By Robert Garofalo, Mark Elrod
;A Pictorial historical past of Civil conflict period Musical tools and armed forces Bands КНИГИ ;ВОЕННАЯ ИСТОРИЯ Издательство: Pictorial Histories PublishingАвтор: Robert Garofalo, Mark ElrodЯзык: EnglishГод издания: 1993Количество страниц: 126ISBN: 0-933126-60-3Формат: pdfРазмер: 129,0 mbMany, many photos of of Civil warfare tools RAPID1 RAPID2или IFOLDER1 IFOLDER2 zero
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And Marina frankly condemns Dmitri as an impostor, shamed that she has lowered herself by allying with him in order to succeed in her ambitions. It is only when Dmitri’s fighting spirit revives and he swears he will drive Boris from his throne that Boris Godunov Page 33 Marina’s respect for him is reborn. Nevertheless, Marina’s motivations are ambition, not love: another analogy to Shakespeare’s Macbeth, but this time Lady Macbeth, although the real catalyst of these ambitions is Rangoni. Marina frankly tells Dmitri that he can send for her when he is tsar, but not beforehand; then, she abruptly leaves him.
Boris’s murder of the Tsarevich dominates the entire dramatic action of the story: the core of the drama concerns Boris’s guilt and his fear for the damnation of his Christian soul. Those fears lead him into an abyss of guilt: demons conquer him, and he transforms into torment and agony. ” Opera Journeys Mini Guide Series Page 32 But Boris must face his day of judgment, and he seeks penitence and redemption from his sins. Shakespeare traditionally evaded Christian morality: he was not a spiritual dramatist, and he wrote no holy sonnets exposing the divine, or suggested a path to redemption of the soul.
But Boris’s presumed crime is not necessarily the historical truth. T he character of Boris Godunov has often been compared to Shakespeare’s Macbeth. Like Shakespeare, Pushkin used his characterization to hold a mirror up to humanity by laying bare his protagonist’s soul; like Shakespeare, Pushkin’s character inventions were truthful representations of the human experience, taking human nature to its limits, and forcing one to turn inward and discover new modes of awareness and consciousness. Pushkin’s ultimate legacy, like that of Shakespeare, was to provide the wheel of the Russian soul, teaching them whether they were fools of time, of love, of fortune, or even of themselves.