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Enigma of Heroism in Lermontov's «Песня Про Царя Ивана Васильевича, Молодого Опричника И Удалого Купца Калашникова»

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Enigma of Heroism in Lermontov's «Песня Про Царя Ивана Васильевича, Молодого Опричника И Удалого Купца Калашникова» Enigma of Heroism in Lermontov's «Песня про царя Ивана Васильевича, молодого опричника и удалого купца Калашникова» Vladimir Golstein* I cannot and will not retract anything, for it is neither safe nor right to go against conscience. I cannot do otherwise, here I stand, may God help me. Martin Luther In Russian literature, the 1820s and 1830s were the high point of Romantic involvement with folk culture and poetry, with national roots and national history. Among numerous works which appeared as the result of such involvement, Lermontov's 1837 poem «Песня про царя Ивана Василь- евича, молодого опричника и удалого купца Калашникова» (further referred to as "The Song") is one more example and, typically for Lermontov, a belated one. Western scholarship has basically ignored the poem,1 while Russian * Vladimir Golstein, born in Moscow and educated at Columbia and Yale Universities, now teaches at Oberlin College. His article on Pushkin's Mozart and Salieri has been published in Russian Literature (Feb. 1991). 1 The only examples I know are John Mersereau Jr.'s article "M. Ju. Lermontov's 'The Song of the Merchant Kalashnikov': An Allegorical Interpretation," California Slavic Studies, vol. I (1960) and John Garrard's Mikhail Lermontov (Boston, 1982). I shall contest a number of Garrard's observations on "The Song" which are contained in his subchapter devoted to it (pp. 113-119). For example: "Kalashnikov stands out among Lermontov's narrative poems for its consistent narrative viewpoint" (p. 114), or "For once, we need not filter a work of Lermontov's through his personality" (p. 116), or "Far from being rebellious, Kalashnikov is a devoted subject of the Tsar" (p. 118). John Mersereau, on the other hand, is correct to insist that 29 scholars have restricted themselves to a discussion of folkloristic elements in the poem.2 A sensitive and provocative attempt to see the work at its own merits has been recently made by Sergei Lominadze in his book Поэтиче- ский мир Лермонтова (1985). His analysis contains many first-rate observations, but as far as Lominadze's conclusions are concerned one can hardly agree with any of them.3 "The Song" should by no means be taken simply as a brilliant linguistic exercise in folklore imitation. Lermontov's narrative poem begins a very carefully selected collection of his poetry, the only collection published in his lifetime (1840) and prepared by the poet himself.4 Apparently, this rather simple tale was quite important to Lermontov. Set in the time of Ivan the Terrible and written in the form of bylina, "The Song"is the story of the merchant Kalashnikov who kills his wife's attacker, the oprichnik Kiribeevich, and is then executed by the tsar for his refusal to disclose the motives of his action. What is there in this story that merits such attention from Lermontov? 1 take a threefold approach in order to answer that question: first I analyze the structure of "The Song," then I discuss it in the light of pertinent biographical data, and finally I view the poem as Lermontov's meditation on the nature of heroism and on its place in Russian history. Although Kalash- nikov fought for truth and can be said to gain spiritual victory, he is executed, Pushkin's duel is related to the genesis of "The Song." But Mersereau's conjecture that "The Song" is an allegory of Pushkin's death and the motives he attributes to Lermontov for wanting to write such an allegory do not seem to be convincing. 2 See the following articles: H.M. Мендельсон, «Народные мотивы в поэзии Лермонтова», Венок Лермонтову: Юбилейный сборник (Москва, 1914); М. Азадов- ский, «Фольклоризм Лермонтова», Литературное наследство (Москва, 1941), тт. 43-44; М. Штокмар, «Народно-поэтические мотивы в творчестве Лермонтова», Литературное наследство (Москва, 1941), тт. 43-44; Вадим Вацуро, «М.Ю. Лер- монтов», Русская литература и фольклор (Ленинград, 1976). 3 That's how, for example, Sergei Lominadze justifies the execution of the poem's protagonist, Kalashnikov: «Словом, 'святой Руси' нужны живые Калашниковы, но во имя ее же блага они с роковой неизбежностью время от времени должны быть казнимы» (Поэтический мир Лермонтова [Москва, 1985], р. 157). 4 The organization of poems in this selection is not chronological, although all the poems date from 1836. Apparently, we are dealing with a plan or a message alluded to in the organization and selection of the material. Strangely, the content and order of this collection are neglected in all editions of Lermontov, the complaints of scholars such as Vacuro or Lominadze, notwithstanding. In fact, even those who complain, fail to give the table of contents of the collection. The organization of the collection should become an important tool in Lermontov research. Even if the editor, Kraevskii, had contributed to the organization of the collection, credit for the bulk of the selection and organization belongs to Lermontov. Thus, to approach his poetry chronologically, drawing the main conclusions from the early poetry that Lermontov never intended to publish is more than a venial sin. 30 leaving no tangible sign of victory behind. Lermontov questions the meaning and relevance of such a victory; he also questions the world's inability to accommodate such heroism and nonconformism. I The title of the work is ironic. Although the poem's uncontested hero is the merchant Kalashnikov, the title introduces the characters according to an earthly gradation of power: the song is about the tsar, his servant, and the merchant. The poem's introduction echoes the order of the title: Ox ты гой еси, царь Иван Васильевич! Про тебя нашу песню сложили мы, Про твово любимого опричника, Да про смелого купца, про Калашникова.5 Nothing is said about the relationship of these people to one another and the tragic outcome thereof. The earthly gradation of power is ironically observed in a similar manner throughout the poem. The singers seem unable to grasp the tragic side of the confrontation. But one should not be misled by this epic narrative with its professed purpose of entertaining some unknown boyar and his fair-faced wife: «Ай, ребята пойте, только гусли стройте! /... / Уж потешьте вы доброго боярина / И боярыню его белолицую.» The singers' seemingly objective tone, nonchalant toward Kalash- nikov and reverent toward the tsar, is indicative of the laws that govern the world of "The Song." There are three parts to "The Song," each centered on a dialogue, or rather on an interrogation, a verbal confrontation. Let us consider these dialogues in greater detail. The first part of "The Song" begins with a description of a feast in the presence of Ivan the Terrible. Everyone is joyful except oprichnik Kiribee- vich: «И все пили, царя славили. / Лишь один из них, из опрични- ков, / Удалой боец, буйный молодец, / В золотом ковше не мочил усов.» The tsar gets very angry at him for not participating in the general joyful mood of the ruler and his followers.6 Kiribeevich is so preoccupied that he doesn't even pay attention to the tsar. But when finally Ivan's "angry word" 5 М.Ю. Лермонтов, Собрание сочинений в четырех томах, под ред. И. Анд- ронникова, В. Вацуро, И. Чистовой (Москва, 1983), т. 2, стр. 7. All other quotations of Lermontov's poetry are from this edition. 6 The violation of the established order and mood will also form the basis of the next two confrontations: the wife is not at home after church and thus fails to perform her duties, and Kalashnikov destroys the festive mood by killing Kiribeevich and turning a holiday entertain- ment into a personal vendetta. 31 reaches him, Kiribeevich is willing to accept the cruel punishment for his lack of attention: «А прогневал я тебя — воля царская: / Прикажи каз- нить, рубить голову.» Kiribeevich is characterized by the tsar as "a faithful servant." He is not supposed to behave so disrespectfully. Kiribeevich bows to the tsar and then confesses his unrequited love for a beautiful woman. He knows, however, that the woman is married, but does not disclose this fact to the tsar. After the interview is over the singers interrupt the narration and accuse Kiribeevich of lying. He is called by the singers «лукавый раб» — their strongest accusation in the text. Ivan forgives the oprichnik and advises him to take a straightforward approach: to send some gifts with a matchmaker and not to be upset in the event of failure. Thus, through deception, Kiribeevich reestablishes himself in the order of things, in the rank of those who enjoy the tsar's grace. As a fair master, Ivan does not merely unleash his rage: he inquires into the reasons for his servant's misbehavior (something he would not do, however, in case of Kalashnikov). In the second part, the merchant Kalashnikov, returning from his store, does not find his wife Alyona home: И дивится Степан Парамонович: Не встречает его молода жена, Не накрыт дубовый стол белой скатертью, А свеча перед образом еле теплится. Her absence endangers not just a family custom, but also a religious one. When the wife finally appears, confused and disheveled, Kalashnikov ac- cuses her of unfaithfulness and reminds her that they were married in front of the "holy icons." Like Kiribeevich, who, before answering, bows to his sole ruler, she falls to Kalashnikov's feet and says that she is not afraid of death or gossip but only of his rage. She is to her husband as Kiribeevich is to his tsar. She even addresses her husband as "my sovereign." Like Kiribeevich before her and Kalashnikov after her, Alyona is willing to accept the severe punishment for her misdemeanor, but is hopeful to be given a chance to justify herself: «Государь ты мой, красно солнышко, / Иль убей меня или выслушай.» Kalashnikov accepts his wife's word, summons up his brothers, tells them of the outrage, and prepares for a revenge: he is going to challenge Kiribeevich to a fistfight.
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