Author Archives: Sophie Bell

Russia’s identity crisis

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The founding of St. Petersburg, chronicled in The Bronze Horseman, highlights the intention of St. Petersburg to be the catalyst for a new Russia. This modern Russia would be Peter’s gateway to Western Europe, opening up a path for Russia to develop what they had not during the Mongol occupation. In The Bronze Horseman, it’s easy to see how Yevgeny, the character that the poem focuses on, is seeing St. Petersburg open to Western Europe. However, following the disastrous flood of the River Neva, it seems like both Yevgeny and St. Petersburg have an ambiguous, if not tragic, ending. Yevgeny goes mad, chased by the main icon of St. Petersburg. St. Petersburg fairs slightly better than Yevgeny, left on a neutral note of possible success (or, at least, the continuation of opening the door to Europe). The poem ends with, “and here in charity they buried the chill corpse in a pauper’s grave,” and yet, on the page before, brings up that “there still would pound with ponderous clatter The Bronze Horseman is his wake.” Buried is the cold corpse, but the bronze horseman in St. Petersburg is always there. 

This contrast of the success of St. Petersburg (and the still-obvious identity crisis St. Petersburg caused) is apparent in Andrew Herzen’s Moscow and Petersburg. Herzen lives in Petersburg, describing the city as being the notion of a capital city without the history of one. It has all the politics and is where people are the busiest, but the people awful. Moscow, however, has kind people and the old culture of Russia but has been left behind in the modern world. There is this division of a new, politically active Russia that lacks its history and an old Russia that retains its old ways but is left behind by modern Europe.

‘The Tzar’s Bride’ with a focus on love

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This film is gripping, and each song intricately brings in new details surrounding Russian culture in the period. Even in the credits at the beginning of the film, the usage of old Russian art pieces as background drew me in. Hearing the actors sing in Russian added an element that is often missing from the English translation. With the original language used, the opera has more of an impact on viewers.
Focusing on the film itself, it is evident that love is the driving force behind the actions of Grigory, Lyubasha, and even Lykov, Bomelius, and Marfa. The scene where Marfa goes insane after finding out Lykov is dead was so impactful and highlighted how love influenced her more than she knew. The artistry in the singing of the actress conveyed such emotion that it was apparent to see how Grigory’s potion did not work. His distress earlier at discovering the potion was poisonous also highlights his deep love for Marfa. It was interesting how Grigory used words like “martyr” when discussing the women in his life. This language almost seems to give the women in the movie more autonomy than they had in the period. Women like Lyubasha seem to highlight a woman who knew what she wanted and how she needed to get it, but also a woman trapped in the time, as seen in her agreement with Bomelius (in exchange for the poison, she would try to love him).
The opera as a whole seems somewhat Shakespearean, what with mistresses trying to poison another lover, dramatic murders, and royalty (Tzar Ivan). However, Russian influence gives the opera a style different than western European operas, which is very interesting to watch.

Religion’s influence in “Tale of the Destruction of Riazan”

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At first glance, the chronicle of the Mongols destroying Riazan would seem to go against the work of God. For why would God allow a “godless” infidel such as Emperor Batu to annihilate a Christian city? However, this story solidifies the importance of Christianity on a much deeper level. Russia has been Christian for several centuries, enough to have the religion ingrained in its culture, and Russia as a Holy Land. As Batu expanded his destruction over Riazan, the value of Christianity became more apparent. It becomes apparent that the Mongols, considered lawless, without a god (without the Christian God, that Kievan Russians felt to be the only true God), religion plays a significant role in the reasoning of this destruction.

The repetition of the phrase “and this was all because of our sins” quite interesting. This explanation of God almost allowing the destruction of Riazan frames God as almost cruel. As the author expands on the seemingly senseless deaths of Christians by mentioning how “Christian blood flows like a great river,” the Rus citizens face a test of their religion. However, this tension between Christianity (what is right in this writing) and the godless Mongols (the undeniable evil) is the main focus of the Christian Rus’ fight without fear. The passion of the Rus is apparent with Eupaty’s regiments fight against Batu. Their answer to Batu asking why he “causes him such evil” is that they are “of the Christian faith.” They have no fear as they fight for Christianity, the true religion.

Starting the piece early on with blaming Batu’s rage on sins and ending with proper Christian burials done by Prince Ingvar highlights a redemption arc of a sort. The writing shows the cruelty of God, but also the loving hand of God. Those who fight for God’s righteousness will live again. Those who escape the godless Mongols, like Prince Ingvar, are successful because of God’s “strong hand.”