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J.G. Keely's Reviews > Taras Bulba
Taras Bulba
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Gogol is primarily known as the father of Russian realism and for his grotesquely evocative descriptions, but 'Taras Bulba' represents a completely different mode for the author. Taking inspiration from the Greek epics and the nationalistic poems of French knights, Gogol creates his own story of national identity.
Though elements of realism and satire creep into the book, its tone is largely that of an action film: exciting, gritty, and passionate. Like almost any such national work, this fervor often overwhelms the story, romanticizing the Cossack life and ridiculing its enemies.
This one-sided hyperbole is most infamously represented by Gogol's Jews, who aren't painted in a particularly flattering light. The antisemitism isn't any worse than Shylock or The Jew of Malta, but Gogol's evocative characterization did inspire racist depictions by later authors; though anyone would seem like a schlub when compared to the epically handsome and strong-willed Cossacks.
Most of the work is simple and unadorned, sometimes to the point of repetition and inelegance. There are some stylized descriptions here and there, and these stand out as some of the most lovely and thoughtful passages. The philosophy tends to be as simple as the prose, though again, there are some subtler shades here and there.
The plot itself is straightforward, but not oversimplified. It resembles in many ways the stories of love, war, and honor that Shakespeare adapted for his plays.
As an adventurous romance, the story is amusing, fast-paced, and uncomplicated. There are promising hints of Gogol's strengths as a characterist and satirist, but the unsophisticated nationalism leaves much to be desired; even if such romantic sentiments never really die.
There are still those to whom warlike manliness and jingoistic pride in both country and faith are worthy ideals. Violent propaganda rarely goes out of style, and the manly warmongers still pull out Taras Bulba now and again as a reliably uncomplicated vision of righteous war.
But war and politics are the subjects of art, not its masters; simple patriotism cannot elevate this work to the level of Gogol's more thoughtful and layered works. Like 'The Song of Roland', such short-sighted epics may be of historical interest, but not social or literary interest.
Though elements of realism and satire creep into the book, its tone is largely that of an action film: exciting, gritty, and passionate. Like almost any such national work, this fervor often overwhelms the story, romanticizing the Cossack life and ridiculing its enemies.
This one-sided hyperbole is most infamously represented by Gogol's Jews, who aren't painted in a particularly flattering light. The antisemitism isn't any worse than Shylock or The Jew of Malta, but Gogol's evocative characterization did inspire racist depictions by later authors; though anyone would seem like a schlub when compared to the epically handsome and strong-willed Cossacks.
Most of the work is simple and unadorned, sometimes to the point of repetition and inelegance. There are some stylized descriptions here and there, and these stand out as some of the most lovely and thoughtful passages. The philosophy tends to be as simple as the prose, though again, there are some subtler shades here and there.
The plot itself is straightforward, but not oversimplified. It resembles in many ways the stories of love, war, and honor that Shakespeare adapted for his plays.
As an adventurous romance, the story is amusing, fast-paced, and uncomplicated. There are promising hints of Gogol's strengths as a characterist and satirist, but the unsophisticated nationalism leaves much to be desired; even if such romantic sentiments never really die.
There are still those to whom warlike manliness and jingoistic pride in both country and faith are worthy ideals. Violent propaganda rarely goes out of style, and the manly warmongers still pull out Taras Bulba now and again as a reliably uncomplicated vision of righteous war.
But war and politics are the subjects of art, not its masters; simple patriotism cannot elevate this work to the level of Gogol's more thoughtful and layered works. Like 'The Song of Roland', such short-sighted epics may be of historical interest, but not social or literary interest.
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