Cultural life. The great schism (schism)

Cultural life

No period of Russia's cultural history has been as full of change, turmoil, creativity, failure, and sheer destructiveness as the 17th century. Russian society emerged from the Time of Troubles shattered and unsure of itself, disoriented and impoverished. This shaken society was then subject to wrenching social and economic change and strong external influences.

The old culture, in its formal aspects, had been the culture of the monasteries. Art, literature, architecture, and music remained traditional, canonical, and orthodox until the end of the 16th century. The 17th century produced, first among the officials and boyars and later among the merchants and middle classes, a new elite that was increasingly interested in European culture and that had mainly secular interests. Yet the government of these same officials and boyars worked to stifle native cultural development, and many of these merchants and nobles were drawn into movements opposed to Westernization.

There were three reasons for this paradoxical development. First, Western culture had reached Muscovy largely through Polish and Roman Catholic mediation, which rendered it unacceptable to all but those sophisticated enough to take a very broad view of the events of the Time of Troubles. In the Ukrainian and Belarusian territories, the Polish Counter-Reformation had brought a national cultural revival. The books, ideas, and people flowing from these lands into Muscovy in the 17th century, however, were hardly less suspect than those of Roman Catholic Poland, and, as these “aliens” acquired a dominant position in Muscovite cultural affairs, resentment was added to suspicion.

A second reason for the character of Muscovite cultural development in the 17th century was the preponderant role of the church and, later, of the state, which took over at last the assets, liabilities, and responsibilities of the ecclesiastical establishment. From 1620, when the patriarch Philaret pronounced an anathema upon “books of Lithuanian imprint” (in effect, the only secular books in print for the Russian reader), until the end of the century, when the government turned to imposing Greek and “Lithuanian” (i. e., Ukrainian and Belarusian) views upon a resisting populace, the state and its ecclesiastical adjunct had a repressive and stultifying influence.

Finally, indigenous cultural forces (Russian literature) were, for various reasons, unable to assert themselves. They were physically dispersed, socially diverse, and set at odds by cultural and political disaffection. The development of a vernacular literature, which can be seen in the synthetic “folk songs, ” pamphlets, tales, and imitations produced for and by the growing educated class, remained a marginal phenomenon; they were unpublished because of the ecclesiastical monopoly of the press, and they were anonymous. The promising experiments of a group of noble writers who worked within the formal Slavonic tradition were ended by exile and repression.

Despite these negative influences, the court itself, especially in the time of Alexis, was a centre of literary and artistic innovation, and many of the leading men of the realm were considered cultured and cosmopolitan by Westerners who knew them.

The great schism (schism)

The contradictions of the age were reflected in the great schism within the Russian church. The doctrinal debate began over obscure and petty matters of ritual, but larger, unarticulated issues were at stake. Religion after the Time of Troubles had taken two directions, which were at first closely associated: the reformation of religious life (with stress on the pastoral functions of the clergy and the simplification of the liturgy) and the correction and standardization of the canonical books (which had come to vary widely from the Greek originals). The government had at first supported these linked objectives, but the supporters of “Old Russian piety (Old Believer)” fell into opposition to the reforms as they were officially promulgated. When, in the 1650s, the patriarch Nikon began to enforce the reforms in the parishes, where they had been generally ignored, the discontent developed into a massive religious and regional insurrection. Towns and parishes of the north were riven by warring “old” and “new” bishops. The Old Believers (Old Believer), dissenters who refused to accept Nikon's liturgical reforms imposed upon the Russian Orthodox Church, were either crushed by government force, driven to self-destruction, or reduced to silent resistance.

In the end, the Western secular culture fostered at the court and the new religious culture and education spread by Ukrainians and Belarusians, who came to dominate church life, submerged and displaced the disparate beginnings of a modern synthesis within native matrices and cleared the way for Peter's cultural policies, which erected a Western facade over the ruins of the native traditions.

Edward Louis Keenan