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War western intervention in Yugoslavia, added that NATO had foolishly ignored Pushkin’s lessons on the Balkans – thus preserving the poet’s reputation, acquired in the Soviet era, for being a genius in every sphere.*

      Of course, in one sense the myth is justified: Pushkin is Russia’s greatest poet, the composer of a large body of magnificent lyrics, extraordinarily diverse both in theme and treatment; of a number of great narrative poems – Ruslan and Lyudmila, The Gypsies, Poltava and The Bronze Horseman – and of a unique novel in verse, Eugene Onegin. He reformed Russian poetic language: in his hands it became a powerful, yet flexible instrument, with a diapason stretching from the solemnly archaic to the cadences of everyday speech. The aim of this biography, however, is, in all humility, to free the complex and interesting figure of Pushkin the man from the heroic simplicity of Pushkin the myth. It concerns itself above all with the events of his life: though the appearance of his main works is noted, and the works themselves are commented on briefly, literary analysis has been eschewed, as being the province of the critic, rather than the biographer.

       1 ANCESTRY AND CHILDHOOD 1799–1811

      Lack of respect for one’s ancestors is the first sign of barbarism and immorality.

      VIII, 42

      Pushkin was proud of both sides of his ancestry: both of his father’s family, the Pushkins, and of his mother’s, the Gannibals. However, the two were so different from one another, antipodes in almost every respect, that to take equal pride in both required the reconciliation of contradictory values. In Pushkin the contradictions were never completely resolved, and the resulting tension would occasionally manifest itself, both in his behaviour and in his work. The most obvious difference lay in the origins of the two families: whereas the Pushkins could hardly have been more Russian, the Gannibals could hardly have been more exotic and more foreign.

      

      Golovin had acquired the two boys as a gift for the tsar, to whom they were presented when he came to Moscow in December 1704. Peter had the elder brother baptized in the Preobrazhensky parish in Moscow, when he was given the name Aleksey, and the patronymic Petrov, from the tsar’s own name. He was trained as a musician and attached to the Preobrazhensky regiment, where he played the hautboy in the regimental band. Unlike his younger brother Abram, he then vanishes from the pages of history.

      Abram was from the beginning a favourite of the tsar. On 18 February 1705 the account-book of the royal household notes: ‘to Abram the negro for a coat and trimming were given 15 roubles 45 copecks’.4 In the spring of 1707 Peter began a campaign against the Swedes. That autumn he celebrated a victory over Charles XII in the Orthodox Pyatnitskaya church in Vilna and simultaneously had his new protégé baptized, acting as his godfather and giving him, like his brother, the patronymic Petrov. And a document of 1709 notes that ‘by the tsar’s order caftans have been made for Joachim the dwarf and Abram the blackamoor, for the Christmas festival, with camisoles and breeches’.5

      In 1731 he had married Evdokiya Dioper, the daughter of a Dutch sea captain. When she gave birth to a child, who was plainly not his, he divorced her (though bringing up the daughter as his own), and married the daughter of a Swedish officer in the Russian army, Christine von Schöberg. Of his seven children by Christine (three more died in infancy) the eldest son, Ivan, was a distinguished artillery officer who reached the rank of lieutenant-general. Petr,

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