Author Archives: Colby Santana

The corruption of “the will of God” in Frol Skobeev

In comparison to the other literary and artistic works we’ve studied this semester, “Frol Skorbeev, The Rogue” is a slap in the face. The secular nature of the piece is one thing to note, but what was more interesting to me was the presentation of a perverted male fantasy as in the text, a poor noble rapes his way into love, riches, and a higher position of society. Notably, this piece is a satire and should be interpreted as such, but even in parody lies truth. The fact that Frol uses women as his stepping stones to achieve his goals is deplorable. He firstly takes advantage of his sister to gain access to Annushka’s party. He then bribes the nurse to be able to sleep with the noblewoman, rapes his love interest in order for her to fall in love with him, and even corrupts the trust between females by disguising himself as one. Although the text implies that Frol is a rogue because of his corrupt ways of making money, I’d suggest that his disregard of women is a far more deserving reason for this title. Another significant action is that he marries his sister off at the end after promising that he would take care of her. He attributes his success at the end of the story to “the will of God,” which perverts the Christian faith by associating it with lies, corruption, and sin. This work actively tries to disassociate itself from Christianity. I wonder if this piece has anything to do with the split of the Russian church into the old believers and the new orthodoxy. If it has anything to do with that, I’d suggest that this story is a commentary on the autocracy of the troubled times, and slanders the changing and mistrusted church. The perverse male fantasy and the disregard of women presented in this text is so apparent, but I have no idea for what reason it was made a focal aspect of the story.

 

The Historic Version of Marfa

The Tsar’s Bride depicts men fighting for the love of the beautiful Marfa. In the story, Gryaznoi, Ivan, and Ivan all try to possess Marfa either through love powders, forced marriage, or voluntary union. The fight of Marfa leads to her poisoning and the death of most of the people involved in the plot. Historically Marfa was also chosen by Ivan, and succumbed to a mysterious ailment, but is suspected of having poisoned by her mother accidentally. The choice to have two men and one of their wives fight over Marfa is a stylistic choice, which I believe was made to illustrate the corrupt nature of the boyars and to depict the gender inequalities between men and women before the soviet era. The film was created in 1966 during the USSR, and hence the consolidation of powers by Ivan was a theme prized by Stalin. Gender inequality is contrasted by the total equality established under communism. The differences between the historic and opera version are meant to determine the vast differences between these two time periods. Also, since the opera version ends in such a tragic manner, I believe this ending was supposed to illustrate the flaws of the boyar and sexist culture of old Russia.

The Christian Narrative pushed in the Film/Opera Version of “The Lay of Igor’s Campaign”

The Lay of Igor’s campaign depicts religious imagery in the form of winds, sunlight, and divine intervention/communication, but depicts its imagery in a noncommittal manner in respect to the particular religion acting upon the plot. The story mentions God and ends with an “Amen,” but it also mentions Slavic Deities such as Div, Stribog, Dazhbog, and even a personified form of the river Donets. The critical thing to note in this tale is the peaceful existence of these divine and supernatural forces in Kievan Rus’. I also watched the elective material, which was several tracks from the film opera rendition of the poem. This rendition, however, in my opinion, seems to be presenting and overbearing Christian agenda that I did not see paralleled in the text version of the story. One example of this agenda can be seen in Igor’s army’s banner. In the text, the Russians carry a scarlet shield with scarlet banners and golden helmets. In the film, the banners depict Jesus Christ, and the color scarlet is nowhere to be seen, replaced by the holy colors white and gold. The positioning of scenes further pushes this narrative in the example of the eclipse scene wherein the film the eclipse is pictured next to a cross on the top of a church. This is different from the text where even the first mention of God by his name on page 187. The film works to establish a fight between the pagan and Christian gods as the Kumans are seen to worship Pagan idols that are present in their homestead. The leader of the Kumans tries to persuade Igor into being his ally by offering him sex slaves who would disrespect the holy Christian ceremony of marriage to his wife. The fact that the Russians so heavily respect the Christian God and the Kuman the Pagan ones literally pits the two faiths against each-other, which is the complete opposite to the coexistence of forces in the original text. I might have misinterpreted the original text, but nature (pagan) had its own forces from the get-go, such as the tree of wisdom. I understood this representation as coexistence, but I’m open to other interpretations.