WHAT PUSHKIN DID (NOT) WRITE ABOUT IN «BORIS GODUNOV»

Abstract

The article offers a particular interpretation of Pushkin’s «true romanticism». The author argues with the realistic interpretation of the tragedy «Boris Godunov», shares the opinion on Pushkin’s method as a «transcendental realism» (V. Kotelnikov) and «prophetic realism» (B. Gasparov). As the arguments the author used the Pushkin’s meta-discourse about the tragedy (the letters) and the indication of the literary sources («History of the Russian State» by Karamzin, «Historical chronicles» by Shakespeare). The thesis of the strengthening the mysticism in the world outlook of Pushkin after 1821 is proposed. In the basis of plot matrix the researcher sees the tradition of the Christian mystery. The analysis of Pushkin’s genre nominations of the piece allows us to conclude that in the final versions of the title and subtitle rest the genre canons of the Middle Ages conducted through the educational title summary. The article shows the analysis of the circular composition of 23 scenes of the tragedy, the esoteric meanings of the numerical symbolism are revealed. The power concept is solved through the Orthodox understanding of «God — Monarch — People» triad. The tragic meaning of the work is implemented through the duality of language level. The general conclusion: Pushkin had addressed his work to a narrow circle of initiates who could adequately perceive the hidden spiritual сontent of the play.

Keywords

• christian mystery, archetypes, genre nominations, dramaturgy, historical plays, russian literature, transcendental realism