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Alexander Pushkin Life Summary Essay

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Essay on Alexander Pushkin; the Father of Modern Russian Literature

Essay on Alexander Pushkin; the Father of Modern Russian Literature

Russia is home to many great writers, all of whom owe inspiration to romantic era author and poet Alexander Pushkin. Pushkin is considered the father of modern Russian literature and is often compared to the likes of England’s Byron or Shakespeare. Pushkin challenged literary norms and was a vital voice in Russian society. Although Alexander Pushkin’s greatest piece, “Eugene Onegin”, is a narrative tale it says much about Russian character and culture itself as influenced by the time and circumstance.
Pushkin was born May 26, 1799 into Moscow nobility. In 1817, Pushkin accepted a foreign affairs job in St. Petersburg, the capital at the time (Edmonds, 1). This was his first encounter with politics which he soon became engrossed in. His support of the failed Decembrist Uprising of 1825 caused him to be exiled to the south of Russia for 6 years, which allowed him to make great headways in his work. While in exile he fell in love with the daughter of a count and made advances towards her which got him exiled to his mother’s estate of the other side of the country for another 2 years (Edmonds, 3). Due to his deep loneliness he began to find solace in reading Russian history and speaking with peasants and serfs employed on his mother’s estate, this led to two things; “Boris Godunov” his first attempt at historical fiction, and the focus on the power of the common man and the corruption of authority in his work. His ability to capture the essence of the Russian man gained him increased fame throughout Russia; because of this he was allowed out of exile, but spent the rest of his life being closely watched by the Tsar’s political police.
His encounter with politics in the nation’s capital and emersion into Russian culture and everyday.

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"Alexander Pushkin." Princeton University, n.d. Web. 20 Jan. 2014.
"Alexander Pushkin's Biography." State Museum of A.S. Pushkin. State Museum Mikhailovskoye, n.d. Web. 19 Jan. 2014.
Bayer, Alexei. "Political Lessons From Pushkin." The Moscow Times Online. The Moscow Times, 1 Nov. 2010. Web. 19 Jan. 2014.
Edmonds, Robin. Pushkin: The Man and His Age. New York: St. Martin's, 1995. Print.
"Russian Literature." Compton's Encyclopedia Q-R. Vol. 20. Chicago, IL: Encyclopaedia Britannica, 2008. 397-402. Print.
Taplin, Phoebe. "The Dramatic Life and Death of Alexander Pushkin." The Telegraph. Telegraph Media Group, 10 July 2012. Web. 19 Jan. 2014.
Washburn, Katharine, and John S. Major. "Part VII: Eighteenth To Twentieth Centuries." World Poetry. New York: Quality Paperback Book Club, 1998. 831-37. Print.

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10 facts about Alexander Pushkin

10 facts about Alexander Pushkin Bashny.Net

It would seem that we do not know about Pushkin? Today - some facts from the biography of Alexander that he, presumably, did not advertise.

1. Pushkin could remember from 4 years old. Several times he talked about how once on a walk noticed how the earth swaying and shaking the column, and the last earthquake was recorded in Moscow just in 1803.

2. And by the way, about the same time, there was a first meeting with the emperor Pushkin - little Sasha had almost fell under the hooves of the horse of Alexander I, who also went for a walk. Thank God, Alexander managed to hold his horse, the child was not injured, and the only one who got a fright in earnest - a nurse.

3. A famous Lyceum Pushkin, it turns out, went to pull. Lyceum founded the minister Speransky set was small - only 30 people, but Pushkin had an uncle - a very famous and talented poet Vasily Pushkin, who was personally acquainted with Speransky.

4. In the list of achievers who have prepared for prom Pushkin was the second from the end.

5. The Lyceum Pushkin for the first time fell in love. It is interesting to read even a list of his victories, and reviews of different people there. His brother, for example, said that Pushkin himself was a fool, growth is small, but women somehow liked. That is confirmed by an enthusiastic letter of Vera Alexandrovna Nashchokin in which Pushkin, too, was in love with, "Pushkin was brown with very curly hair, blue eyes and an extraordinary appeal." However, the same brother Pushkin admitted that when Pushkin someone interested, it becomes very tempting. On the other hand, when Pushkin was not interested, his conversation was sluggish, dull and just unbearable.

6. The first duel Pushkin happened in high school, but in general he was summoned to a duel more than 90 times. Pushkin himself offered to shoot more than a hundred times. The reason could not be worth a damn - for example, in the usual dispute about trifles Pushkin could suddenly to call someone a scoundrel, and, of course, it ended in gunfire.

7. More Pushkin had gambling debts, and quite serious. True, he almost always found the means to cover them, but when there is some delay, he wrote to his creditors malicious epigrams and drew in notebooks caricatures of them. One such sheet found, and there was a big scandal.

8. Yes, and that's what they write about Pushkin foreigners. It turns out that Eugene Onegin - it is generally the first Russian novel (although in verse). It is written in the "Encyclopedia Britannica" edition of 1961. There it is written that before Pushkin Russian language was not at all suitable for fiction.

9. By the way, in Russia in 1912 and 1914 published a collection of poems by Pushkin, which have now become a rarity: the collector was a certain Vladimir Lenin, and a foreword written by A. Ulyanov. Lenin - was a pseudonym publisher Sytin (his daughter's name was Helen), and literary Ulyanov was just a namesake.

10. One last fun fact, which, however, has nothing to do, actually, Pushkin's biography. In Ethiopia, a few years ago, a monument to Pushkin. On a beautiful marble pedestal is inscribed: "Our poet».

The Life Of Alexander Pushkin

The Life Of Alexander Pushkin

Published: 23rd March, 2015 Last Edited: 23rd March, 2015

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Freedom in Alexander Pushkin’s literary works occupies one of the central positions; however, Pushkin treats freedom from various sides and perspectives. Living in the period of social and political changes, in the era of the Great Patriotic War of 1812 and the revolt of Decembrist of 1825, Pushkin belonged to the generation which was in search of ideal freedom. However, being unable to attain this kind of freedom, Russian poets of the nineteenth century made constant attempts to replace one idea of freedom with another, finally realising that freedom in real life was constantly restricted. Alexander Pushkin went further than other poets of his times in his treatment of freedom, inspiring the formation of new Russian civic poetry and influencing such poets as Nekrasov and Lermontov. As Janko Lavrin points out, “what the world now understands and admires under the name of Russian literature came with and after Pushkin” (p.65).

At the beginning of Pushkin’s literary career, the issue of freedom in his literary works acquires a strong political tendency. In his early poem Volnost (1817) Pushkin reveals his vision of ideal freedom, opposing the existing absolute power of kings and expressing the idea that true freedom can be achieved only under the constitutional monarchy.

In Pushkin’s poem K Chaadaevy (1818) the political idea of freedom acquires a slightly different direction; in this poetic work Pushkin points at the necessity of defending his native land. For Pushkin, love for homeland is inseparably connected with the struggle for freedom. However, as Pushkin becomes mature, he rejects a pure political treatment of freedom, demonstrating his interest in inner freedom of a person. In this regard, Pushkin implicitly draws a parallel between inner freedom and poetic perception of freedom in his poetic work Derevnja (1819). Such a combination uncovers many possibilities for achieving freedom, but, on the other hand, it evokes inner doubts, which the poet does not dissipate by the end of the poem. The first part of Derevnja reveals the poet’s ecstatic delight of his achieved freedom:

In the second part of the poem Pushkin ponders over the destiny of Russian people, feeling that his poems are unable to provide them with long-waited freedom, that they are unable to completely eliminate serfdom which destroys people’s lives and their inner selves. Contrasting beauty of nature with lack of freedom in the village, Pushkin shows that people can acquire happiness only in free society. As Alexander Pushkin claims,

Thus, the poet appeals to the king and asks him to annihilate serfdom, providing people with freedom and knowledge. As the poet, Pushkin has the only tool – his poetry – to strive for universal freedom. But in such poems as K Moryu (1824) and IzPindemonti (1836) Alexander Pushkin continues his discussion of inner freedom, presenting a romantic embodiment of freedom. As the poet realises that he is not able to achieve freedom in real life, he turns to freedom in his dreams, identifying himself with nature. In the poetic work K Moryu Pushkin applies to the image of sea, which symbolises both inner freedom of a person and poetic freedom. For Pushkin, sea is the embodiment of free and rebellious nature, but at the same time through the image of sea Pushkin reveals the poet’s loneliness in his struggle for freedom. However, it is nature that gives necessary power and freedom to Pushkin, saving him from any dependence:

These words from Pushkin’s poem IzPindemonti reveal that the poet is in search of new verges of freedom, the verges that overcome the existing reality. This search is especially obvious in his famous poem Uznik (1822), where the appeal for inner freedom is expressed through eagle’s cry. Both the eagle and the prisoner are captives who are deprived of their freedom. Alexander Pushkin creates this poem in exile, where he is deprived of freedom, of close relatives and friends. However, the eagle is a freedom-loving bird, and its greatest wish is to attain freedom. Alexander Pushkin identifies himself with the eagle, maintaining the idea that a person is also free by nature, thus freedom is crucial for any human being:

In this regard, Pushkin implicitly shows that political, outer and poetic freedom stand behind inner freedom. On the other hand, Pushkin realises that it is impossible for the poet to completely reject one aspect of freedom for the sake of another; As Angus Calder points out, “a man who respects himself as ‘autonomous’ will of course tend to chafe against political tyranny and may well seek a place where he may have ‘independent’ control of his own life” (p.35).

Uznik was written when Pushkin was only twenty-three years old, but even at this age the poet realised that society, in which he lived, specifically created invisible barriers and restrictions, wrong ideals and illusions, and Pushkin expressed his longing for real freedom. Deviating from the political treatment of freedom, Pushkin realises that a poet should be free both from people and from authorities; only in this case it is possible to create freedom-loving poetry. In Pesni o veshem Olege Pushkin points out that any literary work should be free and truthful. After the Decembrists’ defeat, Pushkin continues to dream of freedom, hoping to realise this dream. As Pushkin claims in his poem Vo glubine sibirskich rud dedicated to his friends-Decembrists,

In the series of Southern Poems Alexander Pushkin introduces the idea that outer freedom can not be attained. In such poems as Zygane (1930) and Fontany Bahchizaraiskogo dvorza (1824) Pushkin portrays certain spheres where freedom of people is strongly confined, but nevertheless, a person is able to develop and preserve inner freedom. Such treatment of freedom coincides with the ideals of Renaissance; Pushkin’s obsession with inner freedom reflects the revival of national consciousness under complex social changes. Thus, Pushkin’s ideas of freedom possess cultural roots rather than political, despite the fact that some of his poetic works, such as Arion. Anchar and Skaski. demonstrate an open protest against the existing political system. But Pushkin’s rebel is of spiritual nature; it is the rebel of a person who is overwhelmed with humanism and who rejects any personal violence. Instead of the existing ideology of the nineteenth century, Alexander Pushkin creates his own ideology of inner freedom in the context of universal freedom (Edmunds, pp.29-32). In his poem Ya pamyatnik sebe vozdvig nerykotvorniy Alexander Pushkin points out that his major life achievement is his freedom-loving poetry:

But Pushkin does not restrict himself only to poetry; he freely experiments with different literary genres, making an attempt to “explore the possibilities of prose in the same way as he had explored the possibilities of verse” (Lavrin, p.183). However, his ideal of inner freedom remains central to all his literary works. This is especially true in regard to Pushkin’s short stories, novels and tales. In his famous verse novel Evgeniy Onegin Pushkin points at the characters’ inability to achieve inner freedom. Pushkin portrays aristocratic society, which is unable to overcome the existing restrictions (Falen, pp.7-10). Perhaps, the only character who is able to attain inner freedom is Tatiana, a young girl with intelligence and longing for love. Tatiana falls in love with Onegin, the principal character of the play, and she is the first who makes a declaration of love. However, Onegin rejects her in a most inappropriate way, and Tatiana suffers much, loosing her inner freedom. As Tatiana claims:

She marries an old gentleman and remains devoted to him, despite the fact that she still loves Onegin. Thus, in Evgeniy Onegin Pushkin uncovers the reality of his life, embodying his own thoughts of inner freedom in the character of Tatiana. In Pushkin’s tale Pikovaya Dama the writer discusses inner freedom in a different context. Introducing the character of Germann, Pushkin reveals the negative consequences of Germann’s wish to achieve freedom. Germann considers that true freedom can be attained only with the help of money, but as he gets more and more entangled in deceits, he destroys himself and other characters. In fact, Germann looses his self and his freedom, as he becomes obsessed with playing cards; in this context, abstract things take full control over Germann’s life, driving him mad by the end of the narration. Comparing his character with Napoleon and Mephistopheles, Pushkin uncovers the essence of Germann who does not acknowledge any moral principles or laws. As Pushkin claims in regard to his character,

The similar portrayal Pushkin utilises towards an old countess, ‘Pikovaya Dama’. The old woman in Pushkin’s tale is identified with an Egyptian mummy; she is a lifeless creature who lacks any freedom and who leads meaningless life within aristocratic society. Alexander Pushkin does not treat old woman’s death as tragedy, because, for Pushkin, life without freedom is empty existence. In this regard, inner freedom in Pikovaya Dama is discussed through freedom of moral choice. Germann and the old woman make a wrong choice, thus loosing the possibility to attain inner freedom. However, in contrast to these characters, Pushkin introduces the character of Lisaveta Ivanovna who greatly values her moral principles that finally save her.

In his story Egypetskiye Nochi Pushkin returns to the issue of freedom in the context of poetry. On the example of Charskii, a poet and aristocrat, Pushkin reveals his own suffering, as he makes an attempt to become a freedom-loving poet (Debreczeny, pp.11-13). Similar to Pushkin’s poetry, Egypetskiye Nochi discusses the relations between the poet and society, and these relations reflect the essence of his views on the idea of inner freedom. Although Pushkin demonstrates a close connection between the poet and people, he nevertheless points at the necessity of freedom for the poet. At the beginning of the story Pushkin shows Charskii’s dependence on society:

However, further Pushkin demonstrates Charskii’s dissatisfaction with such position and his attempts to preserve his inner freedom. In his conversation with a stranger, Charskii exclaims:

Charskii, similar to Pushkin himself, feels loneliness within society in which he lives. In his poem Svobody seyatel pustynniy (1823) Pushkin reveals a notion that a poet lives among people who are not able to perceive his ideas of freedom. On the other hand, in the poem Prorok (1826) Pushkin states that any poet that wants to appeal for freedom should endure many difficulties and pain. Alexander Pushkin suffered throughout his life, and these sufferings were reflected in all his freedom-loving poetry and prose.

Analysing the ideas of freedom in Alexander Pushkin’s poetry and prose, the essay suggests that Pushkin’s treatment of freedom changes throughout his literary career. Starting with an idea of political freedom, Pushkin gradually realises the vainness of his attempts to attain outer freedom. In his further works the poet pays more attention to inner freedom of an individual, applying to symbolical understanding of freedom through understanding of nature. It is this inner freedom that Pushkin values above all other kinds of freedom, implicitly or explicitly referring to inner freedom in almost all his poetic and prose works. This inner freedom in Pushkin’s poetry concerns various issues, such as freedom of choice, freedom from any biases, freedom of religious beliefs and, above all, freedom of creative work. In Pushkin’s prose works inner freedom is inseparable from moral values of people. Overall, freedom-loving poetry and prose of Alexander Pushkin contribute to the formation of a characteristic writing style, which is adopted by further generations of Russian poets.

Works Cited
Calder, Angus. RussiaDiscovered: Nineteenth-Century Fiction from Pushkin to Chekhov. London: Heinemann, 1976.
Debreczeny, Paul. "Introduction", in Alexander Pushkin:Complete Prose Fiction. Stanford: Stanford University Press, 1983, pp.5-11.
Edmunds, Robin. Pushkin: The Man and His Age. New York: St. Martin's Press, 1994.
Falen, James. Alexander Pushkin. Eugene Onegin. Oxford, New York: Oxford University Press, 1995.
Lavrin, Janko. Pushkin and Russian Literature. New York: The Macmillan Company, 1948.
Пушкин, Александр Сергеевич. Евгений Онегин. Собрание сочинений А.С. Пушкина в десяти томах, Т.4. Москва: Государственное издательство Художественной Литературы, 1960.
Пушкин, Александр Сергеевич. Египетские Ночи. Россия: Издательство Росмэн-Пресс, 2002.
Пушкин, Александр Сергеевич. Стихотворения. Пермь: Пермское книжное издательство, 1987.
Пушкин, Александр Сергеевич. Пиковая Дама. Полное собрание сочинений А.С. Пушкина в десяти томах, т.6. Ленинград: Наука, 1978.

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