The Bronze Horseman

Bely draws on Pushkin's The Bronze Horseman as his inspiration for Petersburg, prefacing each part with pieces from the immortal poem. In this poem we find a young man, who the narrator has chosen to call Yevgeny, driven mad by the destruction wrought from the flood of 1824, which destroyed his his love's home and cast about its inhabitants if after a battle. Yevgeny wanders around for a year in a state of delirium eventually coming upon the bronze sculpture of Peter, at which he hurls his abuses, only for the menacing statue to come to life and chase him through the streets of Petershburg and to his doom. With the popularity of the poem, Falconet's statue of Peter the Great became known as The Bronze Horseman.

The Neva figures heavily into the poem, like an untamed beast, whose waves plunge the city into chaos. It took decades for the city to bring the waters under control with a series of locks and canals. Pushkin appears to wrestle with the strengths and weaknesses of this great city that Peter built, protecting Russia from the North and exposing it to the West.

And thus He mused: "From here, indeed
Shall we strike terror in the Swede;
And here a city by our labor
Founded, shall gall our haughty neightor;
'Here cut'--so Nature gives command--
'Your window through on Europe; stand
Firm-footed by the sea, unchanging!'
Ay, ships of every flag shall come
By waters they had never swum,
And we shall revel, freely ranging."

By contrast, Bely seems to take an opposite view, seeing Petersburg as a decaying vision, personified by Apollon Apollonovich. Here again the Neva figures heavily into his novel, as if on the verge of retaking the city.

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Ward No. 6

Ward No. 6 is a short story written by Chekhov in 1892. It has appeared in various collections of Chekhov short stories, including The Horse-Stealers and Other Stories translated by Constance Garnett in 1921. In this story, Chekhov explores the inner working of a run-down lunatic asylum in a provincial town. He introduces the readers to a coarse porter who speaks mostly with his fists, various patients, a doctor who presides over this ward, and expresses his thoughts with a local postmaster. It was recently made into a movie , featuring Vladimir Ilyin. Here's a clip . There's also this very recent short film (30 min.) by Suzana Purkovic, with English subtitles.

Light and Dark

I'm still trying to sort out the ending. The story had to end tragically but was surprised that Rogozhin actually sought forgiveness in Myshkin after what he had done to Nastya, although I think that Dostoevsky intended the two to be read as one, along similar lines as The Double . He kept Rogozhin a shadowy figure throughout the novel, ever lurking in the dark of the Prince's soul. Try as he might, Prince Myshkin could not alter events and thus the fantasy world he had lived in upon returning to Russia crumbled before his eyes, leaving him at a total loss as how to reconcile himself with it. Once again, Dostoevsky plumbs great depths of the human soul. This is a psychological drama told in theatrical terms, perfectly suited for the stage. Characters appear and disappear as if moving from the shadows of the stage. I can see the "green bench" as the central stage piece. In the final part, one gets the sense that Lebedev is orchestrating events, and may even

The Morning of Our Motherland

I was watching a History channel special on Socialist Realism art of the Soviet Union and this was one of the grand canvases that is now stuffed away in the Tretyakov State Gallery . The painter was Fyodor Shurpin and he had a wonderful eye for detail, right down to the secret service black car on the road to Stalin's right. To the left, one sees a row of combines turning over the field of golden wheat, which became symbolic of Stalin's Soviet Union. Утро нашей Родины is from 1949, with Stalin radiating a post-war confidence. It is also known as Dawn of our Fatherland and other titles. Shurpin was one of the better artists to carry over from the pre-war years. The narrator pointed out how socialist realist art changed dramatically as a result of the war, becoming much more static and propagandist in appearance. He pointed to two stops along the Moscow subway as an example of this divide. Here, Shurpin essentially transposes Stalin for an earlier "Mother"

Chekhov's Gun

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