DOCSLIB.ORG

BORIS GODUNOV and Other Dramatic Works

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BORIS GODUNOV and Other Dramatic Works oxford world’ s classics BORIS GODUNOV and other dramatic works Alexander Sergeevich Pushkin was born in Moscow in 1799 into an old aristocratic family. In 1817 he received a nominal appointment in the government service, but for the most part he led a dissipated life in the capital while he continued to produce much highly polished light verse. His narrative poem, Ruslan and Lyudmila (pub. 1820), brought him wide- spread fame. At about the same time a few mildly seditious verses led to his banishment from the capital. During this so-called ‘southern exile’, he composed several narrative poems and began his novel in verse, Eugene Onegin. As a result of further conflicts with state authorities he was con- demned to a new period of exile at his family’s estate of Mikhailovskoe. There he wrote some of his finest lyric poetry, completed his verse drama Boris Godunov, and continued work on Eugene Onegin. He was still in enforced absence from the capital when the Decembrist revolt of 1825 took place. Although several of his friends were among those executed or imprisoned, he was not implicated in the affair; and in 1826 he was par- doned by the new Tsar Nicholas I and permitted to return to Moscow. By the end of the decade, as he sought to become a truly professional writer, he turned increasingly to prose composition. In the especially fruitful autumn of 1830, while stranded by cholera at his estate of Boldino, he completed Eugene Onegin, wrote a major collection of prose stories (The Tales of Belkin), and composed his experimental Little Tragedies. In 1831 he mar- ried Natalya Goncharova and sought to put his personal and professional affairs on a more stable footing. The rest of his life, however, was plagued by financial and marital woes, by the hostility of literary and political enemies, and by the younger generation’s dismissal of his recent work. His literary productivity diminished, but in the remarkable ‘second Boldino autumn’ of 1833 he produced both his greatest prose tale, The Queen of Spades, and a last poetic masterpiece, The Bronze Horseman. In 1836 he completed his only novel-length work in prose, The Captain’s Daughter. Beleaguered by numerous adversaries and enraged by anonymous letters containing attacks on his honour, in 1837 he was driven to challenge an importunate admirer of his wife to a duel. The contest took place on 27 January, and two days later the poet died from his wounds. James E. Falen is Professor Emeritus of Russian at the University of Tennessee. He is the author of Isaac Babel: Russian Master of the Short Story (University of Tennessee Press, 1974) and has translated Pushkin’s novel in verse, Eugene Onegin, for Oxford World’s Classics. Caryl Emerson is A. Watson Armour III University Professor of Slavic Languages and Literatures at Princeton University. She has published widely on Mikhail Bakhtin and on Pushkin, Dostoevsky, Tolstoy, Russian literary criticism, and Russian operatic and song repertory. oxford world’ s classics For over 100 years Oxford World’s Classics have brought readers closer to the world’s great literature. Now with over 700 titles—from the 4,000-year-old myths of Mesopotamia to the twentieth century’s greatest novels—the series makes available lesser-known as well as celebrated writing. The pocket-sized hardbacks of the early years contained introductions by Virginia Woolf, T. S. Eliot, Graham Greene, and other literary figures which enriched the experience of reading. Today the series is recognized for its fine scholarship and reliability in texts that span world literature, drama and poetry, religion, philosophy and politics. Each edition includes perceptive commentary and essential background information to meet the changing needs of readers. OXFORD WORLD’S CLASSICS ALEXANDER PUSHKIN Boris Godunov and Other Dramatic Works Translated with Notes by JAMES E. FALEN With an Introduction by CARYL EMERSON 1 3 Great Clarendon Street, Oxford ox2 6dp Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York Introduction © Caryl Emerson 2007 Translation and other editorial material © James E. Falen 2007 The moral rights of the authors have been asserted Database right Oxford University Press (maker) First published as an Oxford World’s Classics paperback 2007 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging-in-Publication Data Pushkin, Aleksandr Sergeevich, 1799–1837. [Plays. English. Selections] Boris Godunov and other dramatic works / Alexander Pushkin ; translated with notes by James E. Falen ; with an introduction by Caryl Emerson. p. cm.—(Oxford world’s classics (Oxford University Press)) Includes bibliographical references. ISBN-13: 978–0–19–921130–2 (alk. paper) ISBN-10: 0–19–921130–2 (alk. paper) 1. Pushkin, Aleksandr Sergeevich, 1799–1837—Translations into English. I. Falen, James E., 1935– II. Title. PG3347.A2 2007 891.73′3—dc22 2006028321 Typeset in Ehrhardt by RefineCatch Limited, Bungay, Suffolk Printed in Great Britain on acid-free paper by Clays Ltd, St Ives plc ISBN 978–0–19–921130–2 13579108642 CONTENTS Introduction vii Translator’s Note xxxiii Select Bibliography xxxv A Chronology of Alexander Pushkin xxxvii BORIS GODUNOV 1 Historical Introduction 3 A SCENE FROM FAUST 93 THE LITTLE TRAGEDIES 99 i. the miserly knight 101 ii. mozart and salieri 121 iii. the stone guest 133 iv. a feast in time of plague 165 RUSALKA (THE WATER-NYMPH) 177 Explanatory Notes 203 This page intentionally left blank INTRODUCTION Alexander Pushkin (1799–1837) is Russia’s most cosmopolitan playwright. This fact is sometimes obscured, because Pushkin’s best-known play, Boris Godunov (1825), concerns Russian history, a Russian dynastic crisis, and is known outside its homeland primarily as the literary source for Modest Musorgsky’s intensely nationalistic opera composed four decades later. Peel away the Kremlin gongs and ragged masses crowding the operatic stage, however, and Boris Godunov resonates with the most varied echoes of Western European theatre: Shakespeare, Schiller, Goethe, Corneille, Racine, Italian seriocomic opera, all of them stripped down, reduced to their essentials (as Pushkin conceived them), and presented in compact scenes that snap open and closed like entries in a medieval Russian chronicle. The four Little Tragedies that Pushkin wrote in 1830—so little, in fact, that they resemble the final acts of tragedies—are also stripped down and condensed. Not only are they pan-European, set respectively in a medieval castle, Vienna, Madrid, and London; they are also pan-human, each focusing on a single moral defect and its attempts to justify itself: avarice, envy, lust, and defiant feasting in the face of death. Two of the four tragedies announce their source in English playwrights. The fragmentary Scene from Faust builds off a German legend. Rusalka is a Danube River mermaid tale, shifted eastward and lightly Slavicized. In drama as elsewhere, ‘Russianness’ for Pushkin meant a hybrid: the ability to refract, integrate, con- dense, and translate everyone else. But translation and condensation are not quite the right terms for what Pushkin does. He was cosmopolitan along a highly personal vector, and everything he touched turned irreversibly into his own trademark gold. Pushkin did not really ‘borrow from’ or ‘translate’ European poets, although in dramatic experiments he loved to start with someone else’s story. He would be intrigued by another poet’s choice of form, text, or narrative plot. Often he could glimpse this alien whole only partially. But what resulted was a wondrous symbiosis between Pushkin’s genius—his absolute control over viii introduction the lexical and rhythmic resources of the Russian language—and his linguistic ‘deficiencies’, a reciprocity superbly explicated by Alexander Dolinin in his discussion of ‘Pushkin and English Litera- ture’.1 How this creative dynamic worked is crucial if we are to place the dramatic verse translated in this volume in the context Pushkin dreamed for it. Of the European languages and cultures that stimulated Pushkin—French, English, German, and Italian—only French was deeply, thoroughly known. From early adolescence, Pushkin was utterly at home in seventeenth- and eighteenth-century French literature. But precisely because French Romantic theatre disap- pointed him, he resolved to look elsewhere for dramatic inspiration. He worked hard on his English beginning in 1828 (and by the early 1830s had become passively quite good with it); Italian he might have guessed at through French or absorbed through the operas of Mozart and Rossini; German he never knew. Pushkin’s interest in Shakespeare, Byron, Schiller, and Goethe was mediated wherever possible through French prose translations, hearsay from friends, and French critical studies—which, Dolinin argues, liberated his genius to amend the original in his own mind and supply details out of his own personal poetics.
Load more

Recommended publications
  • Musorgsky's Boris Godunov
    22 JANUARY 2019 Musorgsky’s Boris Godunov PROFESSOR MARINA FROLOVA-WALKER Today we are going to look at what is possibly the most famous of Russian operas – Musorgsky’s Boris Godunov. Its route to international celebrity is very clear – the great impresario Serge Diaghilev staged it in Paris in 1908, with the star bass Fyodor Chaliapin in the main role. The opera the Parisians saw would have taken Musorgsky by surprise. First, it was staged in a heavily reworked edition made by Rimsky-Korsakov after Musorgsky’s death, where only about 20% of the bars in the original were left unchanged. But that was still a modest affair compared to the steps Diaghilev took on his own initiative. The production had a Russian cast singing the opera in Russian, and Diaghilev was worried that the Parisians would lose patience with scenes that were more wordy, since they would follow none of it, so he decided simply to cut these scenes, even though this meant that some crucial turning points in the drama were lost altogether. He then reordered the remaining scenes to heighten contrasts, jumbling the chronology. In effect, the opera had become a series of striking tableaux rather than a drama with a coherent plot. But as pure spectacle, it was indeed impressive, with astonishing sets provided by the painter Golovin and with the excitement generated by Chaliapin as Boris. For all its shortcomings, it was this production that brought Musorgsky’s masterwork to the world’s attention. 1908, the year of the Paris production was nearly thirty years after Musorgsky’s death, and nearly and forty years after the opera was completed.
    [Show full text]
  • Boris Godunov
    Boris Godunov and Little Tragedies Alexander Pushkin Translated by Roger Clarke FE<NFIC; :C8JJ@:J ONEWORLD CLASSICS LTD London House 243-253 Lower Mortlake Road Richmond Surrey TW9 2LL United Kingdom www.oneworldclassics.com Boris Godunov first published in Russian in 1831 The Mean-Spirited Knight first published in Russian in 1836 Mozart and Salieri first published in Russian in 1831 The Stone Guest first published in Russian in 1839 A Feast during the Plague first published in Russian in 1832 This translation first published by Oneworld Classics Limited in 2010 English translations, introductions, notes, extra material and appendices © Roger Clarke, 2010 Front cover image © Catriona Gray Printed in Great Britain by MPG Books, Cornwall ISBN: 978-1-84749-147-3 All the material in this volume is reprinted with permission or presumed to be in the public domain. Every effort has been made to ascertain and acknowledge the copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents Boris Godunov 1 Introduction by Roger Clarke 3 Boris Godunov 9 Little Tragedies 105 Introduction by Roger Clarke 107 The Mean-Spirited Knight 109 Mozart and Salieri 131 The Stone Guest 143 A Feast during the Plague 181 Notes on Boris Godunov 193 Notes on Little Tragedies 224 Extra Material 241 Alexander Pushkin’s Life 243 Boris Godunov 251 Little Tragedies 262 Translator’s Note 280 Select Bibliography 282 Appendices 285 1.
    [Show full text]
  • The Knightly Heart of Russia Рыцарское Сердце России
    THE KNIGHTLY HEART OF RUSSIA ― ALEXEI KONSTANTINOVICH TOLSTOY Translation into English – by A. Pokidov РЫЦАРСКОЕ СЕРДЦЕ РОССИИ ― АЛЕКСЕЙ КОНСТАНТИНОВИЧ ТОЛСТОЙ Перевод на английский язык – А. В. Покидов Серия «Лирическая Россия» * «Lyric Russia» Series 2 A FEW WORDS TO THE READER This book is next book of the “Lyric Russia” series. The recommended book contains about a hundred lyric opuses of A. K. Tolstoy in parallel texts (bi-lingua), the introductory article characterizing the main aspects of the poet’s life and activity in the 40-70ies of the 19th century, the moral trend of his work, the notes in which the meaning and importance of concrete opuses are commented as well as their pathos, the sense of particular images and other specific traits of the poems. Besides, the notes show, in chosen examples, the general character and imperfection of the translations which had been made before. The present volume is practically devoted to lyric poetry (about half of the poet’s lyric opuses have been translated). However, while compiling the volume it was deemed reasonable to give two or three brilliant specimens of satirical poems, including the famous “Popov’s Dream”, which got the highest appraisal of Lev N. Tolstoy (this opus was never published during the poet’s life and was never translated into English). A lot of attention is allotted to the themes of nature and connection of man and nature. The volume also includes a number of opuses devoted to meditations about man’s destiny, about the role of art, about predestination of Poetry, about the poet’s duty towards people.
    [Show full text]
  • The Inextricable Link Between Literature and Music in 19Th
    COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment Of the Requirements for the Degree Master of Music Ashley Shank December 2010 COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA Ashley Shank Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Interim Dean of the College Dr. Brooks Toliver Dr. Dudley Turner _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _______________________________ _______________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. OVERVIEW OF THE DEVELOPMENT OF SECULAR ART MUSIC IN RUSSIA……..………………………………………………..……………….1 Introduction……………………..…………………………………………………1 The Introduction of Secular High Art………………………………………..……3 Nicholas I and the Rise of the Noble Dilettantes…………………..………….....10 The Rise of the Russian School and Musical Professionalism……..……………19 Nationalism…………………………..………………………………………..…23 Arts Policies and Censorship………………………..…………………………...25 II. MUSIC AND LITERATURE AS A CULTURAL DUET………………..…32 Cross-Pollination……………………………………………………………...…32 The Russian Soul in Literature and Music………………..……………………...38 Music in Poetry: Sound and Form…………………………..……………...……44 III. STORIES IN MUSIC…………………………………………………… ….51 iii Opera……………………………………………………………………………..57
    [Show full text]
  • By Aleksey Konstantinovich Tolstoy Aleksey Tolstoy
    Read Ebook {PDF EPUB} Упырь by Aleksey Konstantinovich Tolstoy Aleksey Tolstoy. Russian poet and playwright (b. 24 August/5 September 1817 in Saint Petersburg; d. 28 September/10 October 1875 at Krasny Rog, in Chernigov province), born Count Aleksey Konstantinovich Tolstoy (Алексей Константинович Толстой). Contents. Biography. Descended from illustrious aristocratic families on both sides, Aleksey was a distant cousin of the novelist Lev Tolstoy. Shortly after his birth, however, his parents separated and he was taken by his mother to Chernigov province in the Ukraine where he grew up under the wing of his uncle, Aleksey Perovsky (1787–1836), who wrote novels and stories under the pseudonym "Anton Pogorelsky". With his mother and uncle Aleksey travelled to Europe in 1827, touring Italy and visiting Goethe in Weimar. Goethe would always remain one of Tolstoy's favourite poets, and in 1867 he made notable translations of Der Gott und die Bajadere and Die Braut von Korinth . In 1834, Aleksey was enrolled at the Moscow Archive of the Ministry of Foreign Affairs, where his tasks included the cataloguing of historical documents. Three years later he was posted to the Russian Embassy at the Diet of the German Confederation in Frankfurt am Main. In 1840, he returned to Russia and worked for some years at the Imperial Chancery in Saint Petersburg. During the 1840s Tolstoy wrote several lyric poems, but they were not published until many years later, and he contented himself with reading them to his friends and acquaintances from the world of Saint Petersburg high society. At a masked ball in the winter season of 1850/51 he saw for the first time Sofya Andreyevna Miller (1825–1895), with whom he fell in love, dedicating to her the fine poem Amid the Din of the Ball (Средь шумного бала), which Tchaikovsky would later immortalize in one of his most moving songs (No.
    [Show full text]
  • Our Guests the Buildings of Cathedral Square
    Summer in the Urals Pyotr Filippovich Ushakov is 95! You have lakes of kindness in your eyes ... The Buildings of Cathedral Square HEALTHY Body, Healthy mind First day of school Friendship Editor-in-chief : Elena V. Vatoropina 624021, Russia, Sverdlovsk region, Designers : Olga Vaganova Sysert, Novyi District, 25 Web: школа1-сысерть.рф Photographers : Maria A. Udintseva, Bruce Bertrand, Ilia D. http://friendship1.ksdk.ru/ Krivonogov, Anton S. Sharapov, Vadim Lebedev Е-mail: [email protected] Correspondents : Maria Kucheryavaya, Bruce Bertrand, Vasilina Starkova, Alexandr Buzuev, Vladislav Surin Magazine for young learners who love English and want to know it Summer is a small life ….....…....................... 4 Summer in the Urals .……………………………………...…. 4 Krimea - 2020 ..……………………………………………...…. 4 Travelling around Russia ……………………...... 5 My trip to the South of Russia ………………………...…. 5 Our Compatriots ……………..………………....….. 7 Pyotr Filippovich Ushakov is 95! ………..………........... 7 We are for healthy lifestyle! ………...……....…. 8 An annual holiday for tourists ..………...……….…….... 8 School Life ………….………………………….……… 10 You have lakes of kindness in your eyes ………..…….. 10 Happy Teacher’s Day! My favourite teacher ….......... 11 Healthy body, healthy mind! ………………...….………… 12 Unusual History lessons …………………………………….. 13 Our guests …………....…………………………...….. 14 Interesting Places of Moscow: The Buildings of Cathedral Square ………………………………………….…... 14 Discussion Club ………….………………………..... 17 Is graffiti an art form? ……………………………………... 17 School uniform:
    [Show full text]
  • The Post Workshop Tour Round the Golden Ring of Russia
    The Post Workshop Tour round the Golden Ring of Russia The Golden Ring is a symbolic ring of ancient Russian towns situated to the North- West from Moscow and is keeping unique monuments of the Ancient Russian architecture of the 12-17th centuries: Sergiev Posad and Alexandrov, Kostroma and Pereaslavl-Zalessky, Uglich and Ivanovo, Yaroslavl and Rostov the Great, Suzdal and Vladimir, each of these towns is a real pearl of Russia. Nowadays they are often called "museums in the open air". Cathedral and churches, convents and fine art museums strike by their beauty. A tour of the Golden Ring will give you a wonderful possibility to make the acquaintance of the history of ancient Russians towns, their culture and their traditions. The duration of the Tour: 5 days/ 4 nights Golden Ring Towns, which played the great role in the Russian ancient history: Vladimir – Suzdal – Kostroma – Yaroslavl - Rostov Veliky (Rostov the Great) - Pereslavl Zalessky - Sergiev Posad I Vladimir Vladimir is referred to as the gates to "Russian Golden Ring". The city came about at the end of the X century and is named after the Kiev-born prince Vladimir Svyatoslavich, the baptizer of Russia. The city was in its prime and achieved historical significance in the middle of the XII and beginning of the XIII centuries when the fundaments of a new government was forming. International trade and cultural relations were actively developing and the city opened its own architectural school. The defensive walls, the main city gates, the Golden gates, the gold-topped Uspensky Cathedral with frescoes by Andrei Rublev, and the Dmitrievsky cathedral are still preserved in Vladimir as proof of the past beauty and power of the former capital of Ancient Russia.
    [Show full text]
  • Preložené Ako Inšpirácia Pre Tých, Ktorí Hľadajú Odpovede V Chaose a Despovláde Parazitov
    Preložené ako inšpirácia pre tých, ktorí hľadajú odpovede v chaose a despovláde parazitov. http://chronologia.org/en/how_it_was/index.html А.Т. Фоменко - Как было на самом деле. Каждая история желает быть рассказанной 1 / 423 Table of Contents Predslov..............................................................................................................................................10 1. Všeobecne prijatá verzia svetovej histórie bola vytvorená len v xvii storočí. Bola upravovaná až do 19. Storočia - táto verzia je nesprávna.................................................................................10 2. Psychologické poznámky..........................................................................................................16 Epocha pred xi. Storočím...................................................................................................................17 Kapitola 1. Epoch xi. storočia............................................................................................................19 1. Prvé románske kráľovstvo starého Rímu...................................................................................19 2. Astronomické záznamy novej chronológie................................................................................20 Kapitola 2. Epocha xii. storočia.........................................................................................................22 1. Druhý Rím alebo rímska cár-grad ríša. Yoros = Jeruzalem = Trója..........................................22 2. Narodenie krista
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy subrnitted. Thus, sorne thesis and dissertation copies are in typewriter face, while others may be from any type ofcomputer printer. Tbe quality oftbis reproduction is dependent upon tbe quality ofthe copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright materiaJ had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, chans) are reproduced by seetioning the original, beginning at the upper left...band corner and continuing from left to right in equal sections with smaU overlaps. Eaeh original is aise photographed in one exposure and is included in reduced form at the back ofthe book. Photographs included in the original manuscript have been reproduced xerographically in tbis copy. Higher quality 6" x 9" black and white photographie prints are available for any photographs or illustrations appearing in tbis copy for an additional charge. Contact UMI directly to order. UMI A Bell & HoweU Information Company 300 North Zeeb Road., ADn AJbor MI 48106-1346 USA 3131761-4700 8OOIS21~ • PUSHKIN THE HISTORIAN: THE EVOLUTION OF PUSHKIN'S VIEWS ON REBELLION, POLITICAL LEGITIMACY AND THE WRITlNG OF HISTORy Anthony W. Retardo, B.A. Departrnent of History Faculty ofArts MeGili University, Montreal July 1997 A thesis submitted to the Faculty ofGraduate Studies and Research in partial fulfilment ofthe requ;rements ofthe degree of Master's ofArts in History.
    [Show full text]
  • 6 X 10.5 Long Title.P65
    Cambridge University Press 978-0-521-81227-6 - The Cambridge History of Russia, Volume 1: From Early Rus’ to 1689 Edited by Maureen Perrie Index More information Index Aadil Girey, khan of Crimea 507 three-field 293, 294 Abatis defensive line (southern frontier) 491, tools and implements 291–2 494, 497 in towns 309, 598 Abbasids, Caliphate of 51 Ahmed, khan of the Great Horde 223, 237, Abibos, St 342 321 absolutism, as model of Russian and Akakii, Bishop of Tver’ 353 Muscovite states 16 Alachev, Mansi chief 334 Acre, merchants in Kiev 122 Aland˚ islands, possible origins of Rus’ in 52, Adalbert, bishop, mission to Rus’ 58, 60 54 Adashev, Aleksei Fedorovich, courtier to Albazin, Fort, Amur river 528 Ivan IV 255 alcohol Adrian, Patriarch (d. 1700) 639 peasants’ 289 Adyg tribes 530 regulations on sale of 575, 631 Afanasii, bishop of Kholmogory, Uvet Aleksandr, bishop of Viatka 633, 636 dukhovnyi 633 Aleksandr, boyar, brother of Metropolitan Agapetus, Byzantine deacon 357, 364 Aleksei 179 ‘Agapetus doctrine’ 297, 357, 364, 389 Aleksandr Mikhailovich (d.1339) 146, 153, 154 effect on law 378, 379, 384 as prince in Pskov 140, 152, 365 agricultural products 39, 315 as prince of Vladimir 139, 140 agriculture 10, 39, 219, 309 Aleksandr Nevskii, son of Iaroslav arable 25, 39, 287 (d.1263) 121, 123, 141 crop failures 42, 540 and battle of river Neva (1240) 198 crop yields 286, 287, 294, 545 campaigns against Lithuania 145 effect on environment 29–30 and Metropolitan Kirill 149 effect of environment on 10, 38 as prince of Novgorod under Mongols 134, fences 383n.
    [Show full text]
  • NARRATING the NATIONAL FUTURE: the COSSACKS in UKRAINIAN and RUSSIAN ROMANTIC LITERATURE by ANNA KOVALCHUK a DISSERTATION Prese
    NARRATING THE NATIONAL FUTURE: THE COSSACKS IN UKRAINIAN AND RUSSIAN ROMANTIC LITERATURE by ANNA KOVALCHUK A DISSERTATION Presented to the Department of Comparative Literature and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Anna Kovalchuk Title: Narrating the National Future: The Cossacks in Ukrainian and Russian Romantic Literature This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Comparative Literature by: Katya Hokanson Chairperson Michael Allan Core Member Serhii Plokhii Core Member Jenifer Presto Core Member Julie Hessler Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Anna Kovalchuk iii DISSERTATION ABSTRACT Anna Kovalchuk Doctor of Philosophy Department of Comparative Literature June 2017 Title: Narrating the National Future: The Cossacks in Ukrainian and Russian Romantic Literature This dissertation investigates nineteenth-century narrative representations of the Cossacks—multi-ethnic warrior communities from the historical borderlands of empire, known for military strength, pillage, and revelry—as contested historical figures in modern identity politics. Rather than projecting today’s political borders into the past and proceeding from the claim that the Cossacks are either Russian or Ukrainian, this comparative project analyzes the nineteenth-century narratives that transform pre- national Cossack history into national patrimony. Following the Romantic era debates about national identity in the Russian empire, during which the Cossacks become part of both Ukrainian and Russian national self-definition, this dissertation focuses on the role of historical narrative in these burgeoning political projects.
    [Show full text]
  • Russian Viking and Royal Ancestry
    GRANHOLM GENEALOGY RUSSIAN/VIKING ANCESTRY Direct Lineage from: Rurik Ruler of Kievan Rus to: Lars Erik Granholm 1 Rurik Ruler of Kievan Rus b. 830 d. 879 m. Efenda (Edvina) Novgorod m. ABT 876 b. ABT 850 2 Igor Grand Prince of Kiev b. ABT 835 Kiev,Ukraine,Russia d. 945 Kiev,Ukraine,Russia m. Olga Prekrasa of Kiev b. ABT 890 d. 11 Jul 969 Kiev 3 Sviatoslav I Grand Prince of Kiev b. ABT 942 d. MAR 972 m. Malusha of Lybeck b. ABT 944 4 Vladimir I the Great Grand Prince of Kiev b. 960 Kiev, Ukraine d. 15 Jul 1015 Berestovo, Kiev m. Rogneda Princess of Polotsk b. 962 Polotsk, Byelorussia d. 1002 [daughter of Ragnvald Olafsson Count of Polatsk] m. Kunosdotter Countess of Oehningen [Child of Vladimir I the Great Grand Prince of Kiev and Rogneda Princess of Polotsk] 5 Yaroslav I the Wise Grand Duke of Kiew b. 978 Kiev d. 20 Feb 1054 Kiev m. Ingegerd Olofsdotter Princess of Sweden m. 1019 Russia b. 1001 Sigtuna, Sweden d. 10 Feb 1050 [daughter of Olof Skötkonung King of Sweden and Estrid (Ingerid) Princess of Sweden] 6 Vsevolod I Yaroslavich Grand Prince of Kiev b. 1030 d. 13 Apr 1093 m. Irene Maria Princess of Byzantium b. ABT 1032 Konstantinopel, Turkey d. NOV 1067 [daughter of Constantine IX Emperor of Byzantium and Sclerina Empress of Byzantium] 7 Vladimir II "Monomach" Grand Duke of Kiev b. 1053 d. 19 May 1125 m. Gytha Haraldsdotter Princess of England m. 1074 b. ABT 1053 d. 1 May 1107 [daughter of Harold II Godwinson King of England and Ealdgyth Swan-neck] m.
    [Show full text]