A People's Tragedy: The Russian Revolution, 1891-1924

They took inspiration from the Ukrainian national movement in neighbouring Galicia. As part of the Austro-Hungarian Empire, Galicia had been granted relatively liberal rights of self-government. This had allowed the Ukrainians, or 'Ruthenians' (dog-Latin for 'Russians') as they were known by the Austrians, to promote their own Ukrainian language in primary schools and public life, to publish native-language newspapers and books, and to advance the study of Ukrainian history and folk culture. Galicia became a sort of 'Ukrainian Piedmont' for the rest of the national movement in tsarist Ukraine: a forcing-house of national consciousness and an oasis of freedom for nationalist intellectuals. Lviv, its capital, also known as Lemberg (by the Germans) and as Lvov (by the Russians), was a thriving centre of Ukrainian culture. Although subjects of the Tsar, both the composer Lysenko and the historian Hrushevsky had found their nation in Galicia. The nationalist intellectuals who pioneered the Ukrainian literary language in the middle decades of the nineteenth century all borrowed terms from the Galician dialect, which they considered the most advanced, although later, as they tried to reach the peasantry with newspapers and books, they were forced to base it on the Poltavan folk idiom, which, as the dialect of the central Ukraine, was the most commonly understood. The seminal texts of this national literary renaissance were published by the Brotherhood of Saints Cyril and Methodius prior to its dissolution by the tsarist authorites in 1847. The romantic poetry of Taras Shevchenko, which played the same role as Mickiewicz's poetry in Poland in shaping the intelligentsia's national consciousness, was the most important of these. Ukrainian-language publications continued to appear, despite the legal restrictions on them. Many were published by the Kiev section of the Russian Geographical Society, whose increasingly nationalist members devoted themselves to the study of Ukrainian folk culture, language and history.⁵¹

In the non-European sectors of the Empire this cultural stage of the national movements was much slower to take off. The Armenian intelligentsia had welcomed the extension of tsarist rule to the eastern half of their country after the Russian defeat of Persia in 1827. They now had a Christian ruler to protect them from the Turks, and, or so they hoped, to free the larger half of the Armenian people who remained subjects of the Ottoman Empire. The defence of Armenian culture remained centred on the Gregorian Church and its schools, which, at least until the Russification campaign of the 1880s, aligned the Armenians with the Russians as fellow Christians against the Turks. In neighbouring Georgia, by contrast, language rather than religion was the key to the evolution of national identity. The Georgian Church, unlike the Armenian, had been merged with the Russian Orthodox; while the Georgian social system,

the historic product of a specific type of feudalism, had been, albeit imperfectly, assimilated into the Russian system of estates during the half-century following Georgia's annexation in 1801. The Georgian nobles, ruined by the Emancipation of their serfs in the 1860s, dominated the intelligentsia. Theirs was a nostalgic nationalism: the romantic poetry of Chavchavadze and Baratashvili lamented the lost greatness of the Georgian kingdoms in the Middle Ages. Finally, in Azerbaijan, conquered by Russia in the 1800s, the emergence of a national consciousness was complicated by the domination of Islam, which tended towards supranational forms and blocked the growth of a secular culture and a written language for the masses. To begin with, ironically, it was the Russians who encouraged the Azeris' secular culture to develop, promoting the plays of Akhundzada, the 'Tatar Moliere', and commissioning histories of the Azeri folk culture and language, as a way of weakening the influence of the Muslim powers to the south.⁵²