he contrast between the
old generation before the reforms and the new generation of Alexander
II's day--a paler _Fathers and Sons_.

To go back to criticism, the name of BAKUNIN, the apostle of
destruction and the incarnation of Russian Nihilism, belongs to
history; that of GRIGORIEV must be mentioned as founding a school of
thought which preached the union of arts with the national soil; he
exercised a strong influence over Dostoyevsky. KATKOV, whose influence
was at one time immense, originally belonged to the circle of Herzen
and Bakunin; he became a professor of philosophy, but was driven from
his chair in the reaction of '48, and, being banished from erudition,
he took up a journalistic career and became the Editor of the _Moscow
News_. He was a Slavophile, and when the rising in Poland broke out,
he headed the great wave of nationalist feeling which passed over the
country at that time; he doubled the number of his subscribers, and
dealt a death-blow to Herzen's _Bell_. After 1866, he headed
reactionary journalism and became a Nationalist of the narrowest kind;
but he was of a higher calibre than the Nationalists of later days.
Slavophile critics of another kind were STRAKHOV and DANILEVSKY, like
Dostoyevsky, disciples of Grigoriev, who preached the last word of
Slavophilism and were opposed to all foreign innovations.

On the Radical side the leaders were CHERNYSHEVSKY, DOBROLYUBOV and
PISAREV. Chernyshevsky, who translated John Stuart Mill, and
published a treatise on the aesthetic relations of art and reality,
served a sentence of seven years' hard labour and of twenty years'
exile. His criticism--socialist propaganda, and an attack on all
metaphysics--does not belong to literature, but his novel _Shto
dielat_--"What is to be done?"--had an immense influence on his
generation. It deals with Nihilism. Dobrolyubov, who died when he was
twenty-four, belonged to the same realistic school. His main theory
was that Russian literature is dominated by Oblomov; that Chatsky,
Pechorin, and Rudin are all Oblomovs. Both Pisarev and Dobrolyubov
followed Chernyshevsky in his realistic philosophy, in his rejection
of metaphysics, in his theory that beauty is to be sought in life
only, and that the sole duty of art is to help to illustrate life.
Pisarev recognized that Turgenev's Bazarov was a picture of himself,
and he was pleased with the portrait. Both Pisarev and Dobrolyubov
died young.

VLADIMIR SOLOVIEV (1853-1900),