I am a literary giant in Russia

Chapter 222 The Arrest Warrant and Its Lasting Impact

Inscription for Part Two

Dark Ages

Are there songs too?
Yes, there will be singing.

Singing about a dark era.

This Year

This will be a year that gets talked about.

This will be a year shrouded in mystery.

The old man watched the young man die.

A fool watches a wise man die.

The earth no longer gives birth, it only devours.

The sky stopped raining; instead, it rained iron.

Bertolt Brecht

In terms of what the poem "A Worker's Questions About History" means in this day and age, in short, in the past, the field of history was almost entirely dominated by the so-called "heroic view of history," which believed that history was created entirely by a very small number of people.

Even if there were sparks of thought that valued "the people," they were often scattered and unsystematic, and often entangled with other things. The key period for the birth of the so-called "people's view of history" as a scientific theory was in the 1840s, when Marx and Engels developed it step by step on the basis of critically absorbing the intellectual achievements of their predecessors.

Just like in The Holy Family, published in 1845, "Historical activities are the cause of the masses, and as historical activities deepen, the ranks of the masses will inevitably expand."

The upcoming book, *The German Ideology*, provides a more in-depth explanation.

Of course, this is just the most brief summary. The so-called "heroic view of history" and "people's view of history" are also the most general terms. There is much more to say that could be elaborated on.

But one thing is certain: in 1845, when oppression and exploitation were becoming increasingly severe, this idea was undoubtedly radical and progressive enough.

As for the significance of this poem to reality, simply put, although the lower classes of this era have spontaneously begun to resist because they can no longer bear the severe exploitation, they have not yet clearly defined their own position, nor have they figured out the vague consciousness in their hearts.

This poem, which is easy to understand yet possesses a strange humor and an epic feel, will undoubtedly spread rapidly among certain groups and further ignite something that already exists.

Proudhon was acutely aware of the impact of this in the days following hearing the poem.

Firstly, he was already researching and contemplating this subject; secondly, given his social circle, he undoubtedly had close ties with various revolutionary groups and forces in Paris.

So during these days, Proudhon observed various phenomena, collected various information, and recorded some things with mixed feelings:
"It is hard to imagine that a poem that is not particularly complex could evoke such a strong response among workers and even more people. Its educational and inspirational effect on the public may far exceed that of some obscure theoretical works."

I've heard an illiterate worker ask this question: "Caesar defeated the Gauls, surely he didn't even bring a cook? What if no one cooked for Caesar? What would happen to him?"

Although the poem is simple, its ideas are undoubtedly profound and deep. And it is precisely because of its outward simplicity that it was recited and discussed by more and more people the following day, and that more and more people discussed the mysterious poet who had disappeared at some unknown time.

"At first, almost no faction in Paris could have imagined that such a genius existed within their organization, but as some gradually came to their senses, this genius turned out to be a member of several factions and organizations simultaneously."

"Someone is copying this poem endlessly from the original manuscript left behind by that mysterious poet, and I've heard that someone wants to make some pamphlets specifically for this poem and distribute them in Paris."

"The continued popularity and heated response to this poem has attracted the attention of the Paris police and higher-ups. I have heard their discussions about the poem, which are full of anger and disgust: it desecrates history, incites class hatred, undermines social harmony, and drags the magnificent history into a quagmire."

While such discussions are undoubtedly unfair, they also seem to pinpoint some of their negative impacts; they incite a certain hostility, which may not be beneficial to reality.

“Gabrielle Dubois was very excited when he heard the poem. He was eager to meet the poet and compose music for it himself. Unfortunately, his wish to meet the poet was destined to be unfulfilled, but his music has already become part of his daily life. I listened to a piece of it, and it was very powerful.”

“I believe there are far too many people like me who want to find this poet and talk to him, but the only clue we have so far is a common name: Michel. This poet seems to be quite cautious and discreet.”

While recording these things and pondering many important questions, Proudhon suddenly remembered something else: he had not yet replied to the young man named Karl.

While writing his reply in his spare time, he couldn't help but think about what he had seen and heard these past few days. So, after thinking about it carefully for a while, he finally mentioned the matter in his letter:

"I'd also like to talk about a mysterious poet who recently appeared in Paris. I think you'd probably really enjoy this poem, the text of which is as follows. I also admire it, but I'm keeping my reservations about the reactions it has generated."

While Proudhon observed and dealt with all these things, Mikhail, who had been less active lately, was not directly affected by these events. However, thanks to the Paris police's penchant for offering rewards for wanted criminals on the front page of newspapers these days, Mikhail still came across a description like this one day:
"At the request of the Paris Police Department, a man recently made inflammatory remarks in the suburbs of Saint-Antoine that incited class hatred and questioned social order, causing serious negative consequences. Anyone providing information leading to his arrest will be offered a reward of fifty francs."

Mikhail: "." Dude, are you serious?

And why only fifty?
However, with such a low bounty and so few clues, it's probably nothing serious.

Now that things have come to this, Mikhail can be considered a respectable person in Paris, so why would he be troubled by such a small problem?

Although it shouldn't be a big deal, Mikhail couldn't help but sigh as he looked at the news in the newspaper.

I feel like I'm getting bolder and bolder.
Who knows what kind of trouble they'll cause if they dare to recite poetry today?
Of course, Mikhail was aware of the reasons behind this, but such a subtle change in mindset was indeed difficult to describe in words.

Just as Mikhail was lost in thought, a knock on the door interrupted him. Just as Mikhail began to wonder who might be standing outside, Turgenev's familiar voice rang out:
“Mikhail, it’s me.”

Upon hearing the voice, Mikhail immediately breathed a sigh of relief, but before he even entered, Turgenev, already somewhat agitated, said:

"These gentlemen in Paris change their tune so quickly, they're even more ridiculous than the chameleons you described!"
Previously, they mostly praised you, but now, even though your literary theories aren't particularly offensive, they're swarming around you as if you've committed some heinous crime! Parisians are incredibly narrow-minded.

What Turgenev was referring to was, of course, the reaction to his earlier literary manifesto.

As mentioned earlier, after Mikhail gradually published those articles in Review of the Two Worlds, they did not initially attract much attention, but as time went on, people in the Parisian literary world paid more and more attention to these theories.

Today, these are the critical articles in the magazines that Mikhail received from Turgenev:
"So-called 'realism' is nothing more than an ugly tombstone erected for a vulgar and unbearable reality! The sacred mission of art lies in refining the beauty of nature and elevating the ideals of humanity, not, as the manifesto claims, depicting a vulgar and filthy reality and calling it 'truth.' This is not truth; it is a desecration of beauty and a stain on the temple of art!"

As for the criticism of Mikhail's other declaration, it is:
"It's like a nightmare for someone with a high fever, attempting to replace clear forms and sublime ideas with a hazy fog and distorted symbols. Art needs images that can be understood and moved by the soul, not this kind of personalized, undecipherable code."

Mikhail had actually seen quite a few criticisms like this during this period. In fact, as his declarations gained more attention and his remarks at Balzac's house that day were leaked, they had a certain degree of negative impact on his social standing in Paris.

For example, after Hugo learned of these things and read Mikhail's declarations, his attitude towards Mikhail became somewhat colder.

Mikhail could understand this, after all, if we were to talk about a leader of the French Romantic school, then Victor Hugo would undoubtedly be the most prestigious candidate, and he himself undoubtedly rose to prominence and achieved his current status by riding the wave of Romanticism.

Mikhail's new declaration in France is, in a sense, a direct challenge to Hugo.

Of course, Mikhail's literary manifesto influenced more than just the Romantics. It can be said that when French writers began to realize the significance of his ideas, the French academics, classicists, Romantics, and many artists with unclear leanings all united to strike at Mikhail, a Russian who was trying to promote his new literary ideas in France.

To reiterate, putting forward new literary ideas is inherently prone to suppression by traditional forces and vested interests, not to mention that Mikhail is a foreigner.

Fortunately, Mikhail's intentions weren't too obvious, and coupled with the connections he had built up recently, even Victor Hugo, the leader of the Romantic movement, didn't publicly oppose Mikhail's articles, only offering some brief opinions at private gatherings.
"These are some immature ideas, but undeniably, they also have their value."

As for whether these ideas are mature or not
Just as Mikhail said to Turgenev with a smile at this moment: "Ivan, if these articles were really just a bunch of nonsense, they should have been a laughing stock in the Paris Salon. How could they have caused so many gentlemen to write articles in opposition?"

"Ok?"

Upon hearing Mikhail's words, Turgenev was taken aback at first, then replied thoughtfully, "You mean to say that the more they oppose you, the more it proves that you are right?"

Mikhail: “?”

Why does that sound so strangely familiar?
“Mikhail, that might be true. For example, recently I have often heard many young people at the Paris Cultural Festival discussing whether your theory is feasible. Some of them seem to be really willing to try it out according to your methodology.”

After all, as you said in your article, literary concepts and forms are bound to undergo self-innovation, and using a different mode of expression may be more likely to delve into the depths of literature.”

At this point, Turgenev, who had actually drawn considerable inspiration from Mikhail's theories, couldn't help but nod. However, at the same time, he added with some annoyance:
"But it's still such a pity. Think about it, you may not have been very famous when you first came to Paris, but just recently, most of the people in the Parisian cultural scene have heard of you! And most of them are praising you."

But just as you were planning your departure, Paris became awash with criticism. And if it weren't for the recent emergence of a mysterious poet in Paris who has caused a lot of trouble and diverted much attention, the criticism would likely have been even greater.

Oh right, you haven't been going out much lately, so let me tell you about this. In short, a young poet wrote a very stirring poem that questions the social order, and he even read it aloud in public, and it's spreading rapidly.
Listen to the content of this poem! There are such audacious poets in Paris! If this kind of person were in Russia…

Mikhail: “.”

Did I hedge against the risk myself?
After a moment of reflection, Turgenev finally got back to the point: "The situation that was going so well has suddenly turned into this, Mikhail, don't you think it's a pity?"

“It’s not a pity. Just like you said, if a while ago most of the Parisian cultural scene knew about it, then now the entire Parisian cultural scene should know about it, right?”

Mikhail shrugged rather optimistically, then continued in a firm tone that Turgenev was already very familiar with: "And I believe that the influence of these literary theories will be lasting. Now they mostly look like criticisms, but who can say for sure what will happen in the future?"

"Since you've said that, I can only believe you will succeed."

Seeing that Mikhail didn't seem to care, Turgenev also made a little joke with Mikhail, and then, as if suddenly remembering something, quickly added:
"By the way, Mikhail, there is a gentleman who would like to meet you."

(End of this chapter)