The Created Legend - Fyodor Sologub

Written in three parts between 1905 and 1913 by the Symbolist poet and author Fyodor Sologub, The Created Legend looks at the state of the world, and in particular at Russia during this significant period following the 1905 Revolution, with a very poetic viewpoint. Written in Symbolist style, the intention is not however to disguise or hide meaning and unpopular political viewpoints, but rather it is integral to the whole purpose of the novel, since it is the contention that it is perspective that makes the world what it is.

In contrast to The Little Demon then, where the world, since it is neither inherently good or evil, is rendered evil through the perspective imposed on it, The Created Legend seeks to provide a corrective and show that the world can be made better through a more positive outlook, and a sense of order can be created out of the chaos. It is impossible, particularly during this period of Russian history, to deny the sense of wrongness of thought and action where there is a sense of death all around - but it is necessary to accept these things, build upon them and move life forward and progress.

That outlook in the novel is taken up by the poet and chemist Trirodov who, even though he lives on an estate that was considered a place where the dead walk, has been converted into a near-Eden, populated by quiet children, playing and swimming, naked and browned by the Dragon of the sun. Such is the dreamlike innocence, freedom and education that is enjoyed in Trirodov's world, and such a contrast to the endless political discussions and arguments over land and the rights of the proletariat that go on in the Rameyev household, that it has Elisaveta and her sister Elena to throw off their clothes and take part in the wonder and the beauty. But the outside world is also in turmoil and there are agitators and groups who regard Trirodov and the activities that take place on his land with suspicion, insinuation and blackmail.

The Created Legend (Part 1 - Drops of Blood) is a curiously styled novel - not always coherent with all its references to obscure secret revolutionary circles and organisations, but haunting and entrancing in its fluid prose. It's part poetic Symbolism in its dreamlike reverie of an idyllic return to Eden, part harshly realist (factual and autobiographical) about the political turmoil and debate over ideologies on the distribution of land and its ownership, sometimes fantastical (Trirodov has an object made of a folded living man, and even raises the dead), and partly a traditional Russian novel romance where a young woman is torn between two ideals. It may perhaps be a little dated in this respect, but it manages nonetheless to capture a wider sense of what it means not only to be Russian, but to be human and open to so many sensations, influences and directions, where the inner choices one makes ultimately direct the reality of the world outside.