The Uncensored Boris Godunov

Includes the original Russian text and, for the first time, an English translation of that version. “Antony Wood’s translation is fluent and idiomatic; analyses by Dunning et al. are incisive; and the ‘case’ they make is skillfully argued. . . . Highly recommended.”—Choice

A drama of ambition, murder, remorse and retribution, Boris Godunov charts the decline of a Russian statesman, whose dynastic aims were foiled by a guilty past and an audacious upstart. Based on history and inspired by Shakespeare, Alexander Pushkin's daring masterwork is presented here in its rarely published uncensored version of 1825.Set in Vienna, Flanders, Madrid and London, Pushkin's celebrated Little Tragedies - Mozart and Salieri, The Mean-Spirited Knight, The Stone Guest and A Feast during the Plague - each focus on a protagonist's driving obsession - with status, money, sex or risk-taking - and its devastating consequences.

TSAR. Is it possible? An unfrocked monk against us Leads rascal troops, a truant friar dares write Threats to us! Then 'tis time to tame the madman! Trubetskoy, set thou forth, and thou Basmanov; My zealous governors need help. Chernigov Already by the rebel is besieged; Rescue the city and citizens.

James E. Falen's verse translation consists of 'Boris Godunov', 'A Scene from Faust', the four 'Little Tragedies' and 'Rusalka'. The text features an introduction on Russia's most cosmopolitan playwright.

Literary scholars largely agree that the Romantic period altered the definition of tragedy, but they have confined their analyses to Western European authors. Maksim Hanukai introduces a new, illuminating figure to this narrative, arguing that Russia’s national poet, Alexander Pushkin, can be understood as a tragic Romantic poet, although in a different mold than his Western counterparts. Many of Pushkin’s works move seamlessly between the closed world of traditional tragedy and the open world of Romantic tragic drama, and yet they follow neither the cathartic program prescribed by Aristotle nor the redemptive mythologies of the Romantics. Instead, the idiosyncratic and artistically mercurial Pushkin seized upon the newly unstable tragic mode to develop multiple, overlapping tragic visions. Providing new, innovative readings of such masterpieces as The Gypsies, Boris Godunov, The Little Tragedies, and The Bronze Horseman, Hanukai sheds light on an unexplored aspect of Pushkin’s work, while also challenging reigning theories about the fate of tragedy in the Romantic period.