Poor Liza Character in 20th Century Russian Literature Essay

It is no accident that the name that is attri howevered to the heroine in a number of Russian novels of the new-fangled eighteenth and nineteenth centuries is named after some derivation of the name Elizabeth. Karamzin is the runner to revere this name in his represent short(p) liza and it is this work that sets off a chain reaction that causes the occurrence of subsequent pillowcases in Russian belles-lettres. This geek reference disregard pick up aparticularly be found in works such as Pushkins butt of Spades, Griboyedovs agony from Wit, and even briefly in Gogols knackered Souls. At the metre that Karamzin published Poor liza, Russia had recently seen the reign of Queen Elizabeth I (1741-1761) who compete a great section reference in shaping Russias indistinguishability and culture. Through a close reading of those Russian texts which include the Elizabeth eccentric person, an agreement of this names historic role in Russian literature butt be achieved and its par in all(a)els to the monarch that this name evokes. Before tracing the liza name in the Russian texts, it is important to better understand the character traits and lives of the empresses after whom this name takes.The more significant of these being Queen Elizabeth of Russia as it was non long after her reign that Karamzin wrote Poor Liza. Elizabeth was born to hammer I of Russia and Catherine I of Russia however due to the fact that her pa plights marriage was non publically acknowledged at the time of her birth, this would be a compass point used to challenge her legitimacy to the throne by political opponents (Antonov, 104).In her outward look, Elizabeth delighted everyone, with her extraordinary beauty and vivacity. She was commonly known as the hint beauty of the Russian Empire (Antonov, 104). Politically, Elizabeth was seen as the heroine of the Russian cause as was attributed to her, steady appreciation of Russian interests, and her determination to promote them a t all hazards (Rice, pg 121). Russia under Elizabeths run reasserted her power over foreign repression as the country had been under direction of a number of German favorites and contract from the West.It was upon her coronation that a royal decree was issued stating, the Russian people submit been groaning under the enemies of the Christian faith, but she has delivered them from the degrading foreign oppression (Antonov, 109). Elizabeth is as well re extremityed for championing the arts and scholarship through the vast playing periodding she poured into projects such as the capital of the Russian Federation State University, the Winter Palace, and the Imperial Academy of Arts (Antonov, 106). The count on of Elizabeth is as well as painted by her deep devotion to religion in that she disengaged some(prenominal) of the legislations that her beginner had make to limit the power of the church (Rice 149). In many federal agencys, Elizabeth I becomes the perfect root from whi ch the witness of the heroic Russian woman springs from as is later manifested in Russian Literature succeeding(a) her reign. The starting time time that Russian is introduced to the Liza character is in Karamzins Poor Liza which was published in 1792, chase Elizabeth Is rule.The main heroine, Lizas, characteristics can be attributed to those of Elizabeth herself. The first of these similarities can be found in some(prenominal) of the females fathers. Lizas father is expound as, a rather well-to-do settler, for he delight work, tilled the land well (Karamzin, 80). The hardworking nature of the father can to a fault be seen in the traits of Elizabeth Is father, ray of light the large whos restless work made Russia into an empire. However the greater illusion lies in the negative effects caused by each of the womens fathers endings. In Poor Liza, soon after Lizas fathers death, his married woman and daughter grew poorand they were forced to rent out their land for a pittanc e sum (Karamzin, 80). Similarly, after the death of Peter I, no royal court or noble house in Europe could allow a son to redress court to Elizabeth, as it would be seen as an unfriendly act to the Empress Anna (Coughlan, 59).The demoraliseing of stature for both Liza and Elizabeth made it difficult for both to find a modification husband. In Lizas case, lest she ends up connecting someone she does not love. When Erast and Liza be discussing the marriage arrangements that are being made for her to be conjoin to a savage boy and Erast asks if she would marry him instead, she says to him, but you can never be my husband I am a peasant little girl (Karamzin, 87). Since Elizabeth I was shunned from the royal courts after her fathers death and at the same time she could not marry below her so as not to lose the royal title, the empress died unmarried, as did Liza. However, this is not the only taked experience of the Russian heroines. Another parallel between the empress and Ka ramzins peasant girl can be found in their educational background. For a queen, Elizabeth I was considered lacking of the solid education needed for her role.This could mostly be blamed on Peter Is focus on state affairs and her mothers illiterateness and laissez-affair approach to her daughters studies (Antonov, 104). A comparable trait can be drawn in Liza, specifically when she is saying good-bye to Erast and she says, Oh Why do I not know how to read or write (Karamzin, 89). And so, both women were undereducated for the role they had come to fill, a ruler and a worried-sick lover. Taking a close-hauled look at Elizabeths and Lizas personalities it becomes evident that they share commonalities. For instance, when Karamzin first introduces his Liza character, he says that, to soothe her mother she tried to comprehend the grief in her heart and appear at ease and zippy (Karamzin 81). This gayness can be to a fault found in Elizabeth I as she was well known for her gaiety and pla yfulness as was evidences by the cross-dressing balls that she held at her court (Rice 136). Another example of their similar characters can be found in the virginal beauty and pious image created by both.Karamzin describes Liza as being a rare beauty (Karamzin, 80) and Elizabeth in her youth was as already mentioned the premier beauty of Russia in her day. It is as well as important to note the unmixedness in the aura created by Liza as she is unspoiled by the trivialities of risque-society. The color ovalbumin can be found in a number of images in connection with Liza, the first being the lilies of the valley which Liza sells at the market in Moscow (Karamzin, 81). These flowers are typically small and white in nature and by Christian are attributed to the tears of the Virgin Mary during the crucifixion of Christ, and so by having Liza the vendor of such flowers, she is placed into a heart-wellnessy and holy light (Krymow, 18).Another place in which the color white and purit y is shown in connection to Liza is when Erast visits her home and says, I am very tired. Would you have any fresh milk? (Karamzin 82). Liza, ran to the cellar, brought back a clean earthenware pot, washed it and dried it with a white towel, poured and handed the rubbish through the window (Karamzin 82). pull down when Liza falls in love she is described as having a , pure, and open heart (Karamzin, 85) and there are more images of purity and whiteness as is seen when the two lovers meet at night and, they embrace but chaste, shy Cynthia did not hide from them tooshie a cloud their embraces were pure and sinless. (Karamzin, 86).Karamzin also describes Liza through Erasts eyes as a shepherdess, again evoking an image of purity (Karamzin, 86). Even when Liza gives up her virginity to Erast, Karamzin still evokes images of purity when he says, uniform a lamb she submitted to his will in everything (Karamzin, 89). These holy referents in Karamzins Poor Liza, create a sacred image o ut of the Liza character which is similar to the character traits of Elizabeth I. Part of the rationality that the empress Elizabeth create so many churches was that at one point she was considering becoming a nun. For this reason The Convent was built and erected by her order (Bain, 138).She is also attributed to building the most number of churches as compared to any other Russian monarch, the most famous being the Smolny Catherdral (Bain, 138).In her ghostlike devotion, and her unmarried life lie some of the stronger parallels to Karamzins Liza character from which the spring the lineage of the Liza characters. sideline Poor Liza, other writers also began evoking the image of Elizabeth I in their writing. The next one being Griboyedovs in his Lizzie character in Woe from Wit. Again the Liza character, in this case being Lizzie, is painted as a picture of pure virginal beauty. Lizzies outer appearance is described by Molchalin on that points one thing Im thinking ofThese chee ks, these veins and allHave not yet seen the flush of love. (Griboyedov, IV.xii.4-6)In the last line, Mochalin especially points out the paleness of her skin which shows her virginity. Another similarity between Elizabeth I Liza, and Lizzie, is that they all reject or lovers who rank higher or equalise to them. Lizzie for example pushes away Molchalin when he tries to embrace her (Griboyedov, IV.xii.51-52) and instead loves someone of lower or equal rank So strange these people seem to beShe craves for him, he craves for me,And Im the only one whos scared of love,Barman Petrusha, my saccharineest dove. (Griboyedov, I.xiv.4-6)Lizzie also rejects Famusov when he corners her in the hall and embraces. She is base with him and shows little interest, despite his rank Its you whos frivolous, let go, will you?Compose yourself, obsolescent man.This is corresponds with the family relationship dynamics of Elizabeth I in that she was erstwhile betrothed to Prince Karl Augustus but he die d before they could be married(Coughlan, 23). Instead of seek a husband of equal stature, which proved difficult because she was not pleasurable in noble circles she pursued lovers in the military and service, eventually subsiding on a Ukrainian peasant in a church choir by the name Alexis Razumovsky (Coughlan, 59). Yet there are more similarities that can be traced between Elizabeth and Lizzies characters.Elizabeth Is rule was marked by the extravagant balls and events who would throw. On average, her weekly balls would host near 800 guests and she would also often throw smaller parties for her court members (Rice, 135). Lizzie, like Elizabeth, also enjoys a celebrations and parties. For this reason when she is speak with Sofia she reminds her, the holiday is coming Time for fun (Griboyedov, I.v.1). Lizzie is referring to the get together that will happen in the play as it will give her a chance to see her beloved Petrushka. Following Lizzies character, the Liza image carried o ver next to Pushkins work, Queen of Spades.The Lizaveta character in Queen of Spades is reminiscent of the young Elizabeth I who was less-traveled at the royal court. Lizaveta is first described to the reader as the kill of the house as she was always being sc seniored and blamed for everything (Pushkin, 348). This again evokes the sainted images created by Karamzin and Griboyedov. Particularly similar to the young queen is Lisaveta in the following passage She had a fixed salary, but it was never paid in full at the same time she was expected to dress like everyone else, that is, like the few. In society she played the most pitiable role. Everybody knew her, but nobody took any notice of her at the balls she danced only when an extra match was needed for a vis--vis. (Pushkin, 349) This image is similar to that of Elizabeth in that she had royal relationship and for this reason was expected to dress and act a certain way however she was not accepted by the society she was a par t of. In addition to the way in which the young Elizabeth aspect into society, Lisaveta is also similar to Elizabeth in her later age.When Elizabeth I was growing old she began having complications with her health that caused dizzy spells. She grew increasingly depressed and disallowed the word death to be talk in her presence (Antonov, 109). This antic can also be seen in the actions of Lizaveta in her interactions with Tomskii By the way, methinks she must be getting on, Princess Daria Petrovna? What do you stringent getting on? Tomskii answered absentmindedly. Shes been dead for these seven days. The young brothel keeper raised her head and signaled to him. He remembered the old Countess was never informed of the death of any of her contemporaries, and he bit his lip. (Pushkin, 345). In this instance the image of Elizabeth I gets somewhat muddled since it is unclear whether the countess disallows the subject of death to be brought up in front of her or if it is Lisaveta who does not like the idea.The old Countess herself mirrors Elizabeth I in that she cares a great deal about her outer appearance as the countess dressed in a fashion, strictly following the fashions of the 1770s, expense sightly as much time on and paying just as much attention to, her toilette as she had sixty years before (Pushking, 345). In similar fashion, Elizabeth I in her older age, had a monstrous collection of clothing, having owned 15,000 dresses and would change outfits two to six multiplication a day (sAntonov, 107). Like the young Elizabeth and Lisaveta, the countess did not quite fit into the society she was a part of, she participated in all the trivial events of high society life, dragging herself to balls, where she would sit in a corner, the guests, as they arrived, would go up to her bowing lowbut afterwards would pay no attention to her (Pushikin, 348).If the relationship between Lisaveta and the Countess is hike explored their dynamic can be seen as the countess being an old Elizabeth I and Lisaveta being the young Elizabeth I. Pushkin plays tricks on the reader with the images of Lisaveta and the countess. Perhaps the most striking example of this is that when Hermann is leaving the old Countesss house and he, pressed her cold, unresponsive hand, kissed her bowed head, and went out (Pushkin, 362). It is not transparent here whether Hermann had just kissed the Lisaveta or the dead countess, which could be done by Pushkin on purpose. Perhaps the reason for the two Elizabeth-like characters is so that the old one can have the young one avoid marrying a person of above or of her own class and instead marry down. This is because the marriage of the countess is what brings the countess the cursed secret she has to keep since the old count refused to pay her debts and she had to seek outside help(Pushkin, 342).For this reason, when the apparition of the old countess comes to Hermann, she tells him, I will forgive you my death under the condition that you marry my ward, Lizaveta Ivanovna (Pushkin, 365) and so the Elizabeth I image is put forth by Lizaveta. The final image of the Liza character appears in Gogols Dead Souls, in the form of Manilovs wife Lizenka. Here the Elizabeth character is portrayed in a sickeningly sweet form. The relationship between Manilov and his wife are described as continuously feeding one other little tid-bits and candies. In the Lizenka character, Gogol is ultimately jab fun at the sentimentalist nature of the Liza character which can be contrived from Elizabeth Is own character.Gogol does not take Karmzins sentimentalist writing as true literature and for this reason names Karamzin in the following instance Nor were his colleauges a wit small to him in enlightenment. For instance, one of them made regular practice of reading Karamzin, another of conning the Moscow Gazette, and the third of never looking at a contain at all. (Gogol, 142) Here Gogol takes on a sarcastic tone in describing th e great works that the collegues indulge in. For this reason, Gogol choice of the diminutive form of Elizabeth, Lizenka is further support that her character her sweetie pie character is a parody to Karamzins Liza.This play on the the Liza character can be seen as a commentary on, Elizabeth Is character as she was described as kind and warm-hearted for the emotions sake alone (Rice, 135). Gogol sees this type of personality as unintelligent and makes fun of Lizenkas schooling which is somewhat similar to Elizabeth Is in that Lizenka only learned French, the piano, and housewifery (Gogol, 22). However, regardless of her schooling, Lizenka through her relationship with Manilov is in charge of the souls which is perhaps a view he takes on Elizabeth Is rule of the Russian people.By tracing the character traits and life events of Elizabeth I of Russia in Russian Literature following her rule, the increase of the heroine Liza becomes evident. Beginning with Karamzin who evokes many of th e holy and pure images that surround Elizabeth Is and as well as Gribodev who shows the virginal beauty of the empress in his writing. Their literature is then followed by Pushkin, who focuses more on the outcast member of society that Elizabeth I was growing up under her Cousin Annes rule. And so the Liza character, heroine of Russian literature is created in celebration to Elizabeth I only to be ridiculed by Gogol in his brief apostrophes to Karamzins cowcatcher work. So Lizas character becomes an enigma in Russian literature history in that it is unclear whether her name is ultimately venerated or ridiculed in the minds of the readers of these great works.Works CitedAntonov, B. I., and Kenneth MacInnes. Russian Tsars the Rurikids, the Romanovs. St. Petersburg Ivan Fedorov, 2005. Print.Coughlan, Robert. Elizabeth and Catherine Empresses of All the Russias. London Macdonald and Janes, 1975. Print.Gogol, Nikola Vasilevich, Constance Garnett, and Clifford Odets. Dead Souls. New York Modern Library, 1936. Print.Griboyedov, Aleksandr Sergeyevich. Aleksandr Griboedovs Woe from Wit A scuttlebutt and Translation. Lewiston, NY Edwin Mellen, 2005. Print.Karamzin, Nikola Mikhalovich, and Henry M. Nebel. Selected Prose of N.M. Karamzin. Evanston Northwestern UP, 1969. Print.Krymow, Vincenzina. Marys Flowers Gardens, Legends & Meditations. Cincinnati, OH St. Anthony Messenger, 1999. Print.Pushkin, Aleksandr Sergeevich, and Paul Debreczeny. The Captains Daughter and Other Stories. London David Campbell, 1992. Print.Rice, Tamara Talbot. Elizabeth, Empress of Russia. New York Praeger, 1970. Print.