Download The Uncensored Boris Godunov: The Case for Pushkin’s by Chester Dunning, Caryl Emerson, Sergei Fomichev, Lidiia PDF

By Chester Dunning, Caryl Emerson, Sergei Fomichev, Lidiia Lotman, Antony Wood

Includes the unique Russian textual content and, for the 1st time, an English translation of that version.

“Antony Wood’s translation is fluent and idiomatic; analyses via Dunning et al. are incisive; and the ‘case’ they make is skillfully argued. . . . hugely recommended.”—Choice

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Additional info for The Uncensored Boris Godunov: The Case for Pushkin’s Original Comedy

Sample text

Taken in their own time, of course, the 1825 and 1869 Boris Godunovs 6 Caryl Emerson and Chester Dunning were perceived by their authors as finished works. There was nothing “provisional” in Pushkin’s mind about the play he read to his friends in the fall of 1826. In this particular, however, the experience of Pushkin and Musorgsky does not coincide: the composer insisted loudly and often that the initial rejection was a blessing and that his opera was much improved by his having been obliged to revise it.

Did the author register anger, frustration, and disgust at being prevented from doing so? If the answer is yes, then one must be very careful assigning automatic priority to any later variant, just because it happened to be approved for a public life. ” An unpublished work feels unfinished, unvetted, even unborn. In Russia, however, as in other cultures with a long, capricious history of civil and ecclesiastical censorship, there is a powerful counter-tradition: “in print” usually means “official” – tampered-with, compromised – whereas handwritten manuscripts, books “for the drawer,” and poems memorized for safekeeping and passed mouth-to-mouth, are authentic and free.

In his rambling appreciation, Belinsky inappropriately applied a great deal of German Romantic philosophy to Pushkin’s aesthetics as well as to the sociopolitical reality of early modern Russia. He poorly construed the nature of Pushkin’s debt to Karamzin, and only crudely addressed the formal aspects of the play. ” Such lapses might be forgiven a civic critic like Belinsky from nonaristocratic circles writing in the 1840s; after all, he knew less about Pushkin than we know now, for manuscripts, archives, and memoirs are available only to posterity.

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