Alfred L. Kroeber |
Together with Spengler, Toynbee and Sorokin,
the American anthropologist Alfred Louis Kroeber was one of the four great
philosophers of history in the twentieth-century. Father of the famous science
fiction writer, Ursula Kroeber Le Guin, A.L. Kroeber hypothesized that cultural configurations begin with a precursor genius,
continue with a stage of maximum bloom, and then enter a period of decay, more
or less extended in time.
The history of Russia during the nineteenth and
twentieth centuries provides two perfect examples for Kroeber’s analysis, two astonishingly
parallel and simultaneous configurations in two different fields of culture:
literature and music.
- In Russian literature
we can point to a clear precursor (Pushkin), a time of maximum
bloom (Gogol, Lermontov, Dostoyevsky, Turgenev, Tolstoy and
Chekhov), and a period of slow decline (the Russian
authors of the twentieth century).
- In Russian music there was also a precursor (Glinka), a period of maximum flowering (Borodin, Mussorgsky, Tchaikovsky, Rimsky-Korsakov) and another of slow decay (Rachmaninoff, Stravinsky, Prokofiev, Shostakovich).
Ivan Turguenev |
The historical role of Ivan Turgenev has been
somewhat obscured by the competition of his two great contemporaries, Dostoyevsky
and Tolstoy. He was certainly a great writer, who specialized in describing
unhappy loves. Let us look at a brief summary of his works, which appear here
in chronological order, except the last, which is a short story.
- In Diary
of a Superfluous Man the protagonist falls in love with a
girl who, in turn, is fascinated by a prince passing through the city.
When the protagonist challenges the prince, the whole city turns its back
on him, but when the prince, who just sought to amuse himself, leaves
without marrying, all but the girl acknowledge that he had been right in
defying him. The girl, however, hates him and ends up marrying another.
That is why the protagonist, on his deathbed, comes to the conclusion that
his life has been superfluous, that it would be better if he had not been
born.
- In Home
of the Gentry, the protagonist, who is married but
considers himself a widower because he reads in a newspaper the news of
the death of his unfaithful wife, who had abandoned him, falls in love
with a girl who accepts him, but when they are preparing their marriage, his
wife reappears to ask for money. Consequently, the two fiancées have to
give up their love.
- In First
Love, a young teenager discovers that the woman he is in
love with is his father’s lover.
- Curiously in Fathers and Sons, which in my opinion is
Turgenev’s best work, the action revolves less around love, although one of
the two protagonists, Arkady, falls in love and marries the sister of the
woman who fascinated him for some time, who in turn could have married
Bazarov, the other protagonist, but this was prevented by his principles.
- In Torrents
of Spring a young man falls in love with a girl who returns
his love, but then lets himself be seduced by a woman, collector of lovers,
and consequently loses his beloved.
- In Virgin
Soil (Turgenev’s answer to Dostoevsky’s
The Devils or The Possessed), two young lovers are engaged in
revolutionary political activism, but seeing that their efforts to change
the world are futile, the young man commits suicide and the girl ends up
marrying another.
- Finally Yakov
Pasynkov can be considered an extreme case of unrequited
loves. The narrator and the character who gives title to the story fall in
love with the same girl, who ends up marrying a third man, precisely he
who deserved her least. Yakov Pasynkov spends the rest of his life
mourning the loss of his love, and dies without learning that two other
girls are hopelessly in love with him. Yakov Pasynkov, one of the most likeable
personages of Turgenev, is a clear proof that it is not so difficult to build
a story revolving around a good person.
Manuel Alfonseca
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