues of his time. The fourth studies specific texts to determine how they work as self-contained verbal entities. This last approach is the least common, and has been the preserve mainly of recent Anglo-American critics. "Diary of a Madman," "The Overcoat," and "The Nose" have been the chief beneficiaries. Virtually all the other works have yet to be treated in this way. Even The Inspector General and Dead Souls await microsurgery, although Yury Mann, among others, has been pointing the way in brilliant and stimulating studies. The sizable body of nonfiction has so far remained largely closed to this kind of reading, but promising beginnings have been made by imaginative critics

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xi

like William Mills Todd, in his essay on the letters. For other scholarly writings on Gogol, in several languages, readers may consult the exhaustive bibliography compiled by Philip Frantz, which covers works published through 1988. Few studies in any language have considered Gogol's achievement as a whole. The ones that do all date from the twentieth century. Among the Russians who have made the attempt, I most admire Vasily Gippius, Grigory Gukovsky, and Andrei Sinyavsky. Otherwise, the best work has emanated from the English-speaking world. The first study of this kind— which, however, ignores the nonfiction—was Vladimir Nabokov's Gogol. It does not look markedly original in the context of Russian criticism, being heavily indebted to Symbolist and Formalist approaches; but in 1944, it was entirely new to Anglo-American readers, offering quirkily persuasive evidence that Gogol was something far more important than merely the "realist" or "local colorist" of long repute. Since then, the most important attempts at giving us the whole writer have been the books by Victor Erlich (1969), Donald Fanger (1979), and Richard Peace (1981). I should also add the book by Gippius, inasmuch as it first appeared in English translation in 1981. The book I offer here belongs to this genre as well. I need hardly say that I owe much to my predecessors, consciously and unconsciously. But my own readings yield quite a different picture, criticism being an interpretive art, and the subject in this case being so complex, elusive, and still inadequately explored in so many important respects. Fanger insists that Gogol "will not yield to frontal assault, but must be taken like Jericho" (p. x). On the contrary, I think that frontal assault is very likely the only way; otherwise, we are left at the mercy of Gogol's own games of indirection, feint, and evasion, which we cannot hope to play nearly so well. The critic's equivalent of the soldier's maneuver is confrontation with the realia of the texts, in courageous acknowledgment that they can and must be explicated, even if the result can never be a definitive victory. Thus I began with close readings of all the texts. It soon became clear that a book consisting only of these would run to many volumes. So I decided to focus on works that have been inadequately studied, notably "A Terrible Vengeance," "Old-World Landowners," "The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich," "The Portrait," "Taras Bulba," Part z of Dead Souls, and some of the nonfiction as well, like "An Author's Confession" and Meditations on the Divine Liturgy. Certainly "Diary of a Madman" does not lack for critical attention, but I treat it in some detail nonetheless, because I think I have something to add. On the other hand, I do not devote the space to "The Overcoat" and "The Nose" that works of such quality would seem to warrant, simply because I think

xii

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they have been well accounted for by others. Among my omissions are Marriage and The Gamblers, mainly because they do not speak to me. Although the longest chapter in the book is devoted to Dead Souls, I do not aim at anything like a "full" treatment of so difficult a work, which warrants a hefty book all its own (none yet exists in English); instead, I use it to explore Gogol's ways with language. For that matter, I am not attempting a "full" treatment of any work. Even if such a venture were theoretically possible, it would be endless. I am convinced that there is nothing superfluous in a work of art; everything is a necessary part of the whole. When the artist is Nikolai Gogol, who revels in minutiae and in what the rhetoricians like to call auxesis, the critic either risks madness or selects. What has guided my selections from Gogol's corpus is the pattern that emerges from a scrutiny of all the texts. This pattern, I believe, organizes itself around three major themes, closely intertwined, yet distinguishable. I call them "place," "the apprehending eye," and "word." All are simultaneously present in Gogol from beginning to end. But one or the other dominates at a particular time, and defines a "period." "Place" marks the years 1831-36; "the apprehending eye," 1836-42; and "word," 1841-51. This chronology was recognized by Gogol himself, and has been accepted by virtually all his critics. I accept it too, and use it to identify the three large sections of my book. However, I interpret it very differently. In a larger sense, "place" refers to the ways Russians have tried, from the earliest times to the present, to contend with a deep-rooted fear of social and personal chaos by creating bounded systems. Gogol's version, which is especially apparent in the works written between 1831 and 1836, represents a unique response to a powerful cultural imperative. By the mid183 o's, however, he was beginning to show considerable interest in the way the verbal artist relates to the world at large. The artist, he thought, is, or should be, one who sees, and then creates verbal pictures to record his perceptions. Gradually and reluctantly, however, Gogol grasped that "seeing" could not account for the way his own art worked. Almost all his stories are narrated in highly marked, idiosyncratic language that is not pictorial or iconographic but dynamic and polyvalent. With Dead Souls (1841), he set out to explore the theme of language, or "the word," in a variety of senses; and from that point on, "word" became his dominant concern. Through it he focused on a number of problems central to his art and his life, such as the mission of an artist in an increasingly secular and fragmented society. His failure to find satisfactory answers to, even formulations of, these problems eventually robbed him of the ability to write, and he lapsed into silence and death. Rather early on, I discovered that fiction was only part of the Gogol story, albeit the best known. "Text" had to include the nonfiction too, the

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xiii

letters, the essays, in fact everything Gogol had committed to writing. And it had to extend to his "life." More than for most writers, the distinction that convention makes between "life" and "work" is meaningless for Gogol. This is so not just because the quotidian details of his existence outside of writing are sparse and uninteresting—so much so that biographical studies usually resort to looting the fiction—but also because Gogol in a very real sense created a life that is one of his texts. Since lives are lived in time, and since most of us appreciate some guideposts when traveling someone else's road, I attach a brief chronology of the major events of his life, as well as a list of all his works that I mention in this study. "Text" also embraces a larger world. Insofar as this world includes the society in which Gogol lived and worked, I give it relatively scant attention, since that society has been splendidly accounted for by Fanger and by Todd (especially in Fiction and Society in the Age of Pushkin). Instead I concentrate on art, religion, and ideas, with particular attention to those aspects that have been neglected. They include eighteenth-century literature; the visual arts, especially painting; Eastern Orthodox Christianity; German Romantic aesthetics; the Greek and Roman classics; historiography; and certain theories of language, especially philosophical grammar. Gogol's strange but crucial relationship with Pushkin comes in for fresh evaluation, as does the so-called "spiritual crisis" of his later years, which was really a literary crisis. "Gogol," then, defines a rather large and complex phenomenon, in which everything is interrelated, as in any healthy organism. But I have been always mindful of what might be called the fallacy of irrelevance, the danger that a critic may end up talking around, not about, his main subject. Any excursions I make into the wider world are intended to help us better read the texts, by which I mean everything Gogol wrote down. What remains is the most pleasant part of my job: extending thanks to the people who have helped me see it through. In the first instance, I owe an enormous debt to my students, particularly at Columbia, but also at Yale and Princeton, who over the years have served not only as sounding boards but also, in more cases than I can name or remember, as creative collaborators in the great adventure of exploring Gogol. Of the individuals who have known about the book in progress, Harry Fogarty, William Johnston, Judith Kornblatt, Cathy Popkin, Marc Raeff, Irina Reyfman, Mark von Hagen, and Richard Wortman steered me to some valuable materials that I would otherwise have overlooked. Marina Ledkovsky gave me knowledgeable advice on details of Russian realia, particularly religious practices. Frank Miller helped me cope with some of Gogol's odder Russian usages. James Coulter, Matthew Santirocco, and Alexander Ulanov pro-

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vided expert guidance in Greek and Latin literature. Michael Flier put at my service his expertise in linguistic theory. Paul Valliere served as a peritus on matters of Eastern Orthodox theology. Ellen Chances was always ready with an understanding mind and a sympathetic ear to let me try out ideas. Helen Tartar, the humanities editor of Stanford University Press, took an interest in this project before any of it existed on paper, inquired about my progress at regular intervals, and had faith that a completed manuscript would eventually emerge. John Feneron, associate editor at Stanford Press, showed much patience and friendly forbearance, for which I was especially grateful during the final stages of preparing the book. As a manuscript editor, Nancy Atkinson was well-nigh perfect; her meticulous and wise ministrations have made my text incalculably better than it was. Hugh McLean and William Mills Todd, both outstanding students of Gogol, interrupted their own busy lives to read my long manuscript in its entirety, and offered detailed and incisive commentary. Without their sharp eyes, sound taste, sophisticated sensibilities, and generosity of mind and spirit, my book would be much the poorer. My debt to Richard Gustafson is of a very special kind. For thirty years, first as a fellow graduate student, then as a colleague, he has responded to my ideas, enthusiasms, and doubts with wisdom, patience, and encouragement. It is a privilege to count him as a friend. Among my nonspecialist friends, I owe grateful thanks to Harry Fogarty (again), Alexander Kirschenbaum, and Raymond Matta. Their skillful and creative services have kept soma and psyche connected and intact. Of particular importance to me during the writing process has been my friendship with Carl Plansky. He not only shared with me his profound knowledge of European painting, but commented imaginatively and constructively on sticky parts of the manuscript, helped me arrive at better formulations, and offered warm support throughout. I have to say another word about Hugh McLean. For nearly all my scholarly career, he has read my writings, in manuscript and in print, has given me the benefit of thoughtful and candid criticism, and has been generosity itself in sharing his own insights with me. Although I have never studied formally with him, he has been all that one could wish in a mentor. It is with pleasure that I dedicate this book to him. New York Robert A. Maguire 1993

Three Notes to the Reader

TEXTS

Because I want my nonspecialist readers to orient themselves readily in the full texts from which I quote, I use translations of the fiction and plays that are currently in print. Most frequently I refer to The Complete Tales of Nikolai Gogo/, in two volumes, which is the original Constance Garnett translation, as edited by Leonard J. Kent. In my citations, the Roman numeral designates the volume, the Arabic the page, and "Garnett/Kent" this particular work. For Dead Sow/s, the best translation is by Bernard Guilbert Guerney, in the Modern Library. It has, unfortunately, long been out of print, although there is talk of reissuing it. I therefore have chosen the less satisfactory but readily available translation by David Magarshack, in the Penguin series. In every case, however, I have consulted the Russian original, and made corrections, both silent and explicit, when I deem them essential. For works out of print, never translated, or, in my judgment, not translated satisfactorily, I offer my own renditions. The canonical Russian text of Gogol's works is Polnoe sobranie sochinenii, in fourteen volumes, edited by various hands and published in Moscow and Leningrad by the Soviet Academy of Sciences between 1937 and 1952,. I refer to it as PSS when some indication of the title is needed; usually, however, I cite it only by volume and page numbers, using Roman and Arabic numerals respectively. For fuller bibliographical information on these and other editions and translations, see the entries under "Gogol" below in Works Cited.

xvi

Notes to the Reader TRANSLITERATION

I use a transliteration system that seems easiest on English-oriented eyes, with no concern for scholarly accuracy or even consistency. For the benefit of those who know Russian, I add the palatalization marker to names in the Notes and Works Cited, and to Russian phrases and titles throughout. OTHER PRACTICES

Unless otherwise indicated, all italics in quotations from Gogol are mine. The Julian calendar, or Old Style (o.s.), remained officially in force in Russia until 1918, when the Gregorian, or New Style (n.s.), was adopted, as it had generally been in Western Europe in the eighteenth century. Unless otherwise indicated, dates are in o.s. when referring to Russia, in n.s. when referring to Europe. (Days are dated roughly eleven dates later in n.s. than in o.s.)

Major Events in Gogol's Life

1809 1821 1825 1828 1829

1830 1831

1832 1833

Mar. 20: Born in Bolshie Sorochintsy, Poltava Province, Mirgorod District, Ukraine. Enters Gimnaziya at Nezhin. Death of father. Finishes Gimnaziya. Dec.: Leaves for St. Petersburg. Publishes Hanz Kuechelgarten, an "idyll in verse," under the pseudonym "V. Alov." Aug.-Sept.: First trip to Europe (Germany). On returning, he unsuccessfully attempts to become a professional actor. Nov.: Enters civil service as a minor official. Begins publishing prose fiction ("Bisavryuk, or St. John's Eve," and one chapter of The Hetman, an unfinished historical novel). Becomes a history teacher in the Patriotic Institute. May 20: Meets Pushkin for the first time. Sept.: Publishes Evenings on a Farm Near Dikanka, Part i. Publishes Evenings on a Farm Near Dikanka, Part 2. Works on various articles and stories.

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1834

Major Events in Gogol's Life

Appointed adjunct professor of world history, St. Petersburg University. 1835 Jan.: Publishes Arabesques. Mar.: Publishes Mirgorod. Dec.: Dismissed from teaching position. 1836 Apr. 19: Premiere of The Inspector General, St. Petersburg. June 6: Goes abroad, travels through Western Europe the rest of the year. J 837 Jan. 29: Death of Pushkin. Mar. 26: Arrives in Rome. 1838-41 Lives in Rome, travels in Europe, makes two trips to Russia. 1842 In Russia. Prepares edition of collected works; publishes first two volumes. May: Publishes Dead Souls, Part i. June: Returns to Europe. Dec. 9: Premiere of Marriage, St. Petersburg. 1843 In Europe. Jan.: Publishes third and fourth volumes of collected works. Feb.: Premiere of Marriage and The Gamblers in Moscow. 1844-46 In Europe. Works on Dead Souls, Part 2. June—July 1845: Burns manuscript. 1847 In Europe. Jan.: Publishes Selected Passages from Correspondence with Friends. June-July: Works on apologia (posthumously published as "An Author's Confession"). 1848 In Europe. Mid-Feb.: Travels to Holy Land. Apr. ii: Returns to Russia, there to remain. 1849-51 In Russia; works on Dead Souls, Part 2. 1852 In Russia. Feb. 11—12: Burns manuscript of Dead Souls, Part 2. Feb. 21: Dies. Feb. 25: Buried.

Works by Gogol Cited in the Text and Notes

THE following list includes all works cited in text and notes except for outlines and sketches. Brackets {) indicate titles supplied by later editors. In nearly all cases the dates are dates of publication; exceptions will be obvious. POETRY 182.9 18 2,9

Hanz Kuechelgarten Italy (attributed)

Gants Kyukhel'garten Italiya

FICTION 1830-32, 1831—3 2,

1835

The Hetntan (one chapter from the projected novel, never completed) Evenings on a Farm Near Dikanka (2, vols.) Christmas Eve The Fair at Sorochintsy Foreword (Part i, Part 2.) Ivan Fyodorovich Shponka and His Aunt A May Night A Terrible Vengeance Arabesques

Get'man Vechera na khutore bliz Dikan'ki Noch' pered Rozhdestvom Sorochinskaya yarmarka Predislovie Ivan Fedorovich Shpon'ka i ego tetushka Maiskaya noch' Strashnaya mest' Arabeski

Works by Gogol

XX

Diary of a Madman Nevsky Prospekt The Portrait (ist version) Mirgorod Old-World Landowners Taras Bulba (ist version) The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich Viy The Carriage The Nose Dead Souls, Part i The Overcoat The Portrait (revised) Taras Bulba (revised) Rome

1835

1836 1836 1842 1842 1842. 1842 1842.

Zapiski sumasshedshego Nevskii Prospekt Portret Mirgorod Starosvetskie pomeshchiki Taras BuPba Povest' o torn, kak possorilsya Ivan Ivanovich s Ivanom Nikiforovichem Vii Kolyaska Nos Mertvye dushi Shinel' Portret Taras Bul'ba Rim

PLAYS 1832-34 The Order of St. Vladimir, Third Class (remaining fragments published under different titles)

1836

The Inspector General

1842. 1842 1842

Marriage The Gamblers Leaving the Theater After the Performance of a New Comedy

Vladimir tret'ei stepeni

Revizor Zhenit'ba Igroki Teatral'nyi raz3 'ezd posle predstavleniya novoi komedii

ARTICLES AND OTHER PIECES

1831 1831 1835

Woman Bon's Godunov. A Long Poem by Pushkin (publ. 1881) From Arabesques: A Few Words About Pushkin Al-Mamun (Foreword) The Last Day of Pompeii Life A Look at the Making of Little Russia On the Architecture of the Present Day On Little-Russian Songs

Zhenshchina Boris Godunov. Poema Pushkina. Neskol'ko slov o Pushkine Al-Mamun (Predislovie) Poslednii den' Pompei Zhizn' Vzglyad na sostavlenie Malorossii Ob arkhitekture nyneshnego vremeni O malorossiiskikh pesnykah

xxi

Works by Gogol

1837 1837 1844-45

1845-47 1846 1846 1846 1846 1846

1847

On the Middle Ages On the Movement of Peoples at the End of the Fifth Century On the Teaching of General History Sculpture, Painting and Music Schlozer, Miiller and Herder Thoughts About Geography Petersburg Notes of 18 3 6 The Petersburg Stage in 183536 ^ Textbook of Literature for Russian Youth (pub. 1896) A Definition of the Word and of Literature The Lesser Genres of Epic On Science Song (The Tale) Meditations on the Divine Liturgy (pub. 1857) The Denouement of The Inspector General (pub. 1856) Second Version of the Ending of "The Denouement of The Inspector General" (Foreword to the second edition [of Dead Souls].) To the Reader from the Author On The Contemporary (pub. 1857) Forewarning for Those Who Would Like to Play The Inspector General Properly (pub. 1886) Selected Passages from Correspondence with Friends A Definition of the Word The Fears and Terrors of Russia Foreword

O srednikh vekakh O dvizhenii narodov v kontse Vveka O prepodavanii vseobshchei istorii SkuPptura, zhivopis' i muzyka Shletser, Miller i Gerder Mysli o geografii Peterburgskie zapiski 1836 g. Peterburgskaya stsena v 183536 g. Uchebnaya kniga slovesnosti dlya russkogo yunoshestva Chto takoe slovo i slovesnosf Men'shie rody epopei O nauke Pesnya (Povest5) Razmyshleniya o Bozhestvennoi Liturgii Razvyazka Revizora Vtoraya redaktsiya okonchaniya "Razvyazki Revizora" (Predislovie ko vtoromu izdaniyu.) K chitatelyu ot avtora O Sovremennike Preduvedomlenie dlya tekh, kotorye khoteli by sygrat' kak sleduet Revizora Vybrannye mesta iz perepiski s druz'yami O torn, chto takoe slovo Strakhi i uzhasy Rossii Predislovie

Works by Gogol

XX11

Four Letters to Various Persons with Regard to Dead Souls The Historical Painter Ivanov

1847

On the Lyricism of Our Poets On the Odyssey as Translated by Zhukovsky Subjects for the Lyric Poet at the Present Time Testament What, Then, Constitutes the Essence of Russian Poetry, and What Is Its Special Quality Woman in Society (An Author's Confession)

Chetyre pis'ma k raznym litsam po povodu Mertvykh dush Istoricheskii zhivopisets Ivanov O lirizme nashikh poetov Ob Odisee, perevodimoi Zhukovskim Predmety dlya liricheskogo poeta v nyneshnee vremya Zaveshchanie V chem zhe nakonets sushchestvo russkoi poezii i v chem ee osobennost' Zhenshchina v svete (Avtorskaya ispoved')

MISCELLANEOUS

18 2.6-3 7 160-61, 295, 319, 323-32; Chichikov in, 252, 325-27, 330; creation of, 310, 323—24; aims of, 323; reception of, 324-26; and seeing, 327-32; Gogol on, 332. See also Betrishchev; Kostanzhoglo; Tentetnikov; Ulinka Death: abundance as, 22—34; town as emblematic of, 71-79; individuality as, 87; as salvation, 259, 277-78. See also Individuality; Personhood Debreczeny, Paul, 354ni6, 37in6, n9 Decorum (theme), 37—45 Defamiliarization (device), 201-3, 205 "A Definition of the Word," 375^4 "A Definition of the Word and of Literature," 19^-93 Delvig,A.A., 256-57 deMan, Paul, 80-81 Demodokos (Odyssey), 280 Demon, 9, 71, 84, 200, 337; in Pushkin, ii; in Lermontov, 17, 64; in Inspector General, 19, 21; in "Two Ivans," 41— 48; in "Diary of a Madman," 51,5758; in "Portrait," 144-73, 330; in "Viy," 184-89 Demonic traits, 51, 77,153,160, 166, 200, 310; sorcerer embodies most, 5— 18; placelessness, 5—19, 71; deception (Antichrist), 5-18,157,169; change, 7—8, 78; disharmony, 7—8, 77, 160, 310; concealing, 44, 57-58, 200; haste, 51, 160, 247; city as, 67-81; glitter, 77—78,152; isolation, 154, 188; fragmentation, 160, 310. See also Bounded space "The Denouement of The Inspector General," 89, 306-7, 346ni7 Densification (device), 203-6 Derzhavin, G. R., 138, 293 Descartes, Rene, 3 3 2—3 3 Destabilization (device), 201—2, 209 Detail (device), 69, 200—201, 207; exhaustive, 23, 199; and meaning, 199—200, 331; polysemantic, 208—13; in Dead Souls, 214—19 Detienne, Marcel, 37in7 Devices, verbal, 100—213. See also individual entries

395 Devil, see Demon deVries, Ad, 359n7 Dey of Algiers ("Diary of a Madman"), 64-65,143, 151 Diana (goddess), 61—62,128 Diary (literary form), 52-53, 63 "Diary of a Madman," 90, 92, 143,151, 193, 269, 317; as inner world, 49-66, 106; St. Petersburg setting of, 75, 262 "Diary of a Mad Musician," 49 "Diary of a Russian General in Italy," 3i7 Digressions (device), 199 Dikanka, 77 Distance: in "Old-World Landowners," 22-34; m "Diary of a Madman," 4966; sublime as, 68-69, 328; and elevation, 68-69,102-7, 243-54 passim, 321-22; in "Nevsky Prospekt," 78; in Gogol's life, 102,106-7, *7578; in earlier writers, 102—6; and mediation, 107—14; in "Rome," 121— 34; in "Portrait," 147-48,154; in "Viy," 187—88; in "Author's Confession," 196-97, 312-23; in Dead Souls, 231, 243-54; in historical articles, 270; in "Taras Bulba," 277-78; and exile, 322; eliminated, 326. See also Exile; Mediation; Narrator; Pushkin Divine Comedy, see Dante Dmitry of Rostov, 85 Dnieper River, 9—12, 275 Dobchinsky (Inspector General), 139 Donets River, 11 Don Quixote, see Cervantes Donze, Roland, 373ni6 Dostoevsky, F. M., 4, 6, 52, 74, 195, 2-37,305,339 Douglas, Mary, 4, 6f, 9, 16, 346n3 Doyle, Sir Arthur Conan, 203 Driessen, F. C., 345^ Dubno, 71—74, 276 Duchess of La Valliere ("Old-World Landowners"), 25 Duff, J.Wright, 287 Dulce et utile, see "Pleasant and Useful" Diirer, Albrecht, 162-63 Diireristen, 162 Dyer, John, 101 The Earth and Its Peoples, 266 East (theme): synonymous with Asia, south, 283-86

396 Eden (Paradise), 23 Edmonds, Rosemary, 37inn Efrem (monk), 161 Egypt, 283, 348nu Ehre, Milton, 346ni4, 357^:5 Eikhenbaum, B. M., 374nzy Elevation, see under Distance Eliot, T. S., 314-15, 37on6 Elistratova, A. A., 361*12.5 Ems, 36on23 Empty space (device), 56, 305 Enclosure, see Bounded space Energy: Gogol's theory of, 78, 171-72, 246—54 passim, 280—94 passim, 329 England, 33, 76, 101, 123, 264, 284, 333; in "Diary of a Madman," 56, 59—61; literature, 80—81,100—101, 167, 261, 265—66, 270, 276, 362n22; painters, 124—27; Gogol on, 138, 284, 292. See also Fielding; Johnson; Karamzin; Shakespeare; Sterne The Enlightenment, 78—79, 286, 289 Endings (device), 81, 197-99, 2-1^ 25255 Ennius, 287 Enumeration (device), 203—4, 215, 225 Epic, see under Literature Epigraphs (device), 193 Epiphanius the Wise, 125 E praecedentibus sequentia, e sequentibus praecedentia (device), 202 Erlich, Victor, xi, 191 Ermolov, A. P., 149—50 Eugene Onegin, see under Pushkin Euripides, 287 Europe: and Russia, 4, 135-38, 28688 Evander (Aeneid), 173 "Even" (device), 204 Evenings on a farm Near Dikanka, 5, 23, 76, 107,112,122,128,143,181, 266, 291; verbal devices in, 189—90, 193-95, 201-2 Evfimy (monk), 85 Exclamation point (device), 204 Exile (theme), 110—13 Expansion (device), 8—12, 239 "The Fair at Sorochintsy," 67-68, 181, 189-90, 193, i95f Fairy tale, see Folklore Fanger, Donald, xi, xiii, 37on3 "A Farewell Tale," 317

Index "The Fears and Terrors of Russia," 160, 3ii Fedotov, G. P., 80 Fenelon, Francois, 84 Ferdinand II (Naples), 178 Ferdinand VII (Spain), 60 The Festal Menaion, 369*14 Fetish (theme), 62 "A Few Words About Pushkin," 98-99, 104, 109,113,285,322 Fielding, Henry, 195, 198-99, 362n25 Fiction: and history, 265-66, 270-71 Firebird (theme), 250-51 Fivizzano (painter), 165 Fizer, John, 374n2i Flesh (theme), 278—79 Florence, 175,178 Florovsky, G. V, 35on2 Folklore, 70, 77, 80, 84; in "Terrible Vengeance," 6—19; in "Old-World Landowners," 27—29; in Dead Souls, 244-46, 250-51, 274. See also Literature; Narrator Fonvizin, D. I., 79 Food (theme), 29, 34, 41, 258; and clothing, 31—32; and sex, 31—32, 70— 71, 201-2

Footnotes (device), 39, 42, 193 "Forewarning...," 3461117 "Foreword" (Arabesques), 268-69, 367ni6 "Foreword" (Evenings on a Farm), 193— 95, 201-2 "Foreword" (2nd ed. Dead Souls), 108, 268,303-4,310-11 "Foreword" (Selected Passages), 303-4, 318 Forgetting: in "Old-World Landowners," 22-34; in "The Carriage," 257-58. See also Past; Remembering Formalists, Russian, 191, 338, 374n27 Fouque, Friedrich de la Motte, 358n25 "Four Letters to Various Persons . . .," 372n3,373n 4 Fra Angelico, see Giovanni da Fiesole Fragment: and insanity, 16, 65,153; as weapon, 21, 56—57; anti-organic, 78, 227, 304, 330; Paris and Petersburg as, 78—89; and sin, 87, 160—61, 305; demonic, 160, 310, 330. See also Bounded space; Individuality; Organism; Personhood France, 27, 84,137; music, 19,124; in

Index "Diary of a Madman," 52, 56, 60—61, 64; Gogol on, 78-79, 133, 138, 175, 284, 2.92.; literature, 100,121, 12.6, 149, 168, 312, 358ni5; painters, 1012, 116, 124,126-28, 162, 178; language, 140-41, 332--33, 373m6, ni7, 353n35; Russia and, 238, 288; historians, 264, 266, 335. See also Paris; Philosophical grammar Francesco Francia, 165—66 Frankfurt-am-Main, 115, 175 Frantz, Philip, xi Frascati, 122,126 Freud, Sigmund, 62, 199 Fussell, Paul, 240 Fusso, Susanne, x, 230, 352nio Future, 280, 296—300; as displacement, 14-15, 28, 257; as opportunity, 255, 259-60, 277-78; of Russia, 285-94 Futurists, Russian, 339 Galassi, Peter, 126,130, 355n26, n3o, 36on29 Galich, A. I., 356^ Games: and language, 217, 219, 22627. See also Word Garden, see Bounded space Garland, Henry and Mary, 368ni8 Gastein, 177 General grammar, see Philosophical grammar Generalization (device), 205 Genesis, Book of, 260 Geneva, 116 Gennady (Eikalovich) (monk), 35in9 Genoa, 132, 178 Genres, see under Literature Geography: and history, 266—67 Georgic, 70—71 Gericault, Theodore, 126 Germany, 19, 137, 302; philosophers, 30, 68-69, 80, 282, 289, 328, 336; Gogol and, 72, 76-77, 80,115,118, 138, 175, 177, 292, 353111, 36on23; literature, 80,102—3, 143,162,167, 218—19, 270, 300, 358n25; painters, 124, i26f, 162—63, 359nn; historians, 138, 264, 270, 272; as Asian, 282—83. See also Goethe; Romanticism; Wackenroder Gesture (device), 13, 31, 216, 218-19, 276-77 Ginzburg, Carlo, 348ni2

397 Ginzburg, L. Ya., 207, 334 Giovanni da Fiesole, 163—64 Gippius, V. V., xi, 83, 287, 316-17, 321, 347ni, 35on6, 353"345 ni, 363117, 36 7 ni 5 Gleyre, Marc-Gabriel-Charles, 124 Glinka, F.N., 301 Gnedich, N. I., 320 Goethe, Johann Wolfgang von: Italian Journey, 118-20, 127, 132, 355n2 4 , 369ni4, 37on5, 37in8 Gogol, A. V. (sister), 91, 354n9, 355n24 Gogol, E. V. (sister), 91, 354n9, 355n24 Gogol, I. V. (brother), 90 Gogol, M. I. (mother), 75-76, 79, 8385,91, 107,115-16, 35on6 Gogol, N. V: and mother, 83—85, 91, 107, 115—16; and father, 84, 90, 363n7; education, 84, 90, 97, 116, 2-96, 335; and brother, 90; summary of life, 90-92; and sisters, 91; leaves Russia (1836), 92-97, 107, 115-16; in Italy (1837-41), 116-34; cools toward Italy (1841-47), 175-78; changing attitudes toward Russia, 175-78; travels in Europe, 175-78, 323, 353ni; to Jerusalem (1847), 178, 304; final return to Russia (1848), 178, 323, 326; last days, 340-41; death (1852), 92, 324, 341 —ailments: 83, 177-78, 304-5, 3*o, 323-24 —as critic and theorist, 124, 138, 192— 93, 306. See also individual entries by title —as critic of own art, 92-93, 108-9, 138, 295-96, 303-4, 310-12, 321-23 —as historian, 106, 120, 256, 266—72, 274—85 passim, 318. See also individual entries by title —as performer of own texts, 308, 311— 12, 318, 321-24 —autobiographical elements in fiction, 119-20, 295, 312-17; Poprishchin ("Diary of Madman"), 53,142-43, 295; prince ("Rome"), 13^-34; Akaky Akakievich ("Overcoat"), 142— 43; Khlestakov (Inspector General), 142-43; Chartkov ("Portrait"), 158. See also "An Author's Confession" —creative method, 107-9, 2.68-69, 303-4,310-11,326 —fiction, see individual entries by title-,

398

links between fiction and non-fiction, 190, 270-72, —first artistic crisis (1836), 91—97, 107, 175; second crisis (1841), 175, 178, 153; third crisis (i84o's—i85o's), 302, 307-*7> 3*3-32.? 337-41 —friendships, see Aksakov, S. T.; Balabina; Belinsky; Danilevsky; Pletnyov; Pogodin; Pushkin; Shevyryov; Smirnova; Yazykov; Zhukovsky —letters, 2.66, 318; from Rome, 120, 12.2, 124, 286, 291; of i84o's and 1850*5, 295, 310, 323, 332, 338. See also Selected Passages from Correspondence with friends —literary traditions in works, 142 —on politics, 133-34, 167-68, 297, 320—21. See also Selected Passages from Correspondence with Friends —on women, 91 —reception, 111—12, 320—21; as Christian, 82—85; by Soviets, 324—25. See also under individual works by title —spiritual quests: early indifference, 82— 85, 89-90; conversion (1840), 82-84, 176-77, 189, 277-78, 305; after 1840, 83, 87, 176-80, 279, 295, 30441 passim-, as language problem, 295318 passim. See also Christ; Christianity; Pseudo-Dionysius —and word, 295-317 passim, 332-38 Gogol, O. V. (sister), 84, 91, 35oni Gogol, V. A. (father), 84, 90, 363^ Gogol School, 114 Golopuz ("Two Ivans"), 45, 47—48 Goncharov, I. A., 4, 23, 326 Gorbachev, M. S., 4 Gorlitsky, I.S., 334 Gothic (style), 72, 183-84 Gottschalk, Fruma, 346ni4, 357ni5 Grammaire generale et raisonnee, 333 Grech,N.L, 334~35» 374112-1 Greece, ancient, 34, 98f, 283^ 306, 331, 37on6; Russian interest in, 122, 287^ 300. See also Homer; "On the Odyssey . . ." Greek Fathers, 161 Greek mythology, 33-34, 61-62,128, i48ff, 153, 168 Greffenberg, 177 Gregory of Nyssa, 161 Griffiths, Frederick, 37on3 Group of Seven (G-y), 4

Index Grube, G. M. A., 3 5 2n4 Gudzy, N. K., 36ini6 Guerney, B. G., 217, 254, 329; as translator of Dead Souls, 362—73 passim Guizot, Francois, 266 Gukovsky, G. A., xi, 357ni4, ni5 Gulf of Palermo, 127 Gumilevsky, Moisei, 8 5 Gustafson, Richard, 61, 347n2, n9 Habit, see Routine Hallam, Arthur, 91 Hammarberg, Gitta, 346ni Hanz Kuechelgarten, 266, 296 Harding, James, 355n25 Hardre, Jacques, 1651114 Harkins, William, 36in9 Harmony, 331,336; essential to art, 144—45, I 7 2 > natural condition of soul, 305-7 Harpe, Jean Francois de La, 100 Havelock, Eric, 36ini2 Heaney, Seamus, 120 Hektor (Iliad), 153 Hemingway, Ernest, 207, $6znzz The Herald of Europe, 264 Hercules, 150 Herder, Johann Gottfried von, 138, 270, 272 Hermaphroditism, see under Sexuality Hermes, 33-34 Herzen, A. I., 320 The Hetman, 266, 274 Hierarchy, Divine, 86—87, Z79- $ee a^so Place Hippocratic School, 306 "The Historical Painter Ivanov," 163, 352ni4, 359nn History, 256, 264-72, 335; Gogol as historian, 266—72, 280—85; "Taras Bulba" as, 273—80; See also Karamzin; Past; Remembering Hoffmann, E. T. A., 103, 143 Holderlin, Friedrich, 80 Holocaust, 339 Holy Spirit, 30 Homer, 23, 98,122,168; Iliad, 105, 153, 279, 2961, 300, 345H9, 358114; Odyssey, 127, 280, 296—301, 369ni3; model for Gogol, 296—301; proto-Christian, 298-99 Homeric simile (device), 36, 217, 300 Homoeroticism, see under Sexuality

Index Horace, 2.88, 3661133; "Art of Poetry," 100, 166, 2.87; "Beatus ille," 337-38 Hosking, Geoffrey, 89 Humboldt, Wilhelm, 374^1 Huns, 282-83 Hussey, Christopher, 100-101 Hyperbole (device), 112., 140-42., 21934,312-13 Hypotaxis (device), 189, 205—6 Icon, 172; and Bible, 99-100, 331, 340; characters like, 12.8,159,161,169, 32.9-30 Idyll, 23, 27, 70 Igor, Prince, 3-4, n Igor Tale, see The Song of Igor's Campaign Illogic (device), 59 Ilya Muromets, 2.92. Image and Likeness, 86,161, 2.78 Imitation: mimickry as, 38, 43,140—43; biological, 47; and Russian culture, 131-38, 2.87-88; theme of Gogol's fiction, 134,143-67; Gogol's anxiety about, 134,168; and copying, 135, 138-39; code words for, 144; imagery of, 150—54; as demonic, 154,166, 187; Gogol's poetics of, 158-68 Incongruity (device), 9, 21, 36 Individuality: true idea through collective, 3-2.1, 86-87,103~4; klse idea yields isolation, 3-2.1, 49-66, 69, 87, 90, 103-4, 153-54, 187-88, 210-12., 328. See also Concealing; Madness; Personhood; Place; Placelessness Indo-European languages, 336 Inferno, see Dante Ingres, Jean-Auguste-Dominique, 162 The Inspector General, 18—21, 74, 87, 90,129,139-43, 219-20, 234-35, 237, 240, 317, 321, 340; Gogol on, 87, 92--93, 107, no, 306-8; reception of, 92-93, io7f, 3021. See also Anna Andreevna; Khlestakov; Mayor lordan, F. I., 128 Irony, Romantic, 188 Isai the Serb, 85 Italianate style: architecture, 72f, painting, 116-17 Italy: music, 19,124; places, 60,12227, 132,165,178; art, 101-2,128, 162-67,170-72; conventions about, 115-34; and Russia, 116-21,132-33,

399

290—94; Gogol's reactions to, 115—34, 175—78; and European painters, 117, 124—25,178; Gogol and Goethe on, 119-20, 127, 132, 358n24, 369ni4; in "Portrait," 145-46, 148, 151-52, 165, 172; as south, 269, 285-87, 290-94, 322. See also Correggio; Dante; Goethe; Leonardo da Vinci; Michelangelo; Raphael; Rome; "Rome"; Vasari; Wackenroder "Italy," 117 Ivan III (Tsar), 284 "Ivan Fyodorovich Shponka," 31, 67— 68,106,193, 201—3, 208—12, 259 Ivan Ivanovich ("Two Ivans"), 35—48, 56, 79, 181-82, 190, 207, 305, 36in5 Ivanits, Linda, 345n7 Ivanitsky, N.I., 367^:5 Ivanov, A. A., 102, 116,128,163, 178 Ivanov, F. F., 289 Ivanov, V. I., 37ini7 Ivan Nikiforovich ("Two Ivans"), 35—48, 56, 79, 181-82, 199, 207, 305, 36ini5 Jaeger, Werner, 358n4 James, St., 357^9 Jerusalem, 178, 304 Jerusalem Liberated (Tasso), 300 Jesuits, 84 Jews, 73-74, *75, 337, 339~4O Johnson, Samuel, 100,119; on language, 335-36,338 Jokes (device), 27-29, 155, 338-39 Jones, John, 279, 305, 375 n 35 Jouissance, 338-39 Jouy, Victor, 121 Joyce, James, $6znzz Jungmann, Josef, 336 Juno (goddess), 128 Kaidanov, I. K., 266 Kant, Immanuel, 68—69, 80, 328 Kantemir, A. D., 297 Karamzin, N.M., 104,195, 256, 264; Memoir on Ancient and Modern Rwssia, 75; "Poor Liza," 80,141-42,169, 357ni3; on picturesque, 101; on distance, 102-3; as literary critic, 136; on Russian identity, 136; "Isle of Bornholm," 141; History of the Russian State, 264-71 passim, 286-87. See also Sentimentalism

400 Karlinsky, Simon, 52, 35in2i Karlsbad, 3601113 Karpuk, Paul, 367^:3 Katerina ("A Terrible Vengeance"), 5-18, 23, 26, 198 Kazin, Alfred, 339 Kearney, Richard, 37^2.8 Kempis, Thomas a, 83 Kent, Leonard, 64, 357ni9, 358nz5, 359ni3,362ni9 Kharms, D.I., 339 Khlestakov (Inspector General), 18—2.1, 80, 139-43, 197; and Chichikov, 2.19-2,0, 2,34-37 Khoma Brut ("Viy"), 69, 77,182-89 Khomyakov, A. S., 2,83-84, 32,4 Kiev, 5-18 passim, 68, 71, 74,182-89 passim, 2,81 Kievan Academy, 84, 35zn6 Kiev University, 266, 269 Kireevsky, I. V., 137, 2,86 Kirpichenko, E.I., 35oni4, 356n5 Kitch, Faith, 355^7 Kline, George, 35on4 Kolomna, 75 Kornblatt, Judith, 368n2 Korobochka (Dead Souls), 183, 22.1-2.6, 229,232-33,241,245 Kostanzhoglo (Dead Souls), 104—5, I^I» 325-26,329-32 Kotzebue, August, 218—19 Kovalyov ("The Nose"), 60,185, 198 Kovno, 71 Kremlin, 79 Kristeller, Paul Oskar, 99 Krylov, LA., 138 Kumans, 3 Kursk, 56 Ladner, Gerhard, i6i,35ini3 Lain Entralgo, Pedro, 37ini5 Lancelot, Claude, 333, 373ni7 Landscape, see Nature Language, see Word Laocoon Group, 167 Laptev, A., 346ni8 "The Last Day of Pompeii," 352ni4 Latin language, 100, 116, 288, 296 Laughter, 108—9; as catharsis, 306—8, 310 Laval, A. I., 355n2o Lazarevskaya, Yuliana, 330

Index Leaving the Theater. . ., 307—8 LeBlanc, Ronald, 354ni8, 355n28 Lednicki, Waclaw, 237 Leibniz, Gottfried, 336 Leonardo da Vinci, 145, 162, 164, 172 Leonov, L. M., 349n8 Lermontov, M. Yu., 17, 64, 358n5, 36in6 Lerner, Laurence, 356ni "The Lesser Genres of Epic," 37in9 "Life," 283 Light (theme): as false, 78—79, 140—41, 150—52; as creative, 306—8; and transfiguration, 329—30. See also Darkness Likhachev, D. S., 23, 105, 349n2, 352nio Linde, Samuel Bogomil, 336 Lists (device), 193 Literalization (device), 201 Literary Gazette: i9th c., 109; 2oth c.,4 Literature: prose, i; oral, 6-18, 59, 189, 192-93, 207, 218-19, 223-24, 23842, 260, 299; popular, 52, 64, 236; poetry, 98-99, 101-2, 105, 138, 300; Gogol on, 98-99, 101-2, 135-38, 192-93, 293-94, 319; doubts about Russian, 135—38; criticism and theory, 135-36, 298-99; journals, 136; drama, 138, 300, 306-8; i8th century, 140-43, 207, 210; oral and written, 192—95, 244—45; and ms~ tory, 264-72; epic, 297-98, 300, 325, 37in9; genre boundaries, 306, 334. See also Art; Painting; Speech; Word Lithuanians, 281 Little, Lester, 347^ Little Russia, see Ukraine Liturgy, Divine, 276, 308—10, 369114 Livy, 30 Lomonosov, M. V: on distanced height, 105—6; Gogol on, 105—6,138; as historian, 264; on ancient classics, 288; on Russian language, 288, 297, 334 London, 284, 333 "A Look at the Making of Little Russia," 274,282-83,329 Lossky, Vladimir, 86, 88, 340, 35on2, 3^4 Lotman, Yu. M., x, 208, 288-89

Index Louis XIV, 25 Liibeck, 353111 Lubki, 143-44 Luckyj, George, 353031 Lukasbund, 162 Luke, Gospel of, 2.78, 35802 Lyubomudry, see Wisdom-Lovers

401

trait," 159-67. See also Distance; Narrator; Seeing Meditations on the Divine Liturgy, 83, 295, 308-11 Memory, see Remembering Mersenne, Father Marin, 332-33 Merezhkovsky, D. S., 19 Merzlyakov, A. F., 136, 288 McLean, Hugh, 102, 325, 36001, The Messiah (Klopstock), 300 365n2i Metaphor, realization of (device), 201—2 Madness (theme): in "Terrible VenMeyendorff, John, 368n4 geance," 5, 33; in "Diary of a MadMeyendorff, Paul, 37in2 man," 49—66 passim, 2,62.; in Meyer, Priscilla, x "Portrait," 145, 160, 166 Meyerbeer, Giaocomo, 19, 124 Madonna, see Virgin Mary Michelangelo, 102,152,162,166 "Madonna dei Fiori," 121 Michelet, Jules, 266 Magarshack, David: as translator of Middle Ages, 23, 72, 78, 98, 117, 156, Dead souls, 217, 22.6, 228, 244, 250, 267-68, 284 Mimickry, see under Repetition 254, 362—66 passim, 373n6, nio Maguire, Robert, 359ni5, 362^6, Minardi, Tommaso, 162 372n2 Mirgorod, 22f, 35—48 passim, 69, 112, 182, 271, 273, 290 Maikov, V. I., 30 Mainz, 115 Mirror (theme), 150—54; nature as, 9— Maksimovich, M. A., 367*114 12, 69; letters as, 50—56; newspapers Malaniuk, Evhan, 353^1 as, 52-58,151-52; as madness, 65Malmstad, John, 362^6 66; and loss of self, 146-54; paintings Malta, 178 as, 149-54; eyes as, 154; soul as, 161; Mandelshtam, I.E., 362n28 and self-indulgence, 187—88. See also Manilov (Dead Souls), 29, 219—21, Imitation 223f,228ff, 241,331 Mirsky, D. S., 347n8 Mann, Yu. V, x, 12, 346ni7, 356^4 Mochulsky, K. D., 84, 92,161-62 Mannerism (art), 171 Mona Lisa, 357ni9, 359ni3 Marienbad, 175 Moneylender ("Portrait"), 143-57, 198, Mark, Gospel of, 278 329-32 Marlinsky, see Bestuzhev-Marlinsky Mongols, see Tartars Mars (god), 149 Monnier, Nicole, 347n5 Morris, Marcia, 359n7 Massillon, Jean-Baptiste, 84 Morson, Gary Saul, 240 Masturbation, see under Sexuality Moscow, 100, 177, 240, 265, 284, 289, "Materials for a Dictionary . . .,"335 Matlaw, Ralph, 353^2 312, 321; and St. Petersburg, 76, 78Matthew, Gospel of, 159, 278 80 "A May Night," 67, 193 Moscow Herald, 290 Moscow Observer, 290 Mayer, Elizabeth, 354ni5, 37in8 Mayor (Inspector General), 18-22, 87 Moscow University, 136, 300 Mazour, Anatole, 367n6, 368n2o, Moses, 299 369ni6 Movement, see Energy Meaning, 199—200, 227 Mozart, W. A., 19 Mediation: Gogol needs for art, 107—14, Muller, Johann, 270, 272 315-16, 326; Pushkin as, 109-14, The Muscovite, 121, 290 319—23; absence of, 115—16; in Muscovy, see Moscow "Rome," 121—34 passim-, Gogol's anx- Music, 99, 261; and poetry, 98-99, 166-67; life-force, 301-2; Wackenieties about, 133—34,168; in "Por-

Index

402

roder compared with Gogol on, 166— 67, 301—2. See also Song Nabokov, V. V., xi, 4, 215—16,145 Nadezhdin, N.I., 122., 137, 265, 284-85 Naef, Hans, 335n26 Naguevsky, D. I., 369ni8 Naming (device), 47, 200—201; in Dead Souls, 214—54 passim Naples, 178, 326 Napoleon, 60,136, 238, 240, 256, 284 Narrator: as distancer, 67—69, 106, 174—75; oral predominates, 182, 189-99, 308; and reader, 194-99; as character, 197-98; unreliable, 198; in Dead Souls, 214-33, 2-92--94, 32-5; m "Old-World Landowners," 260—63; in historical articles, 270-72; in "Author's Confession," 312-16; relation to Gogol, 312-17. See also Distance; Mediation; Literature (oral); Seeing Nature: panoramic, 9-18, 68-69, 32-728; enclosed and unenclosed, 22-34 passim; human relation to, 67—81, 181, 183, 187-88, 231, 243-54, 256, 328-32; in middle-period stories, 69, 247; Gogol and Romantics on, 8081; as picturesque, 100—101, 230, 243; as painting, 100-102, 127-28; aestheticization of, 128—33; relation to art, 137,144-56,163-64,171-7*; Sentimental, 140—42; Romantic, 174; grotesque, 186-88. See also Bounded space; Distance; Painting; St. Petersburg; Seeing Nazarenes (painters), 128, 162—63 Nazareth, 178 Near East, 282, 284, 331 Negation (device), 6—n passim, 204, 215, 243—44; expressed in characters, 82—93 passim, 323; and apophaticism, 88-89; and affirmation, 158, 323

Neoclassicism: literature, 100, 135—37, 288, 333; painting, 124,127-28, 162, 355*15 Neologism (device), 125, 238 Neoplatonism: Christian, 85—91, 161, 279; German Romantic, 300, 348nn Nero, 37on22 Nevsky Prospekt (place), 58, 77, 150 "Nevsky Prospekt," 49, 139, 191, 193,

200, 269, 363n2; as cityscape, 75, 77—78, 117, 121; devices in, 203—6, 247>3i3 Newlin, Thomas, 367^ Newman, John Henry, 369*110 Newmayer, Frederick, 374n24 Nezhin, 84, 90, 97, 116, 296, 335 Nice, 175 Nicholas I (Tsar), 116, 176, 289, 330 Nicole, Pierre, 333 Nikolsky, A. S., 335 Nonsense (device), 59, 240—41, 339 Non sequitur (device), 26, 35—36, 209 North: Rome as, 177; synomymous with Europe, West, 286. See also Germany; Russia The Northern Bee, 55, 36ini6 Nose (theme), 59-65,118-19,185 "The Nose," 60,185, 190, 196, 198, 203,338-39, 349ni6 "Notebook for 1841-44," 364ni2 "Notebook for 1846," 35inn "Notes Toward a Plan for Touring Rome," 354ni3 Novalis (Friedrich von Hardenberg), 102 Novikov, N.I., 135 Nozdryov (Dead Souls), 200, 224-27, 238,242 O'Connor, Frank, 196, 207 Odessa, 178 Odoevsky, V. F., 289, 348nn Odysseus (Odyssey), 280, 299 Odyssey, see Homer "Old-World Landowners," 22—34, 5°> 69-71, 155, 222, 239; memory in, 104, 258—64; narrator, 196—97, 258—

64

Olesha, Yu. K., 347nio, 349n8 "On the Architecture of the Present Day," 72-73, 104-5, 349"6 "On The Contemporary," 3741116 "On Little-Russian Songs," 274 "On the Lyricism of Our Poets," 320—21 "On the Middle Ages," 266-68 "On the Movement of Peoples . . . ," 267, 282-83 "On the Odyssey . . . ," 296-301 "On Science," 3661133 "On the Teaching of General History," 267-71, 284 Ong, Walter, i92f, 195, 260 Oral discourse, see under Literature

Index The Order of St. Vladimir, 49 Organism: and mechanism, 30-34; model for bounded space, 37, 130, 2,39, 304, 328—32.; model for history, 2.67-68. See also Bounded space; Energy; Fragment; Routine Origen, 161 Orthodoxy, Eastern, see Christianity, Orthodox Ostend, 316, 360^3 Otherness, 2,6, 49-66 passim, in "Viy," 187—88; in Dead Souls, 245—46. See also Distance; Mediation; Mirror; Place Ouspensky, Leonid, 87, 2,78, 330 Overbeck, Friedrich, 162, 359nn "The Overcoat," 49, 51, 75, 79,106, 143, 196-97* 2.00, 2.03, 349ni6 Ovid, 34 Page, Tanya, 357ni3 Painting: Gogol practices, 97; stands for writing, 98-102,113-14, i43~75 P™sim, 166-67,189, 265, 270, 296, 322; utpictura poesis, 100,166; in Russia, 101, 116; Gogol's opinions of, 102, 116, 127—28, 163, 178; as mediation, 121-34 passim-, as subject of "Portrait," 143-75, 296; as mirror, 149-54; Gogol abandons as model, 175,189; and aestheticization of world, 327—28. See also under England; France; Germany; Italy. See also Picturesque Pantheon (Rome), 122,173 Parable of the Talents, 159 Paradise Lost (Milton), 300 Parataxis (device), 205—6, 234—41 passim Paris, 78-79,102., 121,124,I32.-33, 296 Parody (device), 52, 329-30 Past: as displacement, 14—15, 28, 261; essential to present, 152, 255-56, 259—60, 269—70, 276, 281; as memory, 256—64; code words for, 257; and history, 264-72; absent from Dead Souls, 273, 285; art and, 280. See also Distance; Forgetting; Imitation; Remembering Pasternak, B.L., 339, 37oni9 Pastoral, 146, 367^ Patriotic Institute (St. Petersburg), 266

403 Paul, St., 30,173 Paul (Tsar), 37on22 Pay sage historique, 128 Peace, Richard, xi, 48, 36ini5 Peninsular War, 60 Pericles, 358n25 Persian Language, 282 Personhood, 6—18, 86—87. See also Individuality Personification (device), 10, 69 Perugino, 128 Peter I (The Great), 50, 74~75> 7®, 135*» 264, 284-85 Peter III (Tsar), 25 "PetersburgNotes of 1836," 35onn, ni4, ni5, 37ini8 "The Petersburg Stage in 1835-36," 357nio "Petersburg stories," 106—7, 2.62 Petrifaction (device), 12,129, 185, 238, 246,356^4 Petromikhali ("Portrait"), 331 Petrushka (Dead Souls), 249 Phaeacians (Odyssey), 127, 280 Phemios (Odyssey), 280 Philemon and Baucis ("Old-World Landowners"), 33-34 Philip, St., 3571119 Philistinism (theme), 37—45 passim, 50— 66 passim, 139, 146-47, 174 Philokalia,8s Philosophical grammar, 332—38, 340, 37on5, 374H2I Physiological sketch, 77, 156, 168, 191, 212, 217, 230, 353n35 Picaro, 168 The Picturesque, 73,100—101, 181, 291, 296; in Dead Souls, 230, 243, 32728. See also Hussey; Karamzin; Seeing; Painting Pindar, 366^3 Pinturicchio, Bernardo, 128 Pirogov ("Nevsky Prospekt"), 139 Pisa, 178 Piskaryov ("Nevsky Prospekt"), 77-78, 200, 295 Pivot words (device), 202-3 Place: literary, 3; in Orthodox thought, 85-87,139,178-79; Gogol's views of, 87,139, 305, 313, 330-31. See also Bounded space; Individuality; Organism; Personhood Placelessness, 4,14, 21, 25, 47, 49-50,

Index

404

58, 90,137; St. Petersburg as, 74, 80; Gogol's life as, 90-93, 176-78; imitation as, 145. See also Demonic traits; Fragment; Individuality Plato, 30, 99, 300; on imitation, 168; on soul, 2.52—53; on physician, 309—10; on language, 340; in Russia, 37in8 Platonov (Dead Souls), 327 "Pleasant and Useful," 2.7—2.8, 140, 219— 2.1,2.2,8-34,2.65 Pleonasm (device), 215—16 Pletnyov, P. A., 111-12,, 177,138, 32.1, 326, 350^ Plyushkin (DeadSouls), 2,9, 33, 2,30-33, 2.41,2.44,331 "Poetics of stable styles," 207 Pogodin, M.P., 82, 92,110-12,176, 32of, 350^, 367ni4 Poland, 84, 100, 265; in "A Terrible Vengeance," 5-18; in "Taras Bulba," 7174, 274-82 Polevoy, N. A., 19, 286-87 Pollution, social, 9, 26, 82, 305. See also Bounded space; Place Polovetsians, see Kumans Poltava Province, 90 Poltava Seminary, 84 Pope, Alexander, 100 Popkin, Cathy, 199 Poprishchin ("Diary of a Madman"), 49-66, 90, 132, 139-40, 142-5 18889, 198-99, 2,18, 262, 295, 36ini6 Popugaev, V. V., 37on22 Port-Royal Grammar, see Grammaire generale et raisonnee "The Portrait," 49, 55, 75, 78, 102, i28f, 143-73, 2-03, 2.62, 269, 273; two versions compared, 117, 146, 148-49, 151,155-57,162, 169-73, 198, 274, 296, 375^33; theme of seeing, 191, 214, 231; and spirituality, 253, 279, 298, 302; compared to Dead Souls, 3 29-31 Postmodernism, 120 Poststructuralists, 338 Potebnya, A. A., 374n2i Present: as mythical desideratum, 14—15, 28; emblem of death, 152, 255—57; code words for, 257; ways of energizing, 259-60, 269-70, 276, 281; Gogol's anxiety about, 272; art and, 280 Priest, see under Artist Primary Chronicle, 3, 4, 82

Prince ("Rome"), 78-79, 104, 121-34, 168, 174-75,255,285-86 Prokopovich, Feofan, 3 5 2n6 Prokopovich, N. Ya., 116 Promeneuer solitaire, 126 Propertius, 366^3 Propp,V Ya., 307 Proskomidia (Rite of Preparation), 309 Pseudo-Dionysius the Areopagite, 8589, 160, 279, 305, 308, 340-41, 369n6, 375H35 Psyche (goddess), 148 Pugachov Rebellion, 266 Pulkheria Ivanovna ("Old-World Landowners"), 22-34, 70-71, l68, 2.22, 258-64 Pupopuz ("Two Ivans"), 43, 47-48 Purism (art movement), 162 Pushkin, A. S., 19, 88, 116, 207, 252, 256, 265, 280; Gogol on, 98-99, 104, 109-14, 134,138, 245, 285, 293, 295-96, 319-23; attitude toward Gogol, no-n; Belinsky on, 112; on Russian literature, 137; as historian, 265-66, 269, 287; on Karamzin, 265, 271; Nadezhdin on, 285; Shevyryov on, 292-94; as classicizing poet, 300. See also Mediation —works: Boris Godunov, 109, 266, 285; Bronze Horseman, 74—81, 266, 292; Eugene Onegin, 151, 242,255 —other works: n, 81, 149—50, 237, 266, 301, 339, 3491117 Pushkin School, 114 Quattrocento, 162 Rabinowitz, Stanley, 370^ Radishchev, A.N., 372n2 Rancour-Laferriere, Daniel, 36oni Rank, 49-66, 218 Raphael, 102, 128, 152,162, 164-65, 171-72, 296 Reader, see Audience Reavey, George: as translator of Dead Souls, 254, 362-66 passim, 373*16, ni2, ni4 Redfield, James, 345^ Reformation (Protestant), 85 Reinach, Salomon, 307 Remembering: in "Terrible Vengeance," 14-15, 22; in "Old-World Landowners," 22-34, 258-64; and artistic ere-

Index ation, 102—4; personal, 255—64; in earlier Russian literature, 256—57; in Dead Souls, 257; in "Carriage," 257— 58; jogged by sound, 260—62; in Bunin, 262—63; Augustine on, 263; as aletheia, 263; as anamnesis, 263; in "Taras Bulba," 278-80. See also Forgetting; Past Renaissance (European), 70, 85, 132, 163,178 Repetition (device), 154, 205—13; as return, 9, 24, 26, 63; in "Two Ivans," 38-48, 207; hyperbolized, 140-43, 219—34, 251; Lotman on, 208; in "Ivan Fyodorovich Shponka," 208-13. See also Conversations of the Deaf; Imitation; Ritual; Routine Repnina, E. P., 3 24 Repnina, V.N., 37oni Repression, see Forgetting Resurrection, 259 Retardation (device), 204-6 Revealing, see Art; Concealing Reversal (device), 56, 223-29 Rhetoric, see under Speech Rhine River, 115 Richter, Sigrid, 127, 132, 354ni 6, 355n23,356n32 Rijlaarsdam, Jetske, 374^1 Ritual: in "Terrible Vengeance," 6-18; in Inspector General, 18-21; in "OldWorld Landowners," 22—34; verbal, 35-48, 182-89, 207, 214-42, 27577; social, 47—68; in "Diary of a Madman," 49-66; in "Overcoat," 201; in Meditations on Divine Liturgy, 30810. See also Bounded space; Word Romanticism, 81,100, 294; idea of artist, 52, 78, 113, 119-20,158, 301; and Middle Ages, 72; and alienation, 89-90; and distance, 102, 105; and irony, 188; landscapes, 243; and history, 267; on transforming word, 280; Gogol and, 337; —German: organicism, 30; in Russia, 79-80, 289; and nature, 80-81; as source of "Portrait," 158, 162-67; Neoplatonism, 300. See also Germany; Wackenroder Rome, ancient: Russian reception of, 100,122, 287—89, 299; Gogol and, 116, 282—83, 296, 299—300. See also Latin language; Virgil Rome, modern: sights, 97, 118, 122,

405

126-27,173, 290-91; Gogol in, 97, 106—7,114—34; ways of apprehending, 115—34; Gogol cools toward, 175—78, 255—56; and Russia, 285—94 passim. See also Campagna, Roman; Italy; Renaissance; "Rome"; Shevyryov "Rome," 160,178,181, 273, 327; Europe in, 78-79; as painting, 99, 121-34; and seeing, 104,168-69, 173^75,191,2-31; language of, 120, 125, 173-75; Belinsky on, 121, 13334; Gogol on, 133-34; and past, 255. See also Annunciata; Mediation; Prince; Seeing Rosa, Salvator, 101 Rosset, A. O., 326, 36on24 Roos, Heinrich, 127 Ross, Stephanie, 352nio Rossini, Gioacchino, 124 Rottmann, Carl, 126 Rousseau, Jean-Jacques, 312 Routine: as habit, 28, 30—31; inorganic, 30-34; as automatism, 51, 139-40, 153; as madness, 65; fatal to art, 143— 73. See also Imitation Rozen, E. F., 298 Rozenbakh, P. Ya., 349ni7 Rublyov, Andrei, 163 Rudy Panko (Evenings on a Farm], 19395,198, 201-2, 212 Russia: myth of enclosure, 3—5, 74; as Rus, n, 243-54, 281, 283-84; incommensurate with capitals, 75—80; Gogol's ambiguities about, 92-93, 107, no-ii, 118,120,175-78, 326; Pushkin as embodiment, 98-99; as Gogol's subject, 107, 266-72, 28085; and Europe, 115—16; and Italy, 116-21, 132-33, 285-86, 290-94; landscape, i32.~33> 2.43-44, 247-48; identity, 135-38, 234-54; treatment in Dead Souls, 234-54, 292-94; language, 244-45, 291-94, 298, 332; people, 244-54, 2.86-87; history, 264-66; "two Russias," 286-87; as south, 287; ancient Greece and, 296— 301 St. John Lateran (Rome), 126 St. Peter's (Rome), 118,126 St. Petersburg: as false city, 18-21,106, 140—43; mythology of in Russian literature, 50, 74-80; and Moscow, 76,

406 79—80; and Italy, 117; Gogol's changingattitude toward, 176. See also "Christmas Eve"; "Diary of a Madman"; The Inspector General-, "Nevsky Prospekt"; "The Nose"; "The Overcoat"; "The Portrait" St. Petersburg University, 266, 271 Saints, 161—62., 169, 201, 330 Samarin, Yu. R, 324, 353n26 Satan, see Demon Saussure, Ferdinand de, 336—38 Scandinavia, 283 Schelling, Friedrich, 80, 289 Schiller, Friedrich, 167, 270 Schillinger, John, 3611119 Schizophrenia, 59 Schlegel, Friedrich von, 282 Schleiermacher, Friedrich, 30 Schlozer, August-Ludwig von, 270, 272 "Schlozer, Muller and Herder," 270, 272 Schwalbach, 36on23 Scott, Sir Walter, 167, 2651, 270 "Sculpture, Painting and Music," 98, 166, 297, 301-2 "Second Version of the Ending of 'The Denouement. . .'," 37ini6 Seeing: in "Two Ivans," 46,181—82; as writer's main approach, 67—69, 81, 97—114, 166, 270, 315—16; and Gogol's approach to Rome, 115—34; in "Rome," 121-34; m "Portrait," 135—75; Gogol's skepticism about, 168—75, 299» word as competing mode, 181-254, 259-60; Gogol readopts when insecure, 246, 318—19, 321-22, 326-32; in "Nevsky Prospekt," 247. See also Distance; Mediation; Painting; Word Selected Passages from Correspondence with Friends, 160,163, 295; reception, 83, 303-4, 322, 324; on place, 85; Belinsky on, 112, 303-4, 35^3, 372ni; genre, 120, 303; language, 120, 316-18; Gogol on, 168, 304, 310-16; and Pushkin, 319-23; on silence, 340—41 —individual essays: "A Definition of the Word," 192—93; "The Fears and Terrors of Russia," 160, 311; "Foreword," 303—4, 318; "Four Letters to Various Persons . . .," 372n3, 373n4; "The Historical Painter Ivanov," 163, 352ni4, 359nn; "On the Lyricism of

Index Our Poets," 320—21; "On the Odyssey . . .," 296—301; "Subjects for the Lyric Poet. . .," 365n27; "Testament," 303-4* 3Io~II» 3*7-18; "What, Then, Constitutes the Essence . . . ," 105, 319, 352ni2, 357nio, 359ni4; "Woman in Society," 35in8, 356n24 Selifan (Dead Souls), 221, 235, 247, 249-50 Senkovsky, O. I., 19 Sentimentalism, 19, 23, 27-28, 80, 28889; Khlestakov and, 19, 140-43; Karamzin and, 23, 80, 141—42, 169, 195, 265, 3571113; language of, 38,14046, 197, 228, 262; cult of friendship, 91, 221; and distance, 102, 105; and promeneur solitaire, 126; and reader, 195; in Dead Souls, 219-21, 232-33 Seraphim of Sarov, 37in24 Sexuality, 25—32, 188; sterility, 25—26, 49—66, 203, 208—11; voyeurism, 25— 32, 49-66, 130-31, 182-89, 208-11; violence and, 26-29; androgyny, 29, 3*> 37-39, *3i; and clothing, 31-3^ 36—38, 40, 62, 2ii—12, 258; and food, 31—32, 201—2; threats to, 37— 43, 69; and power, 49-66; Gogol's, 91; masturbation, 185, 203, 209—10; hermaphroditism, 203; and punishment, 209—12, 222; homoeroticism, 210 Shakespeare, William, 30, 101, 276, 300 Shakhovskoy, A. A., 3 5 7n 13 Shapiro, Gavriel, 3 5 on 5 Shchepkin, M. S., 92 Shenrok, V. I., 35ini Shevyryov, S.P., 83, 122, 133, 175^ and Gogol, 289-94, 312,* 3i6, 37in8 Shulgin, 1.1., 266 Siberia, 282 Sickness: and sin, 304—12; Gogol and, 337—41. See also Sin Sidon, 178 Silbajoris, Rimvydas, 356ni Silence: sign of truth, 172, 308-9, 340; art's ultimate goal, 253; Gogol and Pseudo-Dionysius on, 340—41. See also Petrifaction Sin, 87, 304—12; Gogol and, 337—41. See also Sickness Sinyavsky, A. D., xi, 339 Skaz, see under Speech

Index Skovoroda, Hryhory, 85, 2.78—79 Skudronzhoglo (Dead Souls), see Kostanzhoglo Slavophiles, 2.84, 324; and Westerners, ±87 Slava (fame), 103, 152 Slavs, 2.82.—84 Slonimsky, A. L, 35, 2.07, 358^4, 362,nz8 Smirnova, A. O., 107-8, 177, 3231, 337, 353 n 3i>354ni3 Smyrna, 178 Sobakevich (Dead Souls), 200, 2,2,1, 223, 227-30,2321,241,331 Sobel, Ruth, 37ini2 Sollogub, S. A., 310, 316 Solovyov, S.M., 367n7, 373nu Solzhenitsyn, A. I., 4, 339, 349n8 Song: replaces seeing, 171-72, 244, 249; and word, 244—45; Gogol's definition, 245; Nabokov on, 245; as energy, 246-54; life-giving, 280; as Russian essence, 290-94. See also Bandoreplayer; Music; Word "Song," 365n25 The Song of Igor's Campaign, 3f, n, 136,245,339 Sophia (Wisdom), 252, 349ni5 Sorcerer ("A Terrible Vengeance"), 5—18, 68,153,188,198 Sound (theme): triggers fresh perception, 23-24, 174, 236, 244-54 passim, 259—62; and meaning, 200—201; and seeing, 221—24. $ee a^so Literature (oral); Music; Word South: Gogol as southerner, 112; and north, 117—19; as energy-principle, 282—85; as Asia, 282—85; as origin of Slavs, 283; Ukraine as, 285-86. See also Cossacks; Italy; Ukraine Soviet Union, 4 Spain: in "Diary of a Madman," 55—66 passim Speaking names (device), 200 Speech, types of: rhythmic, 6—10 passim, 189—90; journalese, 52, 216; popular, 59—60; oratorical, 106,120,189—90, 195—96, 248, 268—74 Passim, 312—18 passim, 325; rhetorical, 106, 189—90, 192,195, 205, 325; lyrical digressions, 120, 325; authoritative, 120, 248, 274, 316, 325; reportorial, 189-90, 248, 262; skaz, 189-91,196, 238-

407

40; at beginnings of stories, 189-91; sermon, 190; impersonal, 191; types in Dead Souls, 214-19; private, 217; ritualistic, 234-41; legal, 240-41; rhyming, 276—77; Gogol's interest in all levels, 337. See also Cliche; Devices (individual listings); Narrator; Sentimentalism; Word Speransky, M. M., 83 Spoiled duel motif, 237 Stael, Germaine de, 358n25 Stalin, I. V., 367n6, 369^:5, 37on23 Steiner, George, 374n22 Sterility, see under Sexuality Sterne, Laurence, 60, 137 Stilman, Leon, 186—87, 36oni Storchenko ("Ivan Fyodorovich Shponka"), 208—12 Striedter, Jurij, 3 56n9 Subject change (device), 41—42, 209 "Subjects for the Lyric Poet. . .," 3651127 The Sublime, 68-69, 2-44> 32-8 Sumarokov, A. P., 30, 333-34 Supernatural: in "Portrait," 155, 157; in Dead Souls, 246, 250, 253 Surrealism (device), 247 Suvorov, A. V., 284 Switzerland, 116, 118, 126, 132—33 Syllogism (device), 55, 323 Synecdoche (device), 215 Table of Ranks, 50, 54f, 218 Taboo, 4, 43, 184 "The Tale of Captain Kopeikin" (Dead Souls), 238—42

"The Tale of How Ivan Ivanovich Quarreled . . . ," 20, 31, 35-48, 50, 190,

207, 227, 36ini5; empty-space device, 56, 305; seeing in, 181-82, 184; narrative strategies, 193,196, i97f, 205 Tanner, Tony, 81, 246 "Taras Bulba," 69, 267, 273-82, 291, 331? 337;town theme in, 71-74; two versions compared, 274-78, 283; word in, 275—80; Asian principle in, 282-83; figure of artist in, 295 Tartars, 71-74, 276, 282ff, 286, 290, 304, 329, 373nn Tatishchev, V. N., 264 Tchaikovsky, M. I., 365ni8 Tchaikovsky, P. I., 346ni7, 365^:8

4o8 The Telescope, 137 Teniers, David, 146 Tennyson, Alfred Lord, 91 Tentetnikov (Dead Souls), 326, 32.8-2.9 "A Terrible Vengeance," 5-18, 22, 2.8, 34, 36, 43, 50, 88, 153; and "OldWorld Landowners," zzf, 26; landscape of, 68—69, IO 5; and "Portrait," 157—58; narrator, 195, 272; and Dead Souls, 234; and "Taras Bulba," 274,280 "Testament," 303-4, 310-11, 317-18 A Textbook of Literature . . ., 192—93, 245, 312, 365n25, 366n33, 37in9 Thersites (Iliad), 358n4 Thieme-Becker Lexikon, 355^1 Thierry, Augustin, 266 Thiers, Adolphe, 266 Thompson, Francis, 261 Thomson, James, 101 "Thoughts About Geography," 267 Tiber River, 290—91 Tieck, Ludwig, 162 Time, see Future; Past; Present Titian, 102, 172 Titles (device), 203 Todd, William Mills, xi, xiii, 137, 356ni, 358n26, 367ni2 Tolmachev, Yakov, 335 Tolstoy, A. P., 36on26, n28 Tolstoy, L. N., 51, 130, 195 Transfiguration, 250—51, 309; in "Taras Bulba," 278-80; Feast of, 278-79, 309; in Dead Souls, 330 Transformation: and placelessness, 5—7, 29, 40-41; and demonic, 17-18, 247; as control, 56—57, 70—71; by word, 222, 230; of ordinary reality, 246—53, 308; and transfiguration, 277—79. See also Demonic Traits; Place Transubstantiation, 309 Tredyakovsky, V. K., 74—75, 100, 297 Trimpi, Wesley, 352n8 Troika (theme), 63, 246-54, 280, 29293 Troshchinsky, D. P., 85 Truism (device), see cliche Trushkovsky, N. P., 324 Turgenev, I. S., 6,104, 321, 326 Turks, 37, 68, 282 Turner, J. M. W., 124,126 Turner, Victor, 7, 18, 46 Twins (theme), 46—48

Index "The Two Ivans," see "The Tale of How Ivan Ivanovich Quarreled..." Tyre, 178 Uglich, 284 Ugliness: as evil, 160; as beauty, 291 Uhland, Ludwig, 167 Uitti, Karl, 373ni7 Ukraine: in "Terrible Vengeance," 5—18; in "Old-World Landowners," 22—34; in "Ivan Fyodorvich Shponka," 67, 259; Gogol's relationship with, 75, 90-92, 106-7, 112,117, 355; source of religious and aesthetic values, 83— 85, 100, 278-79; in "Viy," 182-89; in Hetman, 266, 274; Gogol as historian of, 266, 269, 282—85; other historians and, 269; in "Taras Bulba," 273—81, 291; as Asian, 282—83; as southern, 285—86, 322. See also Cossacks; Evenings on a Farm Near Dikanka; Kiev; Mirgorod; individual articles on history by title Ulinka (Dead Souls), 128, 160, 327 Undine (fictional character), 149 Uniates, 281 Universal grammar, see Philosophical grammar Ural Mountains, 292 Ut pictura poesis, see under Painting Uvarov, S. S., 269 Vakula ("Christmas Eve"), 76—77 Valenciennes, Pierre-Henri de, 124 Valkenier, Elizabeth, 354^ Valliere, Paul, 279, 37ini4, 372n22 Van Dyck, Anthony, 102, 123 Varangians, 3 Vasari, Giorgio, 164—65 Vasilievka, 90 Vasilisa Kashporovna ("Ivan Fyodorovich Shponka"), 208—12, 259 Vates, 299, 301 Venevitinov, D. V, 116, 118,122,137, 289, 348nn,352n2, 354n6 Venice, 127, 175 Vergara, Lisa, 100 Vesuvius, Mt., 178 Vielgorskaya, A.M., $6onz6 Vielgorsky, I. M., 91 Vienna, 124,175^, 304 Vienna Academy, 162 Villa Ludovisi, 173

Index Villa Medici, 12.7, 173 Vinogradov, V. V., 168, 348014, 362.028 Virgil: Georgics, 70-71; Aeneid, 2,88, 2.99—300, 37108 Virgin Mary, 129,157, 164,169 "Viy," 69, 77, 89, 106,182-89, 222 Vogel, Lucy, 122 Volga River, 290 Volkmann, Johann Jakob, 127 Volkmann-Schluck, Karl Heinz, 3 5 on 17 Volkonskaya, Z. A., 289 Voltaire, 100, 335 Voyeurism, see under Sexuality Voznesensky Avenue (St. Petersburg), 190 Wackenroder, Wilhelm Heinrich: on place, 89—91; as source for Gogol, 162—67, 352n2; on music, 301—2; on language, 340 Ware, Timothy, 99 Warsaw, 71, 73~74 Waterloo, 60 Weiskopf, Mikhail, 252—53, 349ni4, 37in8 Wellington, Duke of, 59-60 Westerners: and Slavophiles, 287 "What, Then, Constitutes the Essence . . . ," 105, 319, 352ni2, 357nio, 3591*14 Wheelwright, Philip, 37ini5 Whitman, Walt, 246 Williams, Gordon, 362^0 Wisdom, Book of, 159-60, 311 Wisdom-Lovers (Lyubomudry), 289, 348nn Witch, 37, 182-89, 222 "Woman," 128, 296 "Woman in Society," 351 n8, 356^4 Women (theme): in "Diary of a Madman," 49-66; Gogol on, 91; in "Rome," 122-44; in "Viy," 182-89; in "Ivan Fyodorovich Shponka," 20812; in Dead Souls, 221—24, 236—38. See also Alkinoe; Annunciata; Ulinka; Witch; "Woman"; "Woman in Society" Woodman, A. J., 368ni9

409

Word (theme): in "Old-World Landowners," 27—29, 260—61; in "Two Ivans," 35—48; in "Diary of a Madman," 49— 66; and seeing, 98-100, 125, 181213, 296, 318-19; Gogol's early views, 98-100; and icon, 99-100; word-weaving, 125; in "Taras Bulba," 158, 273-80; Gogol's developing thematics of, 178, 188-89; in "Viy," 182—89; inadequacy of, 188, 337—40; types of, 189—213; sacramental and artistic functions, 189, 277-80, 298, 308—10; definitions, 199; in Dead Souls, 214-54, 332; and music, 24546, 302; Gogol's later views, 273, 318—41; and idea, 305, 332—38; dangers of, 338—41; and silence, 340—41; langue and parole, 376-78. See also Artist; Devices (individual entries); Literature; Philosophical grammar Wordplay, 200—203, 217—18, 238 Word-Signals, 334 Wordsworth, William, 80-81 Word-weaving, 125 Wright, F. A., 349ni5 Writer, see Artist Writer-creator, see under Artist Yankel ("Taras Bulba"), 73, 337 Yazykov, N.M., 138, i76f, 316, 365n27, 372.n3 Yermakov, I.D., 349ni6, 36in8, 362n29 Young, Edward, 101 Yusupov, N. B., 116 Zagoskin, M.N., 19, 265 Zamyatin, E. I., 349n8 Zeldin, Jesse, 357nn,372ni Zenkovsky, S. A., 345ni, 355n27 Zenkovsky, V. V, 3 5on4 Zernov, Nicholas, 355n27 Zeus, 3 3-3 4,153 Zholkovsky, Alexander, 3 71 n 12 Zhukovsky, V. A., 97, no, 120,175^ 302, 354n9, 36on25; Gogol on, 101, 138,167, 296—99; on writer and society, 103-4; on memory, 256-57; on Pushkin, 320 Zoshchenko, M.M., 339

Library of Congress Cataloging-in-Publication Data Maguire, Robert A., 1930Exploring Gogol / Robert A. Maguire p. cm. — (Studies of the Harriman Institute) Includes bibliographical references and index. ISBN 0-8047-2320-6 (cl.) : ISBN 0-8047-2681-7 (pbk.) i. Gogol', Nikolai Vasil'evich, 1809—1852—Criticism and interpretation. I. Title. II. Series. PG3335.z8Mi 7 1994 89i-78'3O9—dc2o 94-14416 CIP

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