\u00a0<\/strong><\/p>\nAs an allegory to the events transpiring in 1917 into early 1918, my poem follows the initial optimism of many of the Russian proletariat as the socialist revolutions gained fervor. In the end, however, it serves as a warning about blindly following the Bolsheviks until the party becomes totalitarian.<\/p>\n
My poem is partially inspired by Mikhail Gerasimov\u2019s Symbolist-style of writing, and attempts also to emulate the Proletkult feel with the pastoral backdrop. While Proletkult writers generally support the Bolsheviks and the proletariat class of factory workers and farmers, as they strive to transform the \u201c\u2018tender\u2019 pastoral world [\u2026] in their own steely, industrial image,\u201d my poem stays true to traditional pastoral imagery and can be interpreted as anti-Bolshevik (Dralyuk 41).<\/p>\n
Similarly, the sentiments of Marina Tsvetaeva are reflected in the poem, as she offers \u201ca vivid portrait of the tumult unleashed by the February and October Revolutions [\u2026]\u201d (Dralyuk 18). For the poem written during the last days of October 1917, Tsvetaeva initially shows the excitement of people as the revolution unfolds, as she says, \u201cThe world and its wine\u2014ours! The town stamps about like a bull, swills from the turbid puddles\u201d (Dralyuk 20).\u00a0 Then, she suddenly ends the poem with \u201cDeep in wine\u2014a couple has drowned\u201d (Dralyuk 20). While Tsvetaeva is more frank about her disagreement with the revolutions and the aftermath in her poetry, I strive for more subtlety with pastoral symbols. However, like Tsvetaeva, I attempt to show a positive image of the revolution and finish the poem with an unanticipated conclusion.<\/p>\n
In one year, 1917, many different political entities vied for control of Russia, which ultimately led to the Bolshevik\u2019s seizing power. For that reason, I divide the poems\u2019 stanzas into seasons to reflect the time periods in which each period has a new party become more prominent. Moreover, the sheep, a common symbol for something that follows an idea or person blindly, represents the proletariat who follow Bolshevik ideas without question. The lamb represents the Russians who are bystanders when the Bolsheviks fight for power against other parties, and who nonetheless face the consequences of a Bolshevik government. The shepherd is the Bolshevik party, which grows in influence over the Russian people.<\/p>\n
In Spring, the \u201cChill in the air\u201d and \u201cstorm brew[ing] in the sky\u201d represent the tension that results when the power dynamic shifts from the imperial system to the socialist entities.<\/p>\n
In Summer, the \u201cEmerald fields and \/ Bountiful crops\u201d resulting from the \u201cFrequent monsoons\u201d represent the growing power of the socialists and the rising influence of the Bolsheviks, which provides an opportunity for the peasants to seize land from the bourgeoisie (\u201cSheep graze with glee\u201d).\u00a0 Even the bystanders benefit from the redistribution of land (\u201cLearns to walk \/ Among pastures \/ So free\u201d).<\/p>\n
In Fall, the excitement of the revolution declines as the fighting between the Bolsheviks and the other socialist group increases (\u201cHarvest comes and \/ Fields turn bare\u201d). Eventually, the Bolsheviks seize power in the Second Congress of the Soviets with the October Revolution, and they create the Sovnarkom. This creates a new era in Russia, and the future of Russians is uncertain. Nonetheless, many Russians obey the Bolshevik decrees (\u201cFollow the shepherd \/ To unknown pastures\u201d), and those who initially do not must comply or face consequences (\u201cUntil, \/ It is herded back \/ Into the flock\u201d).<\/p>\n
In Winter, as the Bolsheviks establish more authoritarian rule with writing more decrees, creating the Cheka, and dismantling law courts and the Constituent Assembly, the political efficacy of the Russian people diminishes (\u201ccan only trail \/ The shepherd, and \/ willingly give their wool\u201d). Moreover, punishments for anti-Bolshevik actions are severe, as many disappear or are killed (\u201cTo the sickle\u201d). The growing political power of the Bolsheviks over dissenting groups becomes more evident with time (\u201cWarm drops of red \/ Desecrate \/ The immaculate white\u201d).<\/p>\n
This poem takes an element of the pastoral Symbolist-style of writing from Mikhail Gerasimov and the discontent of the Bolsheviks from Marina Tsvetaeva to provide a warning that a Bolshevik government will result in more harm for the Russian people.<\/p>\n
In the year 1917, when revolutionary feelings in the then Russian Empire reached a boiling point and the Tsarist empire collapsed, numerous writings were produced by a wide variety of Russian peoples. They included hardworking peasants that desired the freedom to possess their own land to soldiers wishing to discontinue fighting in a baseless, territory-driven war to essentially anyone with a proclivity toward anti-Bourgeoisie sentiments. The two poems that follow are similar to what one might encounter in \u201cThe Voices of Revolution\u201d and \u201cStories and Poems from the Russian Revolution,\u201d compiled by Mark D. Steinberg, and Boris Dralyuk, respectively. However, what has been assembled here has never been viewed by anyone other than myself and those who had authored them; they are the dregs of the faintest of echoes of the collective outcry of the Russian peoples at a time when revolution seemed to be the only means by which they would be delivered to better lives and a United Russia.<\/p>\n
\u00a0Poems of Revolution<\/strong><\/p>\nBy Tyler Sagendorf<\/p>\n
Why We Marched<\/strong><\/p>\nOlga Andreevna<\/em><\/p>\nBaseless coward and treasonous leader,<\/p>\n
You barricade yourself in that palace.<\/p>\n
While Russia starves and you cannot feed her;<\/p>\n
Your words are lies, promise conceals malice.<\/p>\n
We stand here now, hoping, begging for change,<\/p>\n
The bread is gone, \u201crationed<\/em>\u201d; the shops lie bare.<\/p>\nSovereign unable to provide, how strange,<\/p>\n
A crumb, a fragment, nothing you will spare.<\/p>\n
You turn your ears away, our cries reach not,<\/p>\n
The soldiers came, ordered, to disband us,<\/p>\n
We beg, implored, please join; our deaths they sought.<\/p>\n
They fired volleys, lives extinguished thus.<\/p>\n
Bodies, broken, in Petrograd they lie.<\/p>\n
In time, the people will be asking why<\/em>.<\/p>\n\u00a0<\/em><\/p>\nWhy we marched.<\/em><\/p>\n <\/p>\n
\u201cWhy We Marched\u201d is a Shakespearean sonnet \u2013 14 lines with an ABAB rhyme scheme ending with a couplet \u2013 written by Olga Andreevna, one of the female textile workers who, \u201ctook to the streets of Petrograd\u201d to protest dwindling bread supplies (Smith, p. 5). She blames the Tsar, Nicholas II, for his ineffectual leadership as being the cause of many people being unable to feed their families and hates the soldiers for blindly following orders and causing unnecessary casualties. Ostracized because of her love of English and, therefore, capitalist poetry, Olga Andreevna never submitted her work for publication. Her poems and stories were written in solitary, relegated to a makeshift wooden box buried some five meters away from her place of dwelling. That is, until it was unearthed some years ago during the construction of a modern apartment complex. The argument in this piece is that the Tsar is unable to feed his subjects and the rationale behind that is the stores are devoid of the barest necessities such as bread and some people are facing starvation.<\/p>\n
<\/p>\n
Abdicated the throne! Abdicate the throne!<\/strong><\/p>\nBaird Muirland<\/em><\/p>\nAbdicated the throne! Abdicate the throne!<\/p>\n
Y\u2019 feast on the corse of Russia, sucking the marrow from \u2018er bones!<\/p>\n
Ye vacuous coward cavorting with sorcerers and demons!<\/p>\n
You\u2019re not fit to rule us; ya shall be punished for your treasons!<\/p>\n
Hang \u2018em, shoot \u2018em, slice off \u2018es head!<\/p>\n
The whole of Russia will rest easy once ye are dead!<\/p>\n
<\/p>\n
And as for the fate of yer son, the weak little heir?<\/p>\n
His death will come swift. We are merciful, we are fair.<\/p>\n
As for your wife, the tsarina? We heard what goes on.<\/p>\n
She and that \u201cmonk\u201d Rasputin will also be drawn<\/p>\n
Up by their necks with a thick cord of rope!<\/p>\n
I do not think that will kill him, at least, of that I hope!<\/p>\n
We\u2019ll stab him and shoot him and then drown him in icy water!<\/p>\n
He\u2019ll bloat like a pig and we\u2019ll revel in the slaughter!<\/p>\n
<\/p>\n
From the rotting flesh of these dictators and monsters<\/p>\n
Shall sprout the seeds of a new government controlled by the people, and all the much stronger!<\/p>\n
Rejoice! Rejoice! For the Tsar\u2019s abdication<\/p>\n
Will momentously benefit the next generation!<\/p>\n
<\/p>\n
This poem, left untitled with an AA\/BB\/CC rhyme scheme and heavy usage of exclamation points, was found hastily scrawled on the back of a poster depicting the \u201cgreatness\u201d of the Tsar, Nicholas II, and signed by a Scot of the name Baird Muirland that had become embroiled in the political and social tumult of Russia due to familial ties shortly before the Tsar had abdicated the throne. While the language and vehement demands may be a little harsh to some, it pales in comparison to some already-published works, however violent they may appear.<\/p>\n
Furthermore, one must look at this through the lens of 1917 when tensions are high and, to many, the Tsar is the only thing standing between them and a utopian Russia. In their eyes, and true to history, he was an irreverent ruler who was not versed in methods of proper leadership and his actions caused many casualties during the Great War due to his insatiable need for amassing huge tracts of land in order to expand his already unstable empire.<\/p>\n
The aforementioned information about this man was discovered by cross-referencing his name with records in Scotland. However, what happened after he composed his \u201cAbdicate the throne! Abdicate the throne!\u201d is a mystery, though there are no records of him ever returning to Scotland. One can assume he met a gruesome fate once the writing was discovered and passed on to officials in the Tsarist regime.<\/p>\n
Another interesting thing to note is the fact that this man seemingly predicted how Grigori Rasputin would ultimately die. Perhaps it is a coincidence? Perhaps someone read it and thought it was a good idea? We may never know for sure, but the idea is interesting to puzzle over nonetheless.<\/p>\n
<\/p>\n
Ode to the Proletariat<\/strong><\/p>\nAnonymous<\/em><\/p>\nHonorable Proletariat!<\/p>\n
What is better than to work for your daily bread!<\/p>\n
To sweat and toil and earn everything you have in life!<\/p>\n
Much better are you than the Bourgeois \u2013<\/p>\n
Those, like babes with supple skin and no talent for crafts,<\/p>\n
Having weak constitutions unfit for labor.<\/p>\n
Come, honorable proletariat!<\/p>\n
Seize your place in the sun, bask in its radiance, for you deserve nothing less.<\/p>\n
<\/p>\n
Noble proletariat, you who bear the weight of Russia on your back,<\/p>\n
Like Atlas holding up the sky,<\/p>\n
So that others may be allowed the freedom to have privileged lives.<\/p>\n
We are indebted to you.<\/p>\n
<\/p>\n
This last poem, an ode \u2013 a celebratory poem that utilizes literary devices such as simile and metaphor to make comparisons to a loved person or thing \u2013 was written by an anonymous Russian citizen with an apparent deep love for the proletariats. In it, he commends the proletariat for being the one to hold up the entirety of Russian society, like Atlas holding up the sky, and toiling away so that the \u201chigher-ups,\u201d the aristocrats and church members, can afford to have their luxuries in life.<\/p>\n
The overarching theme in the first two poems is the ineffectual leadership of Nicholas II and how that causes issues, such as with the bread shortage and how he dealt with it, or how he is treasonous for having dealings with the monk Rasputin. The final poem simply demonstrated the theme of the exoneration of the proletariat, which was the basis for many Bolshevik political stances during the early months of what quickly became the revolution.<\/p>\n
CONSISTENCE OF HOPE<\/strong><\/p>\nBy Aleah Sexton<\/p>\n
The chaos of 1917 – from the initial revolution on February 23rd<\/sup> when female textile workers stormed the streets of Petrograd (now St. Petersburg again) until December, when Bolshevik forces fatigued the nation with decrees – was captured through the impulsive and hopeful nature of poet Katerina Volkova. Her revolutionary enthusiasm is evident through an ability to document the occurrences with a poetic lens. Russia of 1917 was plagued with a multi-vocal struggle of power from the spheres of influence regarding class, government, and identity. The foundation of the revolution bred an unprecedented nationalism among the proletariat that was irrepressible. The unvoiced suddenly gained a responsibility to express their grievances and visions. As stated by Fyodor Korsun, a private in the infantry in March 1917 and recorded in Mark D. Steinberg\u2019s Voices of Revolution, 1917<\/em>: \u201cFor the people, Hurrah! No longer shall our blood be drained by tsar above. Freedom is ours now\u201d (81). Korsun\u2019s excitement for the revolution and end to the reign of Nicholas II was supported by thousands of Russia\u2019s underprivileged \u2013 including Katerina. Her historic presence begins as a regular textile worker at the Putilov Mill in Petrograd. Her diary was found in an abandoned apartment in 1951 and her political poetry was chronicled as a valuable primary source of a women\u2019s take on the 1917 events. Wed to a soldier and mother to two-year-old Anatoly, she dreamt of a united Russia with equal rights for genders and opportunities for the neglected. Her utopian socialistic outlook led her to explore the teachings of Vladimir Lenin and eventually believe his propagandist narratives. Katerina continued to trust the Bolshevik\u2019s policies until the end, although her frustration with their system of governmental legislation is expressed in many of her poems from late 1917 throughout 1918. Volkova\u2019s husband enlisted under the Red Army and was under close command of Leon Trotsky. Eventually, it is believed he was recruited to the Cheka. Katerina continued her work at Putilov Mill throughout the Bolshevik reign and held several chair positions on socialistic industrial committees for women. Katerina Volkova passed away in 1936 due to complications with lung disease. Her dedication to the revolutionary movement is unforgotten. Her ability to capture the radical events through various emotions is crucial to unearthing the chaotic nature of 1917.<\/p>\n <\/p>\n
KATERINA VOLKOVA (1891 \u2013 1936)<\/p>\n
<\/p>\n
The Day<\/em><\/strong><\/p>\n <\/p>\n
The shoes we made battered the streets<\/p>\n
for all of Petrograd to hear.<\/p>\n
-Disgrace! \u2013 shouted those with<\/p>\n
bread in their pockets and bosoms so<\/p>\n
full and endeared.<\/p>\n
<\/p>\n
For we: the nameless, the breathless,<\/p>\n
the dreadful and crooked stormed<\/p>\n
for our children and guardians<\/p>\n
and warriors unspoken.<\/p>\n
<\/p>\n
Starved and defeated<\/p>\n
we had our comforts.<\/p>\n
My god<\/em> we wondered.<\/p>\nWill we be triumphant?<\/p>\n
<\/p>\n
Fingertips colored.<\/p>\n
Deep hues of violet and light<\/p>\n
shades of yellow dripped across<\/p>\n
from the dye.<\/p>\n
Our hands held up: we lit the<\/p>\n
blank sky.<\/p>\n
<\/p>\n
We did this for more.<\/p>\n
More than bread \u2013 more than war.<\/p>\n
<\/p>\n
Freedom. <\/em><\/p>\nA hum so mute and ignored \u2013<\/p>\n
yet somehow \u2013 someway –\u00a0 it played<\/p>\n
a sweet chord\u2026<\/p>\n
<\/p>\n
3 March, 1917<\/p>\n
<\/p>\n
KATERINA VOLKOVA (1891-1936)<\/p>\n
<\/p>\n
Imminence<\/em><\/strong><\/p>\n <\/p>\n
Here they come.<\/p>\n
Quick!<\/p>\n
Hide your books.<\/p>\n
Hide your poetry.<\/p>\n
Hide your manifestos.<\/p>\n
<\/p>\n
Pretend to be the people<\/p>\n
we were.<\/p>\n
A year ago \u2013 a century ago.<\/p>\n
Back to our days of chains<\/p>\n
and commands.<\/p>\n
<\/p>\n
Cover your personas with<\/p>\n
the blanket of ignorance.<\/p>\n
Maybe then \u2013 they will <\/em><\/p>\nlet us be once again?<\/em><\/p>\n <\/p>\n
NO! Shrieked<\/p>\n
us following the<\/p>\n
likes of Bolsheviks.<\/p>\n
<\/p>\n
FIGHT! Cried the<\/p>\n
New Petrograd.<\/p>\n
<\/p>\n
DO NOT DESPAIR!<\/p>\n
<\/p>\n
For we are the future.<\/p>\n
You will flock to us<\/p>\n
like vultures on<\/p>\n
fresh meat.<\/p>\n
<\/p>\n
Let our dreams<\/p>\n
build a new<\/p>\n
Russian oasis.<\/p>\n
<\/p>\n
The children of<\/p>\n
your children will<\/p>\n
be taught about US and<\/p>\n
OUR FORTHCOMINGS.<\/p>\n
<\/p>\n
22 AUGUST, 1917<\/p>\n
<\/p>\n
KATERINA VOLKOVA (1891 \u2013 1936)<\/p>\n
<\/p>\n
The Prospect of Warranted Decrees\u00a0 <\/em><\/strong><\/p>\n <\/p>\n
Every morn I awake with<\/p>\n
hope that the paperboy<\/p>\n
with the crooked hat will<\/p>\n
shout – Decree! \u2013 without<\/p>\n
the pain in his voice.<\/p>\n
<\/p>\n
For once, just once<\/em>! \u2013<\/p>\nmay his accent reveal<\/p>\n
the news we all<\/p>\n
have pledged for.<\/p>\n
<\/p>\n
Peace! Land! Bread!<\/p>\n
Alas \u2013 but where?<\/p>\n
We spread their promise!<\/p>\n
<\/p>\n
Na\u00efve? Not we!<\/p>\n
We pledged our allegiance!<\/p>\n
<\/p>\n
The blood of Russia will<\/p>\n
seep the memorandum!<\/p>\n
Red! Red! Red! Red!<\/p>\n
<\/p>\n
Damn those deserters!<\/p>\n
Our new land will<\/p>\n
trample upon their<\/p>\n
gardens of doubt.<\/p>\n
<\/p>\n
Abandonment is<\/p>\n
beyond the time.<\/p>\n
Move forward \u2013 we must.<\/p>\n
Bolsheviks: please deliver<\/p>\n
us what we have placed in<\/p>\n
your trust.<\/p>\n
2 DECEMBER, 1917<\/p>\n
The goal of this paper was to reveal the numerous emotions a common woman would express throughout the relentless challenges and transformations of 1917 Russia. I decided to build the character Katerina Volkova through three poems to show the reader how Katerina\u2019s own visions, hopes, and frustrations are highlighted. She begins with a poem about the Women\u2019s March on Petrograd. Her anxiety is apparent, but she embodies a tone of excitement and a foreshadowing of something great. Her optimism could be compared to Vladimir Kirillov\u2019s in his poem \u201cWe\u201d, \u201cWe\u2019ve cast off the oppressive burden of tradition \/ rejected the chimeras of its bloodless wisdom. \/ Venus de Milo cannot match the vision \/ of young girls in our Future\u2019s shining kingdom\u201d (Dralyuk 43). Kirillov writes of a nontraditional Russia with a future of utopianism, much like how Katerina wrote about freedom and also defying the tradition forced upon the underprivileged.<\/p>\n
However, the exhilaration after the February Revolution was not personified within every Russian. Alexander Kerensky and the Provisional Government immediately built an institution of hidden bourgeoisie interests of the old conventionalism, and worker A. Zemskov wrote on the obviousness of this. Zemskov goes into detail about this infectious liberty most of Russia is accepting, however, he questions the Provisional Government\u2019s stance: \u201cThe whole question, though, is whether it\u2019s freedom\u2019s praises you are signing. Aren\u2019t you singing the praises of new chains that are only going by the name of freedom? (Steinberg 87). This fear of bourgeoisie interests is undermined in Katerina\u2019s second poem, as well. She begins with stanzas that speak of retreating to the command of the Provisional Government but then changes the tone to express a steadfastness for the Bolshevik movement.<\/p>\n
The Bolsheviks offered a newness to the revolution that sparked interest among the workers and soldiers. As written by two soldiers, \u201cwe need the program of your Bolshevik party like a fish needs water or a man air\u201d (Steinberg 68). The Majority offered 1917 a vision without bourgeoisie intent, but of total socialism. Once the Bolsheviks did officially seize power in October, their supporters were ready for Vladimir Lenin to deliver his promises. Conversely, that was not the case. Zinaida Gippius in her poem \u201cNow\u201d highlights the letdown of the Bolsheviks on November 9th<\/sup>: \u201cOur guardians and warriors \/ have all retreated. \/ There\u2019s no one but conformists \/ with their Committees\u201d (Dralyuk 21). The Bolsheviks newfound power instigated a chaotic need to install a dictatorship. Committees wrote hundreds of decrees to instill their hold on Russia, but the peasants felt their voice had been forgotten. In Katerina\u2019s final poem, she focuses on the anxiety the Bolsheviks have caused and pleads for them to deliver what they promised. Workers in the Putilov factory voiced their discontent with the Soviets in December, stating that \u201cyou have earned yourselves enemies in the person of the workers by being more concerned about the bourgeoisies than about the lower class of workers and peasants. For the second month, workers have failed to receive their pound of sugar\u201d (Steinberg 275). The working class expected an immediate resolution from the Bolshevik party. When this was not the case, many became angry and considered the new government another one with interests for the bourgeoisie.<\/p>\nRussia in 1917 was a frenzied nation with a demand to rid the old and establish a modern institution built on the voices of those that remained silent for so long. Poetry was an effective means to deliver the revolutionary spirit as quickly and efficiently as possible. Readers can distinguish the raw confusion, excitement, anger, and distrust that most of the workers and peasants expressed. Though many documents and poetry capture differing opinions on Russia\u2019s governmental needs, most agreed that a change was vital for a united Russia.<\/p>\n","protected":false},"excerpt":{"rendered":"
Note: \u00a0Students in Dr. Stephen Norris’s Spring 2017 class, Introduction to Russian and Eurasian Studies, read Boris Dralyuk’s recent edited collection of poems from the […]<\/p>\n","protected":false},"author":781,"featured_media":136,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"footnotes":""},"categories":[8,16,2],"tags":[],"class_list":["post-135","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays","category-issue-2-volume-i","category-volume-i"],"_links":{"self":[{"href":"https:\/\/sites.miamioh.edu\/hst-journeys\/wp-json\/wp\/v2\/posts\/135","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.miamioh.edu\/hst-journeys\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.miamioh.edu\/hst-journeys\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.miamioh.edu\/hst-journeys\/wp-json\/wp\/v2\/users\/781"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.miamioh.edu\/hst-journeys\/wp-json\/wp\/v2\/comments?post=135"}],"version-history":[{"count":1,"href":"https:\/\/sites.miamioh.edu\/hst-journeys\/wp-json\/wp\/v2\/posts\/135\/revisions"}],"predecessor-version":[{"id":137,"href":"https:\/\/sites.miamioh.edu\/hst-journeys\/wp-json\/wp\/v2\/posts\/135\/revisions\/137"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.miamioh.edu\/hst-journeys\/wp-json\/wp\/v2\/media\/136"}],"wp:attachment":[{"href":"https:\/\/sites.miamioh.edu\/hst-journeys\/wp-json\/wp\/v2\/media?parent=135"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.miamioh.edu\/hst-journeys\/wp-json\/wp\/v2\/categories?post=135"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.miamioh.edu\/hst-journeys\/wp-json\/wp\/v2\/tags?post=135"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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<\/p>\n