“We all now pose as Napoleons– Millions of two-legged creatures For us are the instrument of one.” –Eugene Onegin, by Pushkin
Napoleon in Russian Thought Despite Russia’s own history with Napoleon Bonaparte in the Russian invasion of 1812, Russians came to view Napoleon with a strange sort of admiration and reverence. In much the same way as Western Europe at the time, Russians saw Napoleon as a symbol: an extraordinary modern man who overstepped boundaries and moral law to change history on his own terms. As a historical example or type, Napoleon surfaces in the writing of Gogol, Lermontov, Tolstoy, Tutchev and Pushkin.
In his verse novel Eugene Onegin (1825-1832), Pushkin references the impact of Napoleon on Russian thought: “We all now pose as Napoleons/ Millions of two-legged creatures/ For us are the instrument of one. ” Additionally, during his exile at St. Helena, Napoleon frequently exclaimed “What a novel my life has been”, which expressed both a genuine appraisal of his life and bitterness due to his status as a British prisoner.
Helena’s sudden rise to brilliance and glory in the past is comparable to Napoleon’s. Millions of contemporaries witnessed Napoleon’s achievements, and countless books have been dedicated to his life and military campaigns, with more to come. One captivating aspect of his personality is the strong aura of romantic charm that surrounds him. This image has always been linked to the Napoleonic era, elevating it to a mythical time. Perhaps it was not only the greatness of his soul but also the undeniable magnitude that made him stand out among his peers.
Goethe expressed that Napoleon’s greatness surpassed any previous or subsequent figures in the world. He likened the story of Napoleon to the profound impact of the Revelations of St. John the Divine, acknowledging a sense of something more significant but not fully comprehending it. The admiration for Napoleon held a significant role in Russian spiritual and cultural life during the first half of the 19th Century. While remnants of this admiration lingered, its societal importance dwindled considerably after Alexander Pushkin, Fyodor Tyutchev, and Mikhail Lermontov.
The first half of the 19th Century marked a remarkable era in Russian literature, with renowned Russian poets crafting their most exceptional works. However, it is intriguing to ponder why these great patriots of Russia extolled Napoleon. Despite the destruction inflicted upon Moscow, the countless Russian lives lost, and a country left in ruins, they contemplated Napoleon’s character. Despite personal emotions and the inclination to reproach Napoleon, these Russian poets exhibited poetic brilliance that transcended patriotism. They discovered an objective historical and philosophical narrative which they skillfully transformed into a magnificent artistic portrayal of Napoleon.
The poets’ portrayal of Napoleon varies based on their unique features and perspectives, but they all share admiration for his character and recognize his greatness. Each poet presents Napoleon within a romantic atmosphere that is distinctive to their own creativity. Despite this romantic aura, there is no sense of subservience towards him. Instead, each poet endeavors to understand the true essence and magnitude of his greatness. Alexander Pushkin’s poem, “Napoleon,” not only depicts the French Emperor but also captures the era in which he lived, brimming with a wide range of significant events.
However, reviewing past actions is challenging without any bias or hatred. Therefore, Pushkin establishes an atmosphere of impartiality around the protagonist by kneeling before the emperor’s tomb and speaking these words: “A wondrous fate is now fulfilled, Forever extinguished this grand man. In somber prison night was stilled Napoleon’s grim, tumultuous span. The outlawed monarch has vanished, Bright Nike’s mighty, pampered son; For him, from all Creation banished, Posterity has now begun…” ???????? ?????? ??????????: ???? ??????? ???????. ? ?????? ??????? ????????? ????????? ??????? ???. ????? ?????????? ??????????, ?????? ???????? ?????, ? ??? ?????????? ????????? ??? ????????? ???????. Napoleon’s name is always associated with military campaigns, bloody battles and thousands of perished soldiers. But Pushkin does not condemn him for this, but instead humbles himself before the supreme will of Providence who calmed her rebellious hero. ? ??, ???? ??????? ???????? ??? ?????, ????? ????? ????, ????????? ????? ??????, ????? ????? ????????? ????… “O hero, with whose bloodied story Long, long the earth will still resound, Sleep in the shadow of your story, The desert ocean all around”
According to Pushkin, Napoleon’s remarkable persona is seen as an inevitable result of the time period; Napoleon’s ambitions are of such immense proportions that Pushkin still praises him even when discussing his actions towards Russia and does not diminish his glory and greatness. “Vainglorious man! Where were you faring, Who blinded that astounding mind?”
The Russian’s heart was not divined in their bold designs. They idly fancied peace and blessings, not guessing at the fiery sacrifice. But they came to fathom us too late. To Pushkin, Napoleon was a mythical hero, the last of the great sons of the Titan Ocean, the Atlantes. Like them, he was an islander, born on Corsica and dying on St. Helena. His first fall brought him to Elba, and he spent his whole life waging war against Great Britain, another island. Thus, Pushkin writes: “Ocean, your image was stamped upon him; he was created by your spirit; he is fathomless and potent like you, like you by naught to be tamed.” While Pushkin depicts Napoleon’s greatness as epic and heroic, this same image inspired Mikhail Lermontov to create a mystical and enigmatic portrayal of the great man. Lermontov, known for his patriotic lyrics, such as “Two Giants” and “Borodino,” was also bewitched by Napoleon’s fate. One of his earliest poems, from 1829 when he was only 15 years old, states: “Napoleon – He was a stranger in this world. All in him was a mystery.”
In Lermontov’s perspective, Napoleon is portrayed as an exceptional figure who surpassed his peers and strived against destiny but ultimately met his demise. To Lermontov and his contemporaries, Napoleon was a larger-than-life being, akin to a half-god, who battled against an ignorant Europe. However, he was ultimately betrayed, captured, yet not entirely conquered. The image of Napoleon’s death among his captors portrays him as a giant overwhelmed by lesser individuals, overshadowing both his arrogance and wrongdoing. Lermontov’s poetry surrounds Napoleon with an aura of mysterious grandeur that permeates even the waves caressing the shores of St. Helen, where the wild monuments lay undisturbed.
In damp soil and a small grave, our great hero – Napoleon – lies asleep. The mystery surrounding his character only adds to his greatness. The extent of Lermontov’s admiration for Napoleon cannot be overstated; the poet employs all his eloquence and skill to portray it. Lermontov envisions Napoleon as he was seen by those at the Arc de Triomphe during triumphant parades, or at Austerlitz after a glorious victory, or at the small village of Laffrey in 1815. It was there, upon his return from Elba, that Napoleon addressed the Royal troops with his chest bared and asked, “Is there anyone among you who would fire upon their Emperor?”
The image portrayed in this text represents the enduring impact left on humanity’s consciousness by the renowned “Napoleonic legend.” Napoleon is consistently remembered favorably by the public, evoking memories of glorious days gone by. However, Lermontov adds an element of mystery and sadness to this image, pondering whose shadow or image may have appeared on the solitary seashore, gazing at the waves. Though not alive, Napoleon is more than just a dream, with his piercing gaze and hands crossed over his chest. In another poem, Lermontov envisions Napoleon as striving to escape the confines of death and embarking on a journey towards something possibly grander. The Emperor quietly awakes from the realm of the deceased, dressed in a gray tunic and three-cornered hat upon his head. With great effort, he crosses his arms and walks as if in a dream, silently making his way to a vessel that he gently sets adrift in the stream. Napoleon’s figure became legendary, perpetually remembered in a unique and symbolic manner, immortalizing his attire and other distinctive attributes. Lermontov paid specific attention to this particular aspect of this extraordinary persona – “His gray colored tunic is on him and three-cornered hat on the head.”
Feodor Tyutchev has a different perspective on Napoleon compared to Pushkin and Lermontov. While Pushkin focuses on the epic reality and Lermontov presents a mysterious image, Tyutchev sees Napoleon’s greatness from a distance. He doesn’t attempt to depict an image or bring it back to life. Instead, Napoleon is seen as a remarkable phenomenon, but forever lost in the past. Tyutchev describes how nature is inspired by the arrival of spring and everything shines in this magnificent season, including the clear sky and deep blue sea. Men’s thoughts are consumed by Napoleon’s powerful presence, while he alone stands on an unknown shore, listening to the sound of the waves and enjoying the cries of sea-birds.
Furthermore, Tyutchev perceives Napoleon as a fusion of contrasting talents: “Two demons served him Two powers – wondrously merged: The eagles soared in his head the Vipers writhed in his breast.” These lines from Pushkin, Lermontov, and Tuytchev convey a severe and just assessment of Napoleon. Despite portraying the calculated and merciless efficiency with which the influential statesman pursued his goals, they failed to diminish his all-powerful genius and the immense scale of his endeavors. Who else among men could reach such heights or experience such a downfall? These poets believed: the greater the man who fell, the more monumental the fall!
The Russian poets not only saw Napoleon as a figure of great importance, but also delved into profound historical and philosophical questions, such as the role an individual plays in history and their place within the whirlwind of events. They believed that the hero’s rise and fall were predetermined by objective events, but also influenced by the subjective factor of the hero’s personality. In Pushkin’s verse, the hero is portrayed as the initial outcome of worldwide and historical predestination, as if an absolute spirit has descended to-our-world. This remarkable figure is seen as the envoy of providence, executing an unknown destiny. However, the poet acknowledges that a personality like Napoleon’s cannot be fully understood through ordinary human perception. It encompasses immense change and a thirst for great feats, inevitably disregarding human suffering. This ruler, who made sovereigns tremble, who embodied both freedom and its destroyer, is described as a ruthless bloodsucker. Ultimately, this leader disappears like a fleeting dream or a fleeting glimpse of dawn.
Pushkin does not simply view Napoleon as a blind tool of Destiny or a passive force in the course of world history. Rather, the image of the hero is given life and energy by his association with the revolution that brought him into existence. Similar to how Romulus was nurtured by a she-wolf, Napoleon is seen as a product of the Revolution. Despite debates about whether Napoleon betrayed or suppressed the Revolution, he consistently returned to it. This is because the blood running through his veins was that of the Revolution. The rise of Napoleon is ultimately a consequence of the ideals of freedom, equality, and brotherhood that characterized the French revolution.
According to Pushkin, this period was described as a moment when the world awakened from the languor of ancient serfdom and new hope emerged. Gaul angrily brought down the brittle throne of the idol as blood was shed on the bustling square and the royal carcass collapsed, marking the fated day of glorious freedom’s triumph. Society became intoxicated by the newly-born freedom, but this intoxication soon spiraled into chaos and the bloody “Terror.” It was at this crucial moment that Providence sent an ingenious hero who emerged amidst the storm and strife of nations.
Napoleon had a remarkable ability to recognize a great deal and had lofty goals that he looked down upon in human nature. His self-assurance and belief in the future were distinct characteristics of his strong individualism. He frequently stated, “I am in control of my fate, and power is my companion.” Pushkin portrayed this boundless self-confidence and ambition with the following lines: “The harmful prediction of fortune would entice you to your lawless desires, urging you to pursue uncontrolled self-rule, and tempting you with disillusionment.” This concept of Napoleon is depicted in Russian poetry from the 19th century, as explored by Alexander Mikaberidze in part two.
The history of Napoleon illustrates society’s tendency to admire heroes but also reveals how individuals who initially fight for freedom can become subjugated. Napoleon’s prominence represents the flip side of these transformations. Revolutionaries, who may have initially vowed to assassinate oppressors and tyrants like Brutus, can be tempted by the allure of victorious banners and embrace figures like Napoleon. Alexander Pushkin criticizes this shift, saying that revolutionaries among the enslaved pour themselves out to satisfy the desires of their masters.
The drug of conquest in their veins, you sped their musters into battle And laurels wound about their chains. But Napoleon acted not only because of his impetuous ambition, but also by the command of the Destiny. The winner is always right and each hero creates the truth of his time. Tyutchev expressed this notion by saying: “And he emerged: two eras Fighting one another Behold him and suddenly submitted As if in sight of mighty Fate” Napoleon’s triumph appears as a phenomenon unfeasible for one person. This is an original pinnacle of aspirations and opportunities for a personality.
Therefore, the poets often compared Napoleon to the great heroes of the past. They saw him as a combination of two-thirds demigod and one-third mortal man. However, they also questioned whether one person, no matter how brilliant, could truly achieve global dominance. In response to this age-old question, the bards presented an intriguing artistic and philosophical solution. They depicted Napoleon’s downfall – encompassing his Russian campaign, the destruction of his Great Army, and the fall of his empire – in contrast to his previous radiance and defiance of destiny. They asked, “Vainglorious man! Where were you going? Who clouded that remarkable mind? How did it come to such daring designs?”
The heart of the Russian was not foreseen? Consequently, you confronted Russia. With prophetic prowess, foreseeing war, you spoke the fateful words yourself: “Now let her destiny be fulfilled!” Your spell was not ineffective: Your words received a response from destiny. Within these verses, Napoleon symbolizes the highest point of human potential, ambition, and resilience. Is it possible for one person to surpass these limits; can they defy Fate? The significance and inherent illusion of this aspiration inevitably leads to a devastating downfall. Napoleon is vanquished but not subdued, although the dream of global domination is doomed.
The spouse of Napoleon, often referred to as the “husband of destiny,” ultimately defeated him. Despite his rapid rise to power, his downfall overshadowed his brilliance. While Europe may have triumphed over the military genius of the victorious emperor, the epic of Napoleon endured. Even after his defeat, Napoleon still captivates humanity as a phenomenon, serving as a prominent example of how a single person can shape history and challenge fate. Following his exile and fall from grace, his greatness became even more luminous, combining military glory, genius, and personal tragedy.
The downfall of Napoleon, symbolizing determination, rise and fall, was brought about by the grandeur of his personality, charm, and overwhelming power. However, this strange downfall also affected Napoleon’s soul. The sovereign ruler of almost the entire European continent was condemned to spend his final days on a distant island, living a monotonous life. In the following lines, Lermontov reflects on this sorrow: “And so, an unknown ghost gazes towards the East, where at dawn, France is still there! The homeland and glory, hidden in the haze. There, amidst the wars, her days were spent. Why did they pass by so quickly?” Despite being dethroned and banished, Napoleon did not lose his magnificence. In fact, his image acquired an even greater prominence and mysteriousness. Like a enigmatic phantom, the image of the imprisoned and deceased emperor emerged with all its grandeur and brilliance, immune to any criticism. “Now redeemed are the afflictions and horrors he spread with legendary victories. Amidst the darkness of foreign seas, within the sorrows of an abandoned exile. The thousands who perished and the great devastation are forgotten. The shadow of the once mighty conqueror compels people to reconsider his life.”
Thus, Tyutchev observes an array of events experienced by Napoleon, rather than focusing on destruction and bloody wars. The Emperor is depicted as all-powerful, with his imprisonment serving as evidence that world domination did not perplex him. Instead, he was solely devoted to unveiling the true capabilities of humanity. Lermontov perceives Napoleon as even more enigmatic after his death, as it is only in relation to Destiny that the true meaning of his passing can be understood. “He experienced all in life: Fortune, victory and bondage The passion of the Fate and rage Two times he vanquished and Twice regained the throne.”
The man of Fate! You deal with men like Destiny, with you Only Fortune that raised you could destroy you! But your greatness remains luminous! His enormous figure causes only the mightiest passions. He was surrounded by enmity of all the monarchs of Europe, envied by the closest kinsmen, brothers, and sisters. And those whom he spared least, the common people of France, were the most loyal to him. The army stood up for him until the end, unlike his marshals and grandees. And most marvelous of all, when in 1815, France was asked whether she would prefer to have Napoleon as her frenzied ruler, her answer was, “Yes! And therein lies the greatness of France. Napoleon’s glorious past is a source of grief because compared to the years of captivity and inactivity, it causes immeasurable pity.
Therefore, in the creative imagination of Lermontov, Napoleon’s ghost hastens every year to its native coast to restore a sense of life, former authority, and glory: To France, his beloved, he hurries, Again to his glory and throne, Again to his son and his comrades Back home to the land of his own. But the deposed emperor becomes also a symbol of loneliness. He is confined to an island, far from his family, friends, and native land.
He feels isolated because he no longer has the opportunities to achieve the extraordinary accomplishments that gave meaning to his life. He is separated from his former comrades as the Elbe river continues to flow, the desert unleashes sandstorms, and Russia endures its unforgiving snow. The marshals, deaf to his pleas, either perished in battle or now serve new masters, selling their weapons. After burdening him with disgraceful chains, they led the hero away from his weeping troops. On a distant cliff beyond the blue seas, he was forgotten and died alone, tormented by futile thoughts of seeking revenge.
The tragedy of Napoleon is also portrayed from a personal perspective. The Emperor is separated from his beloved son. As a result, Lermontov describes St. Helena as a place where Napoleon is alone, isolated from war, posterity, and his throne, consumed by sorrowful thoughts of his son. When boarding the Ghost ship and rushing back to France, Napoleon eagerly awaits for a final consolation and passionately speaks to his son. He would give him the entire world if asked, but he cannot promise France to anyone. However, history soon brings an end to the anguish of the great prisoner and his wandering spirit.
In 1841, at the request, Napoleon’s remains were moved from St. Helena to Paris, specifically to the Dome of Invalids. This gave the Russian poets another opportunity to evaluate Napoleon in light of his relationship with the people. And once again, it is believed that Napoleon was chosen by Providence to save the nation. Lermontov addresses the French people, reminding them of Napoleon’s historical significance: “You were on the verge of destruction until he, with a stern demeanor, arose, chosen by God, acclaimed by everyone as a leader and a king – and your life became intertwined with his soul.”
According to the poets, Napoleon’s eminence is closely linked to the greatness of France. As Napoleon rose to power, the French people themselves experienced the ultimate achievement of greatness. This glory became deeply rooted in the French consciousness. The Revolution instilled a sense of pride in their hearts, and Napoleon’s triumph maintained and reinforced this feeling. “Your strength was rejuvenated in the shadow of his glory; The whole world stood in awe as they witnessed The incredible cloak of fame and history That he brought to drape you in the days to come.” However, a ruler is adored only when destiny favors him.
The fallen hero is often overlooked, criticized, or despised. The hero can be abandoned at any moment because the crowd admires success and idolizes the winners. This is why Lermontov reproaches the French: “He was alone, unchanging and cold in demeanor, Father of the gray phalanxes, beloved son of fame; In Egyptian deserts, or the walls of submissive Vienna, Or the snowy steppes, where Moscow burned in flames. And tell me, what did you do to deserve forgiveness or redemption, While he bled in proud isolation in distant fields? You treated your chosen leader as a burden; You buried a coward’s dagger in the darkness!”
In the previous battles, when he was faced with desperate odds, you shamelessly betrayed him in fear, completely oblivious of your own black shame. You spat upon his name like a false woman, just like coward slaves. But what lies in store for a hero after death? Will he be remembered with glory or disgrace? Who will be the judge of his actions? The poets also believed that greatness is not influenced by the passing fashion of time, and eventually the people will recall the greatness of a man from the past. Lermontov witnessed this resurgence of Napoleon’s memory when his remains were welcomed in France in 1841 with the same delight and admiration that the emperor experienced in his lifetime. So the Conqueror returns homeward to his own,
And, like before, the chaotic crowd gathers while in the bustling city, his lifeless body is buried in a grand barrel. Despite his downfall, Napoleon’s life proved that true greatness persists. Napoleon transcends the empty chatter of the masses. He exhibited greatness on the battlefield, as an emperor, and even on a distant, rocky island. This greatness is universal and continues to be. Pushkin, Lermontov, Tyutchev, and other Russian poets recognized his greatness and its connection to the entire Creation. Even the most magnificent tomb cannot contain the mighty spirit of Napoleon, as his destiny lies in the Universe.
