Ruslan and Lyudmila

Although “Russian literature is depressing” is a stereotype, it is a stereotype that I have largely found true, seeing as my main experiences with Russian literature have been from Dostoyevsky (Notes from Underground, Crime and Punishment, The Brothers Karamazov), Tolstoy (Anna Karenina, Complete Plays), and Chekov (The Cherry Orchard, a handful of short stories). But there is nothing depressing about Ruslan and Lyudmila (except, debatably, the epilogue), and much about it that will evince a chuckle or even a guffaw. Written while Pushkin was a hedonistic young man in the process of being barred from the capital by an irate Tsar Alexander I, the tale reflects his cheeky, twinkle-eyed approach to life at this time.Ruslan and Lyudmila is a mock-epic narrative poem set in the days of Vladímir the Great’s Kievan state. Ruslán has just been married to the lovely Lyudmíla, and is about to enjoy the first night of his marriage, when his bride is spirited away just seconds before their consummation by Chernomór, a lecherous wizard-dwarf with an immense magical beard that he has sported from birth. Angry at the loss of his daughter, Vladímir sends Ruslán out to recapture her, accompanied by three antagonistic knights, each with their own fatal flaw: Rogdáy (wrath), Farláf (sloth/cowardice), and Ratmír (lust). Before Ruslán arrives, Lyudmíla has managed to seize the wizard’s enchanted cap, making her invisible, but he must still battle Chernomór, find Lyudmíla, and survive the return journey. A hermit-sorceror of Finnish descent, a disgruntled witch named Naïna, and an enormous severed head complicate the picture, as does a last-minute invasion by the pagan Pechenegs. Making use of many common motifs, characters, and plots of Russian folk and fairy tales, Pushkin creates a narrative that is traditional and modern, with genuine heroism and comical buffoonery, elevated chivalric discourse and crude amorous jesting. The appeal of such a unique tale is broad, and the happy ending, marred only slightly by death’s stamp, is a fitting conclusion to the six cantos of escapades the poem contains.The edition, produced by the small British press Alma Classics, is excellent in every respect. Roger Clarke, the translator, has included a great deal of information about the translation, Pushkin’s life, and the work itself, and has provided the reader with extensive explanatory notes and an appendix containing certain risqué or politically sensitive passages that Pushkin removed in a later edition of the poem. His short introduction is also well done. The cover art, back cover blurbs, and overall layout are all quite satisfying. For those who read Russian, the dual-language nature of this publication (the original Russian on left pages and the corresponding English translation on the right) will provide them with the satisfaction of digesting Pushkin in the original. I eagerly await further reads from Alma Classics.For those who have been intimidated by Russian literature in the past, or who enjoy Russian literature but have not been introduced to Pushkin as of yet, this work is for you. I would also recommend it to those who enjoy satirical or comic long poems such as those by Alexander Pope and Lord Byron, as well as those readers who simply enjoy a ripping good hero-princess yarn (with a few twists).

Classic Russian poetry

Rare to find bilingual books. Very pleased.

A brilliant, informative translation. Reflects the genius of Pushkin

Everything was fine.

Looking forward to immersing myself in this