ABSTRACT
Gor′kii's dictum that Leskov was the most Russian of writers (“samo-bytneishii pisatel′ russkii” (Gor′kii 1948–55, 24, 237) has dominated subsequent critical assessment. While this essay conforms in so far as it discusses Leskovian characters who embody traditional Russian archetypes or ethnic stereotypes (national characterology), it takes as its focus the gender bias underlying Leskov's artistic recharacterisations. From lyrical appeals to his country (Rus′/rodina) to his colourful characters stylized à la russe, 1 shall argue that Leskov defeminizes and, more particularly, dematernalizes his symbols of traditional Russia. The aim is not to speculate on Leskov's biography, psychology or attitudes to women, but rather to uncover the writer's personal artistic slant on Russian national identity. I am, therefore, neither following the line pursued by Inès Muller de Morogues who examines female portraiture in terms of Leskov's response to the woman question, nor the psychologized approach of Hugh McLean (Muller de Morogues 1991; McLean 1977).
