The longest of Alexander Pushkin’s completed prose tales, The Captain’s Daughter is based on true events that Pushkin wrote as history in his 1834 Istoria Pugachev (The History of the Pugachev Rebellion, 1966). The most astonishing aspect of The Captain’s Daughter is that, though written in 1836, it possesses a brisk, lean style more suggestive of the twentieth century than of the mid-nineteenth century. Pushkin wastes no words, yet his scenes are vivid, his characters fully fleshed and remarkably alive, and his tale recounted in a suspenseful and moving manner. The realistic first-person narration adds to the verisimilitude of the story. The entire story is seen through Peter’s eyes, allowing the reader to share his enthusiasms, impetuousness, and fears, as well as his youthful ardor and romantic spirit. The naïve, romantic illusions of the young protagonist are described by the narrator in a thoroughly disarming and often humorous manner. A sense of the vitality of youth pervades the book.
Pushkin recounts action, such as the duel or the siege of the Bailogorsk fortress, in a vivid, well-paced manner. Throughout the novel, he writes with extraordinary vitality, bringing situations and characters to life in a few strokes. Sly humor is an integral part of the narrative. When the hero notes that his French tutor was sent from Moscow with the yearly supply of wine and olive oil, readers know precisely where that unlucky tutor fit into the household. Many of the characters possess a humorous side to their nature. The ill-fated, henpecked captain and his talkative but kindly tyrant of a wife are both portrayed with a light touch. Old Savelitch, Peter’s servant, is the truest comic figure in the novel; devoted to his young master, as earlier he had been to Peter’s father, the old man would willingly sacrifice his life for Peter but never hesitates to talk back to Peter or to the rebel Cossack leader if he feels that he is in the right. Even Pougatcheff, the self-styled claimant to the throne, is presented with a great deal of humor; in a sense, he is the only character in the book who does not take himself completely seriously, and this, at least in part, is because he has an ironic realization of the precariousness of his existence.
Many scenes in the novel possess double-edged humor, from the absurd, aborted, and then completed duel between Peter and Shvabrin to the moment, in the middle of horror,...
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