Author Archives: Nothando Khumalo

A New Russia under Peter the Great

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The Bronze Horseman: A Tale of Petersburg by Alexander Puskin serves as continuation of similar texts we’ve covered on Russian national consciousness and pride, specifically Russian glory and cunning, and historical counts that seem like myths. The mythic language is so strong that the narrative begins with a disclaimer that the story is based on trut . Pushkin’s use of analogy to describe the birth of St. Petersburg contained poetic language reminiscent of those in The Tale of Bygone Years. This lyrical element is especially present in the descriptions of the capital’s shift from Moscow to St. Petersburg. He writes,  “From swamps and gloomy forest prison,/ Crown gem and marvel of the North.” The words ‘swamps’, ‘gloomy’, and ‘prison’ effectively demonstrate the dismal attitude of Russians at this time towards Moscow. At this time, Moscow is the location of the end of Rurik’s lineage, so it makes sense that pushkin would view it so negatively. ‘Prison’ especially works to exhibit the way that Russian feel held back by Moscow’s somber past. Pushkin’s description of Moscown as a ‘Crown gem’ and ‘marvel’ work to illustrate the shift that Peter the Great’s reforms brought to the Russian people. Peter and his city renewed Russian’s sense of pride and glory.  

 

The Tsar’s Bride as a Portrayal of Russian History and Culture

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Beautifully crafted arias and duets weave The Tsar’s Bride, a thrilling drama filled with love, revenge, mysterious foreigners, poison, and murder. On the surface, it may seem to be no different from any famous Italian opera, but this epic also displays key elements of Russian history and culture, specifically the rule of its first tsar, Ivan the Terrible, and Russia’s Christian heritage. When Martha is first depicted with her friend, two ominous men adorned in all black appear and watch Martha with intent. At this time, Martha is one of the finalists in the tsar’s bride search, and I assume that the men are associated with him. The two men represent the pervasive and oppressive nature of Ivan’s rule. Even at moments that seem peaceful, there is an underlying element of fear due to the tsar’s erratic and violent actions towards his people. Additionally, when the tsar’s messenger declares that Martha has been chosen as his bride, his voice seems to echo throughout the room. This echo illustrates the threatening effect that Ivan had on his people. Though the words are not spoken by the tsar himself the echo effect reveals that they hold the same power and still instill fear into the hearts of the boyars. The last image of the film is an iconostasis, a strong Orthodox Christian symbol. This scene identifies religion as a key contributor to early Rus culture. It also serves as a reminder that God was present as the characters sinned throughout the play.  While Ivan was terrorizing his ‘enemies’ in the present, in the end, it is God’s judgement that the characters must face. 

Even though I was amazed by the film’s ability to portray Russian culture, I still enjoyed the more Shakespearean lines. My heart ached when Grigory stabs Liubasha, and she poetically utters, “You got me in the heart.” 

 

Divine Intervention Through Nature

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In The Lay of Igor’s Campaign, nature serves as a representation of God’s divine intervention. Though the theme is prevalent throughout the text, to me, the most notable example is in Part XI as Igor’s wife, Yaroslavna, laments at the defeat of her husband’s army. Specifically, the wind and the sun, both common symbols of God the Holy Spirit, work to show that the defeat was dealt not at the hands of the Kumans, but God enacting divine retribution through the Kumans. Wind serves as a sign of God’s power. “O wind, why do you, my lord wind, blow so fiercely?/ Why do you bring on your light wings/ Kuman arrows against the warriors of my beloved?” (186). ‘My lord wind’ shows that, in this story, God and the wind are synonymous. Personification of the wind with ‘you’ and ‘your’  shows that Yaroslavna believes that the wind is not a neutral entity but an angry God. This theme continues as Yaroslavna describes the sun. “O my bright and thrice bright sun!/ Why did you spread, my lord, your burning rays upon the warriors of my beloved?” (187). ‘My bright and thrice bright sun’ depicts the duality of God’s power. He can be ‘bright’ and simply shine on his people and ‘thrice bright’ to burn them when they do not obey. In this case, it is the feuding princes that warrant such a punishing response from God dooming their people.

The author’s choice to depict God in nature reveals the role that the Kievan Rus believed God played in their existence. The wind and the Sun are both ever-present figures in their lives  just as God is. Additionally, both examples can have a benevolent and malicious side: a cooling wind or warming Sun or destructive wind and blinding Sun.