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G
ABOR
T. R
ITTERSPORN
PUSHKIN, ALEXANDER SERGEYEVICH
(1799–1837), considered Russia’s greatest poet, au-
thor of lyrics, plays, prose, and the novel in verse
Eugene Onegin.
Of the Russian poets, none is mentioned by
Russians with more reverence than Alexander
Sergeyevich Pushkin. His work has been set to
opera by Mikhail Glinka, Modest Mussorgsky,
Nikolai Rimsky-Korsakov, and Peter Tchaikovsky;
his lyrics have been memorized by young school-
children throughout the former Soviet Union; and
leading poets of the twentieth century, such as
Anna Akhmatova, Marina Tsvetaeva, and Alexan-
der Blok, emphasized his impact on their work and
lives. Pushkin may indeed have opened the door for
the later part of the so-called Golden Age of Russ-
ian literature. At the 1880 ceremony following the
unveiling of the Pushkin statue in Moscow, Ivan
Turgenev credited Pushkin with giving birth to the
Russian literary language; Fyodor Dostoyevsky, in
an impassioned, near-hysterical speech, declared
Pushkin superior to Shakespeare.
Such reverence is certainly merited, but rever-
ence has its dangers. The author of the novel in
verse Eugene Onegin, the historical play in verse Boris
Godunov, the cryptic yet fluid “Belkin Tales,” the
brilliant “Little Tragedies” (four plays in blank
verse, three of which deal with crimes of passion)
the stylized folktale “Ruslan and Lyudmila,” the
tense, fatalistic story “Queen of Spades,” and hun-
dreds of lyrics, a master of style who absorbed and
transformed European literary traditions and gave
Russian folklore an unprecedented poetic expres-
sion, Pushkin attained quasi-mythological status
in the twentieth century, becoming a hero figure
for the Soviet establishment and dissidents alike.
Yet Pushkin was a complex figure: profoundly soli-
tary yet immersed in the social life of the aristoc-
racy; devoted to his friends but easily incited to
violence. His female characters, such as Tatiana in
Eugene Onegin, have remarkable depth and soul, but
he himself was primarily attracted to physical
beauty in women, and brought about his own early
death partly on account of this. These contradic-
tions in his character, while perhaps limiting his
literary offering, account in part for its richness;
his work is both immediate and layered, both sin-
cere and wry.
Pushkin was born in Moscow in 1799. His fa-
ther Sergei descended from boyars, one of whom,
mentioned in Pushkin’s Boris Godunov, had been
a supporter of the False Dmitry during the Time
of Troubles. Pushkin’s mother Nadezhda was
the granddaughter of Abram Gannibal, an African
slave. Abram had been brought from Africa as a
gift for Peter I, who favored him and sent him to
Paris for military education. With the accession of
Elizabeth to the throne, Abram rose through the
ranks to the status of general, but was retired fol-
lowing Elizabeth’s death. Pushkin took pride in
his African heritage, referring to it often in his
lyrics. Abram’s daughter Mariya, Pushkin’s grand-
mother, not only played the role of surrogate par-
ent to Pushkin, whose own parents gave him little
attention or affection, but also recounted family
history, to be reflected later in Pushkin’s unfinished
novel The Blackamoor of Peter the Great.
Pushkin’s parents embraced the lifestyle of the
aristocracy, though they could not afford it. Sergei,
an adept conversationalist with a vast knowledge
of French literature, invited some of Russia’s lead-
ing literary figures to the household, including the
historian Nikolai Karamzin and poets Konstantin
Batyushkov and Vasily Zhukovsky. Pushkin and
his sister and brother grew up surrounded by
literati. However, Pushkin’s childhood was unhappy.
Pushkin was the least favored child, perhaps in part
because of his African features and awkward man-
ner. Only his grandmother and his nanny Arina
Rodionova nurtured him emotionally; the latter
told him folk tales and entertained him with gos-
sip, and served later as the model for Tatiana’s
nanny in Eugene Onegin.
In 1811 Pushkin’s parents sent him to board-
ing school, the Lyceum, newly established by
Alexander I in a wing of his palace in Tsarskoye
Selo. There Pushkin received a first-rate education
(though he was not a stellar student) in a relaxed
and nurturing environment, and formed friend-
ships that would prove lifelong, with classmates
Ivan Pushchin, Anton Delvig, Wilhelm Kyukhel-
becker, and others. While at the Lyceum, Pushkin
enjoyed a social life filled with pranks and light ro-
mantic encounters, and he amazed his teachers and
classmates with his verse. The aged poet Gavryl
Derzhavin, upon hearing Pushkin recite his “Rec-
ollections in Tsarskoye Selo” during an examina-
PUSHKIN, ALEXANDER SERGEYEVICH
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ENCYCLOPEDIA OF RUSSIAN HISTORY