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ANIMAL IMAGERY in the WORKS of NIKOLAI LESKOV by MATTHEW A. SUTTON DISSERTATION Submitted in Partial Fu

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ANIMAL IMAGERY in the WORKS of NIKOLAI LESKOV by MATTHEW A. SUTTON DISSERTATION Submitted in Partial Fu OLD TRUTHS IN NEW SKINS: ANIMAL IMAGERY IN THE WORKS OF NIKOLAI LESKOV BY MATTHEW A. SUTTON DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures in the Graduate College of the University of Illinois at Urbana-Champaign, 2017 Urbana, Illinois Doctoral Committee: Professor Michael Finke, Co-Chair Associate Professor David Cooper, Co-Chair Associate Professor Valeria Sobol Associate Professor Eleonora Stoppino ABSTRACT Animals complicate everything. They are implicated in science, in theology; they change the course of human development in its technological, cultural, and many other aspects. Animals have often provided material for thinking about what it means to be human, since they have been harnessed by writers to generate symbolical codes, allegories, and associations. Animal bodies are physical and figurative bodies that populate the real world and fictive worlds and in both are often unnoticed. At the same time, they enable and define continued human existence not only in a physical sense but in a figurative sense, and attention to animals inevitably yields productive consideration of a wide range of questions. This thesis examines the multiple functions of animal imagery in the works of Leskov. In Nikolai Leskov’s fiction, the animal image acts as a point of convergence for questions of scientific, religious, and social content that engaged society in mid-nineteenth century Russia; these questions form the backdrop and sometimes the substance of Leskov’s literary works. Animal imagery serves multiple symbolic, interpretive, and affective functions in Leskov’s texts and I trace these functions in works in which they are most conspicuous. Animal imagery invokes the authority of reality, elicits empathy in the reader, and enhances the literary riddle with which Leskov challenges his readers. Leskov comments on the human condition, intimating his viewpoint in the context of the debates around human origins, the new reforms, the questions of modernization that involved the attitude toward the achievement of Western and Russian civilization in relation to one another, and other key questions in the decades of change in the second half of the nineteenth century. Leskov shows that the texts and the ways of thinking that have endured have done so because they remain thought-provoking in their treatment of basic questions. Leskov’s message about ii Russia is that there is plenty of reason for hope, but that common and moral sense, and good information, must be consulted as decisions are made. The animal code contextualizes Russia’s and the individual’s problems in a larger frame: the frame of history, the frame of the human community and the community of being that is shared with animals and nature. iii ACKNOWLEDGEMENTS I would like to thank Michael Finke for introducing me to Nikolai Leskov and working with me on this project from its very beginning. He deserves as much of the credit for the thesis as I do, although its imperfections can only be ascribed to me (I fully understand that phrase now!). I am grateful for his guidance, feedback, and support over this long process. I would like to thank David Cooper for his feedback throughout the process of writing the thesis and especially his intense, patient work when I was making the edits, which made the thesis much more cohesive and lucid. I would like to thank Valeria Sobol for enriching my approach with helpful suggestions and for her feedback and encouraging support throughout the project and my entire graduate career. I am grateful to Eleonora Stoppino for introducing me to the fascinating world of animal studies and for helping me engage with questions in this field. Additionally, I would like to thank Richard Tempest for his support and for giving me feedback on several parts of this work, which greatly improved its quality. I would also like to thank Harriet Murav for turning my attention to Walter Benjamin’s writing on Leskov, which turned out to be an inspiration and to shape my appreciation for Leskov’s work. Everyone in the Slavic department has been very supportive of me during my years here, for which I am very grateful. Additionally, I want to thank my friends and family, as well as my church community and fellow graduate students for supporting me during my studies. iv TABLE OF CONTENTS INTRODUCTION ………………………………………………………………...1 CHAPTER 1: THE FOOD SACRIFICE ………………………………………..27 CHAPTER 2: THE PEACOCK’S MISTAKE …………………………………...51 CHAPTER 3: CONVERSION THROUGH ANIMAL ENCOUNTER …………67 CHAPTER 4: SEEING THE HORSE …………………………………………..89 CHAPTER 5: THE SACRIFICIAL VICTIM ………………………………….105 CHAPTER 6: BECOMING HUMAN THROUGH ANIMAL BEAUTY………128 CONCLUSION …………………………………………………………………154 BIBLIOGRAPHY ………………………………………………………………161 APPENDIX: PLOT SUMMARIES ……………………………………………..172 v INTRODUCTION As a representative of Russian realism, Nikolai Leskov expanded the borders of reality depicted in literary texts.1 The breadth of his portrayals of Russian realia is the widest of his contemporaries, thanks to experience working in a recruiting office and travelling for his uncle’s company, as well as family ties with the clergy, the civil service, the merchants, the nobility, and a childhood living in close contact with peasants, all of which gave him a heterogeneous supply of material once he turned to writing as a profession (McLean 4). Geographically, socially- economically, ethnically, religiously, and in other categories, Leskov differentiates Russian reality more than any writer before him. The variety of his characters is striking, from peasants to Jews to Old Believers, to Germans, and from priests to seamstresses to mail carriers to serf actors. In Leskov’s writing, the province is not an undifferentiated sameness that merely stands in contrast to feminine Moscow and masculine and St. Petersburg, per nineteenth-century clichés. Leskov’s texts are filled with place names, occupations, ethnicities, faiths; as a true storyteller, Leskov’s texts are packed with accurate information that ultimately is useful for the reader/listener (Benjamin 364). Animals are part of the specificity and diversification of Leskov’s texts. A significant number of Nikolai Leskov’s works feature animal imagery either in their titles, in the characterizations of their central characters, in plots whose action involves the close contact of human characters with animals, or in themes that involve aspects of the relationship between 1 Despite his increasing popularity in recent years, Nikolai Leskov has been given less critical attention than he deserves. While outside of Russia he is considered a second tier writer, this view restricts appreciation of his part in the development of Russian literature in the nineteenth century. 1 humans and non-human animals.2 Scholars have not systematically confronted the question of why Leskov utilizes animal imagery as extensively as he does. Observations on animal imagery have been subsumed in discussions of other textual features, such as of Leskov’s usage of folkloric topoi and thematic material in A. A. Gorelov’s monograph about Leskov and folk culture. I. E. Melent’eva has examined bird imagery in “Peacock” (99), but critics have not formulated an integrated explanation of the function of animal imagery in Leskov’s overall poetic system. Certain interpretive approaches that animal studies offers are useful for examining the function of animal imagery in the works of Nikolai Leskov. Animal studies seeks to rethink the interrelation of humans and animals, exploring “the precariousness of that divide we imagine separating us from other mammals” (Cohen 39). This thesis will retain the terms “human” and “animal” rather than “human animal” and “nonhuman animal” as more conveniently reflecting 2 A good number of Leskov’s works give the title to the animal: “The Musk Ox” («Овцебык» 1862), “The Peacock” («Павлин» 1874), “The Wild Animal” («Зверь» 1883), “Kotin the He-Cow and Platonida” («Котин доилец и Платонида» 1867), “The White Eagle” («Белый орел» 1880), “Fish Soup Without Fish” («Уха без рыбы» 1886), “Elder Gerasim’s Lion” («Лев старца Герасима» 1888), “Malan’ia the Ram Head” («Маланья – голова баранья» 1894), “The Rabbit Warren” («Заячий ремиз» 1894), and “The Cattle-Pen” («Загон» 1893). Works that prominently feature animal characterizations include: “The Enchanted Wanderer” («Очарованный странник» 1873), “The Decrepit Clan” («Захудалый род» 1874), “No Way Out” («Некуда» 1871), “Sheramur” («Шерамур» 1879), “Deathless Golovan” («Несмертельный Голован» 1880), “Life of a Peasant Martyress” («Житие одной бабы» 1863), “Lady Macbeth of Mtsensk District” («Леди Макбет Мценского уезда» 1864), “The Trivial Things in a Bishop’s Life” («Мелочи в архиерейской жизни» 1879), “Hierarchical Justice” («Владычный суд» 1877), and “The Islanders” («Островитяне» 1866). Works that portray characters in close contact with animals include: “Tupee Artist” («Тупейный художник»1883), “Ancient Psychopaths” («Старинные психопаты» 1885), “Pamphalon the Mountebank” («Скоморох Памфалон» 1887), “The Drought” («Засуха» 1862), and “At the Edge of the World” («На краю света» 1875). Works that include discourse on the human-animal relationship include: “Lefty” («Левша» 1881), “Cathedral Folk” («Соборяне» 1873), “Pechersk Antics” («Печерские антики» 1883), “Monastery Islands” («Монашеские острова» 1873), and “The Bypassed” («Обойденные» 1865). These thirty works comprise nearly a quarter of Leskov’s works of fiction
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