I am a literary giant in Russia

Chapter 220 Encirclement and the Title Ten Years Later
The reason why there are various "isms" in literature and art is, broadly speaking, that "isms" can serve as a banner to bring together a large number of writers and artists, thereby creating a huge momentum, promoting ideological change, and thus having a profound impact on society.

Humanism, the Enlightenment, and Romanticism during the Renaissance all exhibited this characteristic, profoundly influencing literature, art, and society to varying degrees.

On a smaller scale, if we don't unite against the behemoth that is the literary and artistic tradition and the vested interests, we will be easily crushed if we don't unite. Where will the future come from? Uniting under the same ideology will make it more likely to seize the right to speak, acquire more cultural capital and practical benefits, and gradually establish our own art and our own existence under this ideology.

Of course, a general "-ism" cannot encompass all the writers mentioned here; it can only be said to give the public a simple understanding of writers and artists. Some writers may also be confused because they are referred to as "-isms."

In conclusion, "isms" are necessary in literature and art in a certain sense, just as political movements need clear programs.

It's not just about sticking together for warmth, but also about coming together to exert greater strength.

As for the realist movement, although it had already shown signs in works such as Stendhal's "The Red and the Black", Balzac's "The Human Comedy", Dickens' "The Pickwick Papers" and "Oliver Twist", and Gogol's "The Government Inspector", it had never been formally proposed by anyone as an ideology or manifesto.

Strictly speaking, what Mikhail and his group are currently doing in Russia is a realist movement, only they are still under the name of the "naturalists".

Of course, for Mikhail, the definition and connotation of realism are undoubtedly more substantial and richer, and it is already a very mature system.

It can only be said that the papers he read during his graduate years were not for nothing; his theory is based on over a century of experience.
Therefore, after Mikhail made those seemingly shocking remarks, he was able to respond quite calmly to any questions or inquiries about the specific content of his theory.

As Mikhail elaborated further, the audience became increasingly aware that he seemed to possess two very mature literary concepts and corresponding creative methods.

Perhaps these things are far from encompassing the complexity of artistic creation, but "isms" are more of a direction and an inspiration. How far and how deep one can go depends on the individual.

If this theory itself conforms to the laws of art and is feasible, could it really drive the innovation of literary concepts and creative techniques? If one were to participate in it, it might actually have a chance to become mainstream in the future, and then gain real benefits and a place in literary history?

But the problem is, he's Russian!
Are we, a group of French people, really going to join forces with a Russian writer?!
If he were a rising star in French literature with such theoretical knowledge, we might actually gather around him and achieve great things!

Of course, since this literary concept is so different from the mainstream literary concept today, some people are thoughtful while others are full of resistance, and they refuse to admit that vulgar reality can really unearth the beauty of art.

Among these, Balzac was quite interested in Mikhail's realist manifesto. First of all, in Mikhail's theory, his works occupy a very high position, which is undoubtedly a sign of admiration and praise for him.

Secondly, features in this theory, such as "using literature as a means of analyzing and studying society, providing people with a rich and colorful social and historical picture of a specific era," "emphasizing the truthful and objective reflection of life, reproducing social reality, and paying attention to the authenticity of details," and "emphasizing the description of the relationship between people and the social environment, and shaping typical characters in typical environments," to some extent, really resonated with Balzac.

When I heard Turgenev talk about me before, I felt that he understood me very well. Now that we've talked face to face, I think he understands me even better than I imagined!

While excited, Balzac couldn't help but look at Mikhail and ask, "So, Mikhail, are you proposing these ideas to create a new literary movement in Paris? And what you intend to do next is to promote these new theories and then create corresponding works? Forgive my bluntness, but that's no easy task."

Having spent decades navigating the complexities of Parisian literature and other circles, Balzac was all too familiar with the intricacies of the Parisian literary scene.

What does it mean to propose a new literary theory?
This means seizing the discourse power to interpret literature!

So what does this right to speak mean?

It signifies an official position, a sacred status, and enormous benefits.
Who would easily give up something like that?
Not to mention that Mikhail was Russian. How can a Russian seize the discourse power of French literature? French literature has become an appendage of Russian literature?

That's completely backwards! It's as absurd as someone saying French cuisine is subservient to British cuisine! Nobody wants to see that!

If he dared to do that, he might accidentally face a siege from the entire French academic and romantic schools.

It's a pity about his theories. To be able to study certain things so thoroughly and profoundly, he must have put in a lot of effort, but it's highly likely that all his efforts will be wasted.
Just as Balzac was feeling somewhat regretful and disappointed, to his surprise, Mikhail shook his head nonchalantly and casually replied, "No, I have no such intention."

"But you must have put in a lot of effort to bring these things to Paris in perfect condition."

"That's not the case. I had already written articles about these theories before, but I completely forgot about them for a while and only recently remembered them. As for taking them to Paris..."

Mikhail tilted his head slightly, then casually gestured and said, "Just something I did?"

Balzac: "?"

Is this still human language?

"Of course, more so because I won't be living in France for long. And I believe this kind of literary theory is a correct prediction. This is the literary trend that may emerge in France next. At that time, many people may be able to find what they are looking for in it. This is a gift I give to French literature."

Mikhail smiled slightly at this point, and then continued, "However, my theories may also be complete nonsense. French literature may go down a completely different path. So, let time decide whether these things are correct or not."

Balzac understood those intricate complexities, and Mikhail naturally understood them deeply as well. However, Mikhail was ultimately an outsider, lacking the advantage of operating on home soil. If Mikhail were to return to Russia now and attempt to launch a cultural movement, barring official opposition, he could easily declare, "The world is in my hands; I will act as I see fit, and who dares disobey?"

But forget about Paris. Facing criticism and attacks is almost inevitable. It's not a question of whether you can win a debate with a group of people. It's purely a matter of being at a disadvantage due to nationality, qualifications, and connections. Without these things, it would be almost impossible to cause a big stir.

Of course, being criticized and attacked now is one thing, but if we extend the timeframe a bit, Mikhail really can't help but ask: "What about in the future? How will the French literary world refer to me in ten years?"

However, at this moment, everything is still unknown. Mikhail also doesn't know how the French literary world will refer to him ten years from now, so let's just continue on this path for now.

While thinking this way, Mikhail also made a final addition in front of everyone:

"My greatest hope is that French writers can truly turn their attention to the people in the shadows, without excessive sentimentality or dramatization of their lives. Perhaps simply presenting their lives calmly and objectively can evoke emotions in some people and thus benefit society to a certain extent."

After saying all this, Mikhail spoke for a long time with the others present and Balzac. However, towards the end of the conversation, Balzac seemed to finally open up completely to Mikhail, and then he said mysteriously:
“Mikhail, I have a business opportunity that will definitely make you rich, and all you need to do is invest a small amount of money.”

Mikhail: “???”

Still haven't given up?!

Upon hearing this, Mikhail quickly found an excuse to pack up and leave.

As soon as he left, almost everyone in the room couldn't sit still anymore. They all stood up to say goodbye to Balzac, and then they went to their own small circles and friends.

Someone was about to recount the day's events in an astonished tone: "My God, you can't even imagine what kind of literary theories and manifestos I heard today! Although they were put forward by a Russian, I feel they are perfectly suited to French literature!"

Some were already prepared to hurl the most vicious and offensive insults at Mikhail and his literary theories: "It is utterly absurd that a mere Russian has dared to presume to discuss French literature and its subsequent development!"

How could someone propose two almost completely contradictory theories of literature? Does he think his thinking is brilliant? Or is he simply so indecisive that his mind is so confused that he spouts a bunch of nonsense?

Regardless of what others thought, Mikhail didn't care. He simply compiled a portion of the manuscript as planned, and then used his connections in Paris to send these literary reviews directly to Critics' Two Worlds, the most authoritative literary review journal in Paris.

It is worth mentioning that Mikhail also translated some of Belinsky's excellent critical articles into French and sent them to French literary journals.

Belinsky seemed somewhat bewildered by this: "Mikhail, are you saying that my review could possibly be published in a French literary journal? Does my review even deserve that?"

Faced with this question, Mikhail nodded without hesitation and said, "Of course, dear Vesalion, many of your articles are excellent and deserve to be seen by more people. You can rest assured."

"How could I not trust you with something I've entrusted to you? I'm just worried that my article might damage your reputation in France."

"Don't say such things, Vesalion. I've learned a lot about literary criticism from you, and my success is also your success."

After exchanging some information, Belinsky also discussed returning to his country with Mikhail.

It must be said that after such a long period of recuperation, Belinsky's condition has undoubtedly been greatly relieved. Even if it may not be cured, his spirits are much better than when he was in Russia.

Under these circumstances, Belinsky could no longer suppress his desire to return home, and Mikhail did not stop him. Instead, he helped Belinsky with some preparations and trivial matters before returning home.

While packing his luggage, Belinsky looked radiant and full of energy, just as he himself said: "I can't wait to get to work and fight!"

Mikhail: “.”

Hey Lao Bie, you really need to watch your step! Watch your foot!
To be honest, now that things have come to this, perhaps because he has witnessed more and more of reality, or perhaps because he has experienced a lot, in any case, a part of Mikhail's heart is indeed becoming more and more courageous.
I just don't know if this is a good thing or a bad thing.

If we calculate the timeline, the day Mikhail leaves France will be the same day Belinsky returns home.

So, getting back to the main point, since Mikhail's articles to Review of the Two Worlds were presented under the guise of international exchange, rather than directly analyzing the future of French literature or directly challenging and rebelling against the current French literary tradition, Review of the Two Worlds published them relatively readily, out of respect for Mikhail's own abilities and the connections he had with some people.

At first, the French literary world didn't care about this, but as some people gradually realized what was going on and heard the rapidly spreading rumors, the number of people paying attention to and criticizing these articles increased almost every day.

Mikhail, who had anticipated this overwhelming criticism, was not particularly surprised.

All I can say is that only time will tell.

Even amidst this increasingly noisy public opinion environment, Mikhail continues to find time to do something he does every now and then.
(End of this chapter)