Читаем Russia. A History полностью

The first secular men of letters—Vasilii Trediakovskii, Antiokh Kantemir, Alexander Sumarokov, and Mikhail Lomonosov—received their education before mid-century either at the newly established academies for military cadets or at seminaries for prospective priests. Each proved to be a prolific essayist, poet, and translator; each endeavoured to preside over the emergent secular print culture housed at the Academy of Sciences. During the 1750s, however, élite secondary education underwent a significant transformation; it now placed far greater emphasis on modern languages, belles-lettres, and gentlemanly pursuits (fencing, dancing, parade-ground assembly)—all at the expense of narrowly technical subjects. Equally important was the establishment of Moscow University in 1755 (Russia’s first), with its affiliated secondary boarding-schools (pansiony) in Moscow and Kazan.

For the next two generations Moscow University and, especially, its two boarding-schools, would train cohorts of literati who would subsequently establish the main translation societies, journals, and printing presses. Although they received little or no income for their literary endeavours, these first intellectuals devoted at least as much time to their cultural activities as to service and, indeed, saw these activities as a proper extension of their official duties. Their cultural engagement was facilitated by the reduced demands of state service: commissioned officers had few daily responsibilities in peacetime, those in administration rarely had to work more than three or four mornings a week. Favoured with such leisure, the young literati embraced the world of letters, expanding the annual number of publications from under 100 in the 1740s to about 500 in the late 1780s. They created a new genre of literary and polemical journalism, an enterprise that, by the 1770s, was producing two or three new periodicals a year. Most literary journals had tiny press runs (rarely more than a few hundred copies per issue) and often failed after just a few issues. Nevertheless, others quickly took their place, keeping the spirit of creation and engagement alive.

Indeed, journals and publishing circles were the principal foci of secular intellectual activity. As such, they were decidedly noble (dominated by service nobles) and cosmopolitan, housed either in Moscow or St Petersburg. Their audiences, predictably, were also urban and noble; for example, over three-quarters of all subscribers to journals were members of the hereditary nobility. Book readers were less likely to subscribe (hence register their status), but here too the vast majority came from the nobility.

Significantly, the new cultural activity gradually moved intellectual life towards autonomy from state and monarch. Court patronage did remain as an essential feature of literary and cultural life; until 1783, for instance, nearly all secular publications came from institutional presses, mainly the typographies at the Academy of Sciences and Moscow University. Increasingly, however, these presses left editorial decisions to the literati themselves, for they printed most manuscripts with few changes, especially if the author or translator helped pay the bill. Even this modicum of control vanished in 1783, when Catherine gave private individuals the right to own presses without prior approval.

That decree effectively neutralized the monarch’s ability to direct and control literature, not because of any ideological conflict, but because writers could now pursue literature independently of the government. In large measure the literati gained this autonomy precisely because they had not posed a threat to the existing structures of authority, whether formal or informal. In fact, the vast majority of writers shared Catherine’s enlightenment vision of the state as the principal agent of improvement and moral direction; few raised basic questions about the existing social order. All concurred with the empress that Russia was part of Europe, that reinforcing this affinity served the best interests of the fatherland and individual. Some dissented, it is true. Most notably, the great journalist and publisher Nikolai Novikov railed against mindless slavishness towards French fashion (‘Voltairianism’) and launched major publication ventures, such as the Drevniaia rossiiskaia vivliofika (‘Ancient Russian Library’) in twenty volumes, to celebrate Russia’s own antiquity and traditional culture. But even he devoted immense attention to translations and adaptations from contemporary French and English letters. For example, the so-called satirical journals of 1769–74 (The Painter, The Drone, Bits of This and That, and others) included pieces purloined directly from Joseph Addison’s Spectator.