. Review of reviews and world's work. l of interest inhim opportune. He seeks, in a readable article,to justify the pianists and his own taste. Russia has never been a country of philosophy,but art there has ever been human, dominatedby an humanitarian idea, and has never beenmerely art for arts sake. Michael Glinka, crea-tor of the Russian musical drama, whose workis almost contemporary with the first half ofWagners, was inspired by entirely different ]0G THE AMERICAN MONTHLY REI^IEIV OF REI/IEIVS. ideas. Like Pushkin, his intimate friend, likethe revolutionists of ISiG, like the flower of th
. Review of reviews and world's work. l of interest inhim opportune. He seeks, in a readable article,to justify the pianists and his own taste. Russia has never been a country of philosophy,but art there has ever been human, dominatedby an humanitarian idea, and has never beenmerely art for arts sake. Michael Glinka, crea-tor of the Russian musical drama, whose workis almost contemporary with the first half ofWagners, was inspired by entirely different ]0G THE AMERICAN MONTHLY REI^IEIV OF REI/IEIVS. ideas. Like Pushkin, his intimate friend, likethe revolutionists of ISiG, like the flower of theRussian nation of his time, Glinka, perhaps un-known to himself, folt the weight of the serfdomthat then shackled the Russian people. This andthe muzhik inspired his muse. His art was, notto show forth vague ideas on the vacuity ofthings, but the humble and painful life of thatpoor pariah who nevertheless, by himself, hasmade Russian history. From this point of view,Glinka produced a great opera, truly unique inthe histoiy of MICHAEL IVANOVICH GMNKA. Glinka, born in 1804, in the province ofSmolensk, where his father lived on his estateon retiring from the army, actually first learnedmusic from the miizhiks, who not only fed andclothed their master, but also ministered to hisaesthetic amusements by playing orchestralmusic for him. From his uncles orchestra hecame to know Cherubini, Mehul, Boieldieu,Mozart, and Beethoven. He knew only thenames of Gliick, Handel, and Bach until sometime later. While directing this serfs orchestra,he studied harmony and counterpoint, ignoranceof which had ever checked his fever to compose. As the intellectual atmosphere of Russia wasat that time stifling to artists, it was fortunatefor Glinka that a trip to Italy for his health wasordered. In Italy, his compositions were inItalian style, although he took occasion to speakfor simplicity and clearness. Returning to Rus-sia in 1833, he revived acquaintance with Ju-kovski, then tutor to the fu
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