I am a literary giant in Russia

Chapter 224 A Critical Moment and a Portrait
Mikhail had certainly read a great deal of Baudelaire's works, and was also familiar with some of his early art criticism. Therefore, after easily breaking through Baudelaire's defenses, Mikhail then discussed some of Baudelaire's writings from this period in detail.

Thus, even though Baudelaire still wanted to maintain a semblance of composure, he ultimately couldn't help but reply to Mikhail's face:
"Thank you for your praise. I just saw your play a few days ago; it was wonderful. It's hard to believe that this is your first theatrical work. And your poetry is equally unforgettable."

It is worth mentioning that although Baudelaire greatly admired Mikhail's plays and poems, he was undoubtedly critical of works such as "Around the World in Eighty Days" and "Twenty Thousand Leagues Under the Sea".

For him, such novels could hardly be considered art, and for this reason, when he first heard the name of the Russian writer Mikhail, he was more inclined to ridicule him than to praise him.

In retrospect, Baudelaire could only say that he was fortunate he hadn't done so. After all, since Mikhail arrived in Paris, he had almost instantly proven to the city that he was not the kind of mediocre writer who merely pandered to popular sentiment, but someone who could truly occupy a place in the pantheon of art.

After a brief chat, Baudelaire, who had gradually abandoned his reserve, couldn't help but ask:
"Mr. Mikhail, although I have been reading your paper for many days and have felt a lot, I still want to ask, do you already have a work that can carry your thoughts?"
Forgive my bluntness, but many people in Paris have become interested in your theories. However, without concrete works as a vehicle, they cannot truly convince anyone.

Of all your theories, the one I'm most curious about is how to transcend the superficiality of Romanticism and express the transcendent, inner spiritual world through symbolism and suggestion? And how can this profound feeling be expressed through ambiguous and vague imagery? Or, to put it another way, can poetry truly accomplish such a task?

When Baudelaire raised this question, other poets present were undoubtedly also closely watching Mikhail's reaction and actions.

Frankly speaking, Mikhail's new theory of poetry was undoubtedly very attractive to young people in Paris who wanted to make a breakthrough in art.

After all, on the one hand, these theories break through the framework of Romanticism and look to a deeper level on the basis of Romanticism; on the other hand, this theory sounds quite sophisticated. Can poetry really break through certain limitations and enter the realm of eternity?

Probably no poet could resist such a temptation.

Faced with these questions, Mikhail, who was sitting at the front, first shook his head and said: "First of all, I want to say that theory is just theory. It cannot truly cover the complex process of artistic creation. What I really hope is that it can inspire poets and give them more courage to explore new directions."

As for the specific works you mentioned...

Looking at everyone present, Mikhail slowly uttered a name that was not clearly defined: "The Serious Moment".

Then, Mikhail slowly recited in an almost solemn and sacred tone:
"Someone is crying somewhere in the world right now."

Crying in the world for no reason
I'm crying.

Is someone laughing somewhere in the night right now?
Laughing at night for no reason
They're laughing at me.

What moment is this? Who is who? Where exactly is this place? What do crying and laughing mean? Why do they happen for no reason?

In just a moment, almost everyone present understood what a symbol was, and what a polysemous and ambiguous image was.

Before anyone could continue their speculation, Mikhail had already finished reciting the short poem:

"At this moment, someone is walking somewhere in the world."

To walk in the world for no reason
Walk towards me

Who is dying somewhere in the world right now?
To die in the world for no reason
Looking at me

After the extremely short poem was recited, a deep silence fell over the room. After a long while, someone finally spoke, trembling:

"Dear Mr. Mikhail, could it be that what you have written is all of humanity? Crying, laughing, walking, dying—is this the entire course and predicament of humankind? Without cause, is this perhaps the order and destiny of the universe? Then who am I? Am I God? Am I truth? Am I truly one with the fate of all humanity?"

Undoubtedly, regardless of its exact meaning, this short poem seemed to encompass all of humanity and even the entire universe in an instant, and directly pointed to a certain ultimate question. This immense tension almost made some of the people present tremble.

Is there any poetry purer or more exquisite than this?!

Is this the power of "symbolism"?

In response to this interpretation, Mikhail did not offer a definitive answer, but continued along the lines of what he had just said: "Such poetry also does not have a definitive answer; it is open-ended, it is open to everyone. And as you can see, I have only given you an example."

This poem is both within theory and has already transcended theory; gentlemen, I hope your creations will be the same.”

Everyone present: ?

What do you mean by "just one example"?
Should we use this almost subversive poetry as an example?
Since almost everyone present was a trained artist, even if their aesthetic views conflicted with the poem, from an emotional perspective, they could hardly deny the poem's immense impact.

After another period of silence, someone spoke up with genuine admiration: "I think we have a better understanding of your new literary ideas. In my opinion, you are right. I think I will be lingering in your ideas for a long time to come."

However, as you said, this is an inspiration rather than a rule.

After expressing their thoughts, the young people, their faces flushed with excitement, gathered on the other side to exchange their ideas and experiences, while the young Baudelaire fell into deep thought with a somewhat solemn expression.

After these young people temporarily left, another group of young people who were more interested in Mikhail's other literary theories gathered around. Kuber, the representative of this group, went straight to the point:
"Mr. Mikhail, do you think your theories of realist literature can be applied to painting? To be honest, although I am a painter, your theories have deeply resonated with me."

"Of course, sometimes painting can reflect certain things more clearly. How many realities are shocking and unbearable to look at? And doesn't such reality have the power to move people? I think these things are even more valuable than some paintings full of fantasy."

After confirming this idea, Mikhail thought for a moment and then said with a smile:

“If you create a series of paintings like this in the future and want to hold an exhibition, you might be able to contact me. I think such paintings should be seen by more people.” Mikhail made this suggestion partly because he did intend to promote artistic innovation and thus have a certain effect on reality, and partly because he was considering reality.

After all, these young people, even though they are not famous in Paris now, will become an important force in the French cultural scene in a few years.

By maintaining contact with them, Mikhail can likely continue to exert his influence even when he is not in Paris.

It can only be said that proper planning is still necessary; otherwise, if he is truly forgotten, Mikhail will have to start all over again when he reappears in Paris.

Faced with Mikhail's words, the young people, led by Kuber, were stunned for a moment, and then they became agitated as soon as they realized what was happening.

After all, who is Mikhail?

The playwrights and poets who are currently very popular in Paris!

Even putting that aside, given his current connections in Paris and the wealth he has earned from serialized novels, he is undoubtedly a leading figure in Parisian cultural circles for many.

If we can get his support, even if we can't achieve instant success in Paris, we can certainly avoid many detours.

"it is good!"

Even though they were extremely excited, these young people suppressed their emotions so as not to offend Mikhail. However, after Mikhail said those words, they undoubtedly became more friendly towards him.

At the same time, they also consulted Mikhail on some new art theories, and as the conversation deepened, Kubel increasingly felt Mikhail's proficiency and thoroughness in these areas.

When Kuber realized that there were actually two sets of such theories, he was even more at a loss for words to describe his feelings.

Thinking about it, Kuber finally couldn't help but suggest, "Mr. Mikhail, I wonder if I could paint a portrait of you? I'm quite good at it, and since you're already in Paris, it would be nice to have a portrait as a memento."

Ok?
To be honest, the idea did pique Mikhail's interest.

However, portraiture was not entirely unfamiliar to him. When Mikhail was still in St. Petersburg, several of his painter friends seemed to have already been planning this project. However, because Mikhail had been traveling around a lot during this period, he did not have the opportunity to see their finished products.

If he's currently in France, it would be good to keep it as a memento. Besides, it should be said that photography is gradually becoming more widespread, so if nothing unexpected happens, Mikhail should also be able to leave behind some authentic photographs.

While Mikhail was thinking about these things, he had already agreed to Kuber's proposal. Just as he was about to mention his payment, Kuber waved his hand and said, "Seeing you suddenly gave me a lot of inspiration. This is something I did voluntarily, so there's no need to mention anything. Why don't you think about what kind of pose you should strike?"
I'll make a rough note of it first, and then refine it step by step later.

posture?

To be honest, Mikhail's interest only grew stronger after hearing those words.

Almost instantly, Mikhail had come up with several poses, such as giving a thumbs-up, making a peace sign, or even sticking out his tongue like Einstein.
Ultimately, considering the social customs of the time and his own image, Mikhail could only sit quietly in the chair, one hand supporting his chin and the other casually placed on a spot, before giving a polite smile.

Of course, Mikhail's eyes were slightly vacant, simply because he was still somewhat immersed in the art in his mind.
However, for Kuber, seeing Mikhail's posture was a sudden burst of inspiration. Look at that casual posture, look at those deep eyes, look at that meaningful smile.
For a moment, Kuber even felt he could paint a masterpiece that rivaled the Mona Lisa!

Of course, after realizing what he had just thought, Kuber couldn't help but find it a little funny. Even so, he remembered Mikhail's current appearance and even found some paper and started sketching with great enthusiasm.

As time went by, these accomplished young artists bid farewell to Mikhail, asking before they left if they could tell others about Mikhail's painting and poem from that day.

After receiving a positive response, some of the young people excitedly remarked:
“Mr. Mikhail, if you can stay in France, I believe our team will grow stronger without us even realizing it!”

Mikhail: “?”

What team? You can't just make things up like that.
While this statement seems to make no big problem, Mikhail has other plans for the time being, and some things can only be discussed later.

After that incident, Mikhail did indeed begin dealing with other matters.

While Mikhail's literary views were highly controversial, his dramatic works were not significantly affected. Even after so much time, the play's schedule remains packed, according to Étienne, the manager of the Montmartre Theatre:

"Mr. Mikhail, I estimate your play will run until the end of this year! Forgive my bluntness, but with the proceeds from this play, you could probably buy a small theater in Paris!"

Mikhail had a considerable income, but his expenses were also quite high recently. As mentioned before, Mikhail did manage to open a fairly large tailor shop, and he spent a lot of money dealing with various permits and social obligations.

Fortunately, the results are good, and things are gradually getting back on track. In addition to hiring some people to help, Mikhail's shop has also hired a lot of very young apprentices.

Generally speaking, French apprentices were also exploited, much like Vanka in Russia. They had to endure all sorts of hardships and humiliations before they could learn a skill that would allow them to make a living.

Of course, it's a different story for Mikhail.

Because he lacks experience, Mikhail is still figuring things out.

Just as Mikhail was preparing to arrange and wrap things up so he could move on to other matters, news of certain events, after brewing for some time, began to circulate directly towards the Winter Palace in St. Petersburg.
(End of this chapter)