Across the works for today’s reading, depictions of the Caucasus seem to be quite consistent with one another. Overall, the Caucasus, as a vast and idealized region, differs from the sentiments we’ve typically seen associated with Russia’s forest. On the other hand, it seems to align more closely with associations of the steppe and the countryside.
When we previously read works such as “Vasilisa the Beautiful” and Uncle Vanya, we noted that the authors commonly associated the Russian forest with a sense of mystery. For example, in “Vasilisa the Beautiful,” we saw that the forest is vast, and contains both evil and good creatures. With Laura Henry, we discussed how culturally important this sense of the deep, mysterious, and never-ending forest was for Russia.
On the other hand, in reading works (like those of Esenin and Pasternak) from the pastoral setting, we learned about the feelings of nostalgia that authors felt for the simplicity of the countryside.
Tolstoy, Pushkin, and Lermontov all value the Caucasus as a place of simplicity, natural beauty, and romance. Just as Esenin spoke so fondly of the simplicity of the countryside peasant lifestyle, these writers convey their heartache and nostalgia for the Caucasus, as a simple place that offers escape from their societies. Lermontov’s “Peace beneath Caucasian skies,” is a simple escape from societal values of rank. Pushkin’s “heart must burn and love” while in the Georgian Hills, and later, his “heart still longs” as he is forced to be reminded of “another life, a distant shore.”
I find especially interesting that many of these ideas of the Caucasus have to do with romance. As Olenin fantasizes about the “kisses…shoulders…sweet voice…and submissiveness” of the woman he will meet in the Caucasus, he demonstrates the fetishization of the entire Caucasian region. Since cossacks are admired for their masculinity, Olenin prepares himself to be just as masculine and romantic himself.
As we look more closely at each of these different ecosystems and regions, it is becoming clear that “nature” is not just a sweeping concept or place, but rather, the amalgamation of many individual, distinct concepts, each with its own emotional associations.
Going forward, I’d like to think more about what it means that for today’s authors, the Caucasus are an escape from home; they write as outsiders.
I’m curious where the “masculinity” of your title fits in!
I want to think more about the relationship between the author/characters’ “romantic-ness” and their masculinity… For Olenin, it definitely seems like his desire to offer love is very closely associated with his desire to embody a masculine Cossack. For Lermontov and Pushkin, I don’t see the masculinity aspect as much…their romantic associations with the Caucasus stand alone, without any suggestion of masculinity being involved.
I actually think you’re exactly right–masculinity, Romanticism, and the exotic nature of the Caucasus were very strongly linked for all these writers. We can discuss more in class!