V. LEVSHIN'S WORK AND THE PHENOMENON OF THE "ORIENTAL STORY" IN THE CONTEXT OF THE DEVELOPMENT OF RUSSIAN FICTION

Abstract

The research is devoted to the translated story Veziri, or the Enchanted Labyrinth, which Levshin released with the subtitle Oriental Story. Russian fiction is interesting both in the context of the genre itself, which became very popular in Russian literature in the second half of the 18th century, and from the point of view of the development of Russian fiction during the era of sentimentalism. In existing studies devoted to the genre of the Oriental Story, three types are distinguished: 1) moral and ethical with religious overtones; 2) entertaining, adventurous, and gallant; and 3) educational. However, Veziri allows us to detect all three aspects, which is essential for understanding the general orientation of the fiction of that time and the very idea of the perception of the East in Russian literature. The history of the creation of this translation has not been sufficiently studied to compare Levshin's work with the original source; therefore, the style is analyzed as a characteristic example of Russian fiction. Levshin's choice is significant, as he is known, among other things, for his original literary fairy tales based on motifs and images from Russian folklore. In the Oriental Story, Persia becomes the setting, depicted not historically but in a legendary and fabulous manner, as an amazing land of miracles, heroism, high virtues, and mystical mysteries. It is productive to examine the concept of 'virtue' in this work, as it is extremely important both for the educational literature of the sentimentalist era and for literary fairy tales. In this regard, the increased emotionality of the narration and the characters' direct speech can be explained by the sentimentalist emphasis on comprehending moral principles through a sensitive heart. At the same time, miracles and adventures in the story serve as a moral test for the characters and a realm for comprehending higher wisdom, which was characteristic of the depiction of the East.

Extended abstract:

This research focuses on the translated story *Veziri, or the Enchanted Labyrinth*, published by Vasily Levshin with the subtitle “Oriental story.” This work is significant both within the context of the “Oriental story” genre, which was popular in Russian literature during the second half of the 18th century, and in terms of its contribution to the development of Russian sentimentalist fiction. While the stylistics of sentimentalist prose have been widely studied, the phenomenon of the “Oriental story” has received little attention, underscoring the relevance of this investigation.

Literary critics traditionally categorize the “Oriental story” genre into three types: 1) moral and ethical tales with religious overtones, 2) entertaining, adventurous, and gallant narratives, and 3) educational stories. However, *Veziri* uniquely incorporates all three aspects, making it a valuable case study for understanding the broader trends in Russian fiction of the time and the perception of the East in Russian literature. Levshin’s choice to translate and adapt this story is particularly noteworthy, as he was already known for his original literary fairy tales based on Russian folklore. His engagement with an Oriental tale provides an opportunity to explore the intersection of folklore, sentimentalism, and the “Oriental story” genre.

By the late 18th century, the Russian literary fairy tale was undergoing stylistic experimentation, and the influence of sentimentalism on this genre merits closer examination. While Levshin’s fairy-tale prose is often analyzed in relation to Russian folklore, his approach to fairy-tale plots differs significantly from traditional folklore storytelling. The translation and adaptation of an Oriental tale like *Veziri* offer a unique lens through which to explore these distinctions.

In *Veziri*, Persia is depicted not as a historical entity but as a legendary and fantastical realm—a land of wonders, heroism, lofty virtues, and mystical secrets. This portrayal aligns with the Romantic fascination with the exotic East. At the same time, Levshin’s authorial notes accompanying the translation serve an educational function, reflecting the didactic tendencies of sentimentalism. These notes provide context and commentary, enriching the reader’s understanding of Persian culture and history.

The image of “Fabulous Persia” in *Veziri* allows for a narrative rich in fantastical adventures while also conveying the philosophical depth of Eastern wisdom. The concept of “virtue,” central to both sentimentalist literature and literary fairy tales, plays a key role in the story. The heightened emotionality of the narrative and the characters’ direct speech reflect the sentimentalist emphasis on moral principles as understood through the lens of emotion and sensitivity. This storytelling approach, which can be termed “emotional reflection,” is closely tied to the sentimentalist ideal of virtue.

The analysis reveals that the story’s miracles and adventures serve as moral tests for the characters, as well as opportunities to explore higher wisdom—a characteristic feature of the Orientalist depiction of the East during this period. The portrayal of Persian culture is particularly striking: the treacherous Zoroaster is presented as an antagonist to Rustem, a valiant, wise, and pure-hearted warrior-ruler who embodies the virtues of a “golden age.” This contrast highlights the moral and ethical dimensions of the narrative.

The features of *Veziri* contribute to a deeper understanding of the development of Russian prose during the era of sentimentalism. They also shed light on the genre diversity of the “Oriental story” and its role in the evolution of narrative forms, including the literary fairy tale. By examining Levshin’s translation and adaptation of this Oriental tale, this study enriches our understanding of how Russian literature engaged with Eastern themes and how sentimentalist aesthetics influenced the transformation of narrative genres.