The Captain's Daughter

In Chapter 12, Pyotr reflects on his association with Pugachov at the moment of their parting. It is one of the most revealing scenes in the work and highlights Pushkin’s liberal politics as well as Pyotr’s growing maturity. Pyotr writes:

I cannot describe what I felt as a I said goodbye to this villain, a monster of evil in the eyes of everyone except me. But why not tell the truth? At that moment, I felt strongly drawn to him. I felt a burning desire to prise him away from the criminals whose leader he was; I wanted to try and save his head before it was too late (87).

In this moment, Pyotr—and by proxy Pushkin—expresses empathy with Pugachov, the putative “villain” of the work. The portrayal of Pugachov in this moment, and throughout the text, makes him far more complex than an antagonist, the role filled by Shvabrin. In expressing this empathy, Pushkin illustrates the characteristics of Pugachov that made him such an appealing leader to the rebels: He acts with dignity and charisma, drawing others into his orbit. This quote also contains foreshadowing of the fate of the historical Pugachov. Although it is not detailed in the text, Pugachov is ultimately betrayed by some of his Cossack leaders who turn him in to imperial forces. Pyotr recognizes the peril Pugachov is in when he describes his followers as “criminals” from whom he wishes to save Pugachov.

This moment is likewise a reflection of the greater theme of Romantic Love as a Force of Salvation that dominates the end of the novella. Just prior to this line, Pyotr declares his love for Maria, stating, “Miraculous circumstances have united us. Nothing in the world can separate us” (87). Indeed, it is his love for Maria that ultimately saved her even though he had to abandon his duty to do so. Then, Pyotr expresses his affection for Pugachov. This juxtaposition raises the possibility that, similarly, Pyotr will abandon his duty to “save” Pugachov. However, in this instance, Pyotr makes a different choice and, in the next chapter, reinforces his commitment to his duty to the empire. This dynamic illustrates the complexity of The Struggle Between Duty and Personal Desire in the novella.

In the final chapter, the fairy tale element of the novella resurges within the context of Romantic Love as a Force for Salvation when Maria acts out of love to save Pyotr just as he acted out of love to save her. She goes to the palace and almost immediately meets the Empress, although Maria does not recognize her as such. The Empress is described in warm terms as someone with a “plump, rosy face” and “ineffable charm” (101). As soon as Maria tells her of Pyotr’s plight, the Empress reveals herself to Maria and fulfills her wishes, practically serving as a fairy godmother figure. 

Although highly symbolic, this moment also has a subtly political message. Although Catherine the Great instituted some liberal reforms, her treatment of the serfs contributed to the unrest and peasant rebellions that took place during her reign. Most notably as relates to this scene, Empress Catherine passed legislation making it no longer possible for serfs to petition the empress directly for relief from, for instance, abusive landlords. Further, she granted landlords the ability to exile their serfs to Siberia to do forced hard labor (“Catherine’s Domestic Policies.” Lumen Learning). This scene is set in a fantastic timeline, one where Pushkin imagines a different dynamic from the historic one, wherein a man (Pyotr) is saved from exile to Siberia and a person of low rank (Maria) is able to directly petition her for support. By presenting this as a positive outcome, Pushkin suggests that such liberalizing reforms are necessary for progress.