Studia Litterarum (Sep 2021)

The Tale of Khan Tokhtamysh’ Invasion of Moscow: Paradoxes of Regret

  • Olga A. Tufanova

DOI
https://doi.org/10.22455/2500-4247-2021-6-3-134-147
Journal volume & issue
Vol. 6, no. 3
pp. 134 – 147

Abstract

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This article explores specific representation of regret in The Tale of Khan Tokhtamysh’ Invasion of Moscow. While there are two existing versions of this text, a brief version (Simeonovskaya Chronicle, Rogozhskii Chronicler) and an extended version (Novgorodskaya Chronicle 4, Sofiiskaya and Novgorodskaya Karamzinskaya Chronicles), the article focuses on the hitherto understudied brief version. In Simeonovskaya version, different recurrent patterns that underline the main idea of the chronicle and define its pathos, compensate for the minimum of expressive tropes employed in the narrative of the 1382 invasion. The analysis reveals two major motifs — of plundering and burning — that support the author’s main thought: Tokhtamysh’s invasion was a plunder and a terrible destruction that caused massive damage to Moscow and the neighboring towns. Whereas the author of the extended version focuses more on the heroism of the city defenders and laments the cruel death of civil citizens and clergy, the author of the brief chronicle is more concerned with the description of the devastating event itself. The author of the brief version regrets the material damage caused by Tokhtamysh more than he would grieve for the victims. It is possible to explain this peculiarity by turning to earlier chronicles. By the time the brief chronicle of Tokhtamysh invasion was written, Simeonovskaya Chronicle had developed a structural and stylistic pattern describing invasions of the Horde that accentuated motifs of plundering and burning. The recurrence of similar events in a long time-period together with laconic style typical for chronicles resulted in the mentioned specificity: the brief version of the chronicle, following the pattern, puts to the fore regret about the material damage instead of mourning.

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