The Captain's Daughter

This section of The Captain’s Daughter is the most graphic in its depiction of violence, although it largely elides the core conflict as the rebels overtake the fort. Instead, the opening volleys are shown, and then the action focuses on the rebels’ actions after their victory. Pyotr recounts the violence against the captain and his wife, describing in detail, for instance, how “the brigands had dragged Vasilia Yegorovna out onto the porch wild-haired and naked” (54). This depiction of violence serves a political end. Pushkin was worried about censorship by Emperor Nicholas I at the time the work was published. By tempering the heroic, Romantic depiction of the rebel leader Pugachov with an emphasis on Pugachov’s followers’ barbarism and violence, Pushkin could avoid causing controversy by being seen as overly sympathizing with the rebels.

The other key scene of violence depicted in this section of the work is the interrogation of the old Bashkir man who is found with papers insinuating that he is a supporter of Pugachov’s rebellion. This scene also has a strong political valance but one more closely aligned with liberalism than a desire to appease imperial censors. First, Pyotr indulges in some political commentary when discussing Kuzmich’s decision to torture Bashkir into giving a confession. He notes that, although torture might seem “alarm[ing]” to the contemporary reader, “in the old days, torture was so firmly rooted in our judicial system that the noble edict decreeing its abolition remained unenforced for a long time” (45). He then critiques the use of tortured confessions in the justice system, noting that some “old judges” long for its continued application. This observation amounts to a tacit encouragement by Pushkin for the authorities in 1830s Russia to continue to pursue liberal reforms like the abolition of torture so that the nation can improve and distance itself from its “barbarous” past.

Next, Pyotr is shocked by the reveal that the Bashkir had had his tongue cut out by imperial soldiers as punishment for his contributions to the 1741 rebellion against the Czar. The brutal, graphic image of a person with their tongue cut out can be read as an analogy for censorship: When censored, the artist has their ability to express themselves cut out like this rebel. As a liberal, Pushkin was critical both of the historical violent retributions of the imperial army against the rebels in 1741 and of the persistent and ongoing censorship of ideas in imperial Russia. In The Captain’s Daughter, Pyotr reflects Pushkin’s desire for liberal reforms when he states, “I cannot but feel astonished at the success of enlightenment and the rapid spread of principles of respect and love for humankind,” suggesting that if the nation made more liberal reforms, there would be fewer acts of barbarism and violence, leading to “an improvement of morals, without any violent upheaval” (46).

The interrogation scene contributes to the greater theme of The Clash of Social Classes that is the focus of this section of the novella. The overarching clash is between the serfs, represented by Pugachov, and the nobility, represented by the imperial army, including Pyotr. Pugachov promised reforms that would improve the lives of serfs in “crude but forceful language calculated to leave a deep impression on the minds of simple people” (44). This clash between the nobility and the lower classes is reflected in miniature in the conflict between Pyotr and his father over Pyotr’s desire to marry Maria, a “girl” with neither a dowry nor a high social standing. Pyotr shows his sympathy for the lower classes in both instances as he understands Pugachov’s motivations for rebelling and does not look down on Maria for her poverty. Pyotr likewise has learned to sympathize with his serf, Savelich, going so far as to “be[g] his forgiveness” (37) when he erroneously accuses Savelich of informing Pyotr’s father of Pyotr’s injuries. In the conflicts with Pugachov, Maria, and Savelich, Pyotr represents the liberalizing impulse of equality and empathy, while his father represents the rigid hierarchy of traditional social structures.

The Clash of Social Classes is given further complexity with its emphasis on the relations between Russia’s various ethnic and indigenous groups, particularly the Cossacks, the Bashkirs, and the Kalmyks. These groups have different religions (Orthodox Christian, Muslim, and Buddhist, respectively), different languages, and different relationships with the Russian empire. This heterogeneity is well-represented in the experience of the Kalmyk man, Yulay. Yulay informs the captain of the fort that the Cossack sergeant Maksimich is collaborating with Pugachov, who is also a Cossack. Unwisely, the captain then appoints Yulay to be commander of the Cossacks. This shows the empire’s lack of understanding of the various ethnic groups it sought to control. It was highly unlikely that the Cossacks would accept the leadership of a man seen as a collaborator with the empire against their commander who is also not part of their ethnic group, and thus it comes as little surprise when they kidnap and behead Yulay.