The people and their role in the tragedy Boris Godunov Alexandra Pushkin

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The people and their role in the tragedy Boris Godunov Alexandra Pushkin

Alexander Sergeevich Pushkin often used in his work the most poignant and dramatic pages in Russian history. In the tragedy "Boris Godunov" he recreated "the past century in all its truth." The poet successfully achieved unprecedented climaxes in the art of drama... The characters in this tragedy are historically reliable, act and reason in accordance with their era and morals.

Boris Godunov is described by Pushkin comprehensively and exhaustively. This is an excellent father, striving to give happiness to his own children, a righteous and attentive ruler, thinking about the good of the people, but why does he fail everywhere? There is no luck and happiness for his children:

I may have angered the heavens

I could not arrange your happiness.

Guilty one, why are you suffering?

Belinsky noted that already in the first scene of the tragedy “the character of Shuisky is depicted both historically and poetically.” This is the head of the boyar group, a descendant of the appanage princes of the “Rurik blood”. He himself is not averse to taking the throne of the Moscow Tsars, which was vacated after the death of Tsar Fedor. But Shuisky understands very well that he cannot achieve his goal without the help of the people, and therefore invites Vorotynsky to “skillfully excite the people.” But when Boris is elected, Shuisky turns into a “crafty courtier.” He expresses his devotion to Boris, but fully shares the rebellious aspirations of Afanasy Pushkin. Shuisky is a typical courtier, “evasive, but brave and crafty.”

Other boyars were also depicted in the tragedy: the timid and simple-minded Vorotynsky; the true exponent of boyar views Afanasy Pushkin; who went over to the side of the Pretender Gavrila Pushkin, the poet’s ancestor, Golitsyn, Masalsky and others. Pushkin needed these images in the tragedy to show the relationship between the tsar and the boyars, the ruling class and the people.

Transferring the action of the tragedy to Poland, Pushkin also depicts the feudal Polish aristocracy: Mniszek, Vishnevetsky and others. Much attention is paid to Marina Mnishek. “Marble nymph”, cold beauty, Marina is ambitious, arrogant, cunning. It is not a feeling of love, but a thirst to become the queen of Moscow that guides her when she agrees to become the wife of the Pretender.

There is an accusation in the very air that Godunov is the murderer of Tsarevich Dmitry. The boyars do not dare express this to the tsar, they have something to lose, they want to save their privileges, localism, and proximity to the throne by any means necessary.

The people are constantly dissatisfied with their humiliated position, their subordination to everything and everyone. Sometimes it results in riots that end in nothing. The rulers know how to stop the people in time, to cajole them not so much with effective measures as with momentary handouts and promises. Shuisky very well explains to Boris the essence of the people.

Pushkin shows that the real reason for the death of Boris lies in the forces that rebelled against him. Here the first and main place belongs to the people. The people are the main characters of Pushkin's tragedy. The people are given a central place in the composition of the tragedy: the people appear at the very beginning of the tragedy, and they also complete it, after the death of Boris and before the entry of the Pretender into Moscow; the latter, after the scene in the forest, no longer appears in the tragedy. It is not individual heroes (Boris and the Pretender), but the people who complete the tragedy.

The people are the creator of history, the true foundation of the state. Without the support of the people, both kings and boyars are powerless. The people supported the election of Boris to the throne, and when they turned away from him, Boris died. The people ensured victory for the Pretender. The power of the people is limitless.

The people have an ineradicable desire for freedom, for the fight against tyranny. The people are a rebellious element, always inclined to rebel against their oppressors. Afanasy Pushkin confidently declares to Shuisky: “If the Pretender tries to promise them the old St. George’s Day, then the fun will follow.” Clever Basmanov says to Boris: “People are always secretly inclined to confusion.”

The strength of the people lies in their inherent high moral purity and aversion to crime. He cannot forgive Boris for killing the baby. The people cannot forgive the Pretender for the death of Godunov’s widow and son. Thus, the people act as a formidable judge of the lawlessness and crimes of the royal power.

Pushkin, based on the history of the 17th century, gives an answer to the most important questions of his time. The Decembrist uprising was approaching; their weakness was that they acted in isolation from the broad masses.

Surpassing the historians and writers of his time with the brilliant instinct of a great poet, approaching our understanding of the role of the people in history, Pushkin shows both the enormous strength of the people and their historically determined weakness at that time - at the beginning of the 17th century. The people can overthrow tyrants, but they are unable to ensure their own welfare and freedom and take advantage of their victory in the interests of the people. The reason for this is darkness, the political ignorance of the masses. Taking advantage of this darkness of the people, it is the tsars and boyars who create politics, not the people; They appropriate the fruits of the people's victory for themselves. Pushkin clearly shows this both in the first scenes of the tragedy (“Red Square”, “Maiden’s Field”) and in the final scene.

The people in the drama are depicted in motion, in the formation of moral self-awareness. The scene of the first appearance of the people on Red Square invites us to think about the particular shock of the masses of the people who found themselves without a crown bearer:

Oh my God, who will rule us?

Oh woe to us!

In the subsequent act - on the Maiden Field - the people pray to Boris to ascend the throne. However, this happens on the instructions of the boyars: “The boyars know that.” As we see from the remarks exchanged by those stationed in this place, a significant proportion of the people are absolutely indifferent to the choice of the sovereign. For her, this is simply an entertaining show.

At the conclusion of the drama, the people are already different: they independently take an active part in what is happening, without concealing their own hatred of the royal house.

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