Characteristics of the main characters of the tragedy “Boris Godunov”

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“Boris Godunov”: the people in Pushkin’s tragedy, the image of the people

Not only in the classical tragedy of the 17th-18th centuries, but also among Western romantic playwrights contemporary to Pushkin, the outcome of the historical struggle was determined by the clash of wills and passions of individual outstanding historical “heroes”, elevated high above the crowd of more ordinary, ordinary people. With Pushkin the situation is different. And Boris Godunov, and the boyars, and the Pretender in his tragedy constantly feel the presence of the people near them as a special - decisive - historical force, on which they depend and whose opinion they are forced to reckon with. Already at the beginning of the tragedy, in order to give external legitimacy to his accession to the throne, Boris is forced to appeal to the voice of the people. But his popular recognition of the throne, staged at the will of Boris and the boyars, remains a comedy that cannot mislead anyone. The people equally condemn both Boris and the Pretender, because for them the road to power lies through crime and violence. He denies them his moral sanction. This is especially eloquently evidenced by the tragic and menacing silence of the people in the last scene of “Boris Godunov” - the scene that crowns this great, truly national tragedy.

Shakespeare's favorite hero in his tragedies was a simple-minded, straightforward and generous bearer of an epic, knightly-heroic consciousness, living and dying in an era that, along with the flowering of a free personality, gave birth to political cunning and refined, cynical “Machiavellianism.” The problems of Pushkin's folk drama are different. The main node of its socio-political and moral content is the problem of the growing tragic alienation between the supreme power and the people, the question of the causes of this alienation, as well as the historical paths and possibilities that could help overcome it.

The poet depicted the people in “Boris Godunov” as that historical force whose attitude towards persons acting in the foreground of historical life plays a decisive role in the final development of events, determining the success or failure of their plans and enterprises. Already at the beginning of the tragedy, in the scene of Godunov’s election to the throne, it becomes obvious to the viewer that the people, living their own lives and their own interests, are indifferent to the supreme power, do not sympathize with Godunov and do not want his election. Only the intervention of the boyars and the patriarch prompts the people to participate in the cleverly staged scene of Godunov’s calling to the throne. And later Godunov never managed to win the trust and support of the people. This is what ultimately decides the fate of Boris and his heirs. And in the same way, the harsh “silence” of the people in response to the call to greet False Dmitry with the cry: “Long live Tsar Dimitri Ivanovich!” testifies to his negative attitude towards Boris's successor, who began his reign with a new - similar to Boris's crime - cruel and bloody crime. This negative attitude of the people foreshadows the Impostor's quick, inglorious end.

It should be noted that the tragedy emphasizes two different motives for the people’s negative attitude towards Boris. One of them is the discrepancy between Boris’s image and actions and the people’s ideal of truth and justice. Boris paved his way to the throne by crime. He is a murderer, and, moreover, the murderer of an innocent baby. No wonder the Holy Fool calls him “King Herod.” Godunov’s crime, the fact that in the name of personal ambition he killed Demetrius, thereby clearing the way for himself to the throne, is condemned by both Pimen and the Fool, and the entire nameless, multifaceted mass of people standing behind them. As a criminal king, a child killer, Godunov does not meet the requirements of popular morality: he is a criminal not only from the point of view of the official law, but also from the point of view of the people's ethical ideal, and therefore the people cannot and do not want to give their sanction to his election , is mutely hostile to Godunov, despite his “generosity.”

But according to Pushkin, the people, as tragedy testifies, not only have the right of supreme moral judgment over Godunov and other historical figures of the foreground, who can only be strong in “popular opinion” (and therefore their success and failure depend entirely on the support of the people). The people also have their own special interests in history. They may or may not coincide with the interests of the monarch and the boyars. This side of Pushkin’s historical thought in “Boris Godunov” is hinted at by the mention of the “ancient St. George’s Day” canceled by Godunov.

And yet, although the moral verdict of the people coincides with the demands of the uncompromising and infallible supreme, universal moral court, in the era depicted by the poet, the people did not have their own historical initiative, the ability for active, purposeful historical action. He had the historical right to give or not give his sanction to the claims of the heroes of the first plan, to condemn or justify them. But he was not given the opportunity to nominate from his midst persons capable of acting independently, and not supporting one or another of the fighting heroes, coming from a boyar (or noble) environment and representing in history, on the one hand, their personal ambitious interests, and on the other - the historical aspirations of this environment. This is the tragic shade of folk “silence” at the end of Pushkin’s great folk drama. Therefore, the ending of “Boris Godunov” is not only the apotheosis of the highest people’s truth and people’s court, but also a reproach of the people to themselves, an artistic reflection of the tragic and painful consciousness of their impossibility of realizing that ideal of truth and goodness, which constitutes an integral feature of their inner moral life. This ideal lives spontaneously in the soul of the people and determines their rejection of Boris and the Pretender. But it cannot manifest itself in word and action.

Source: Source: Pushkin. Dostoevsky. Silver Age. / Friedlander G.M. St. Petersburg: “Science”, 1995

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