Natasha's Dance полностью

II by revolutionary terrorists in March 1881. The new Tsar, Alexander III, was a political reactionary who soon sacked his father's liberal ministers and passed a series of decrees rolling back their reforms: new controls were imposed on local government; censorship was tightened; the personal rule of the Tsar was reasserted through his direct agents in the provinces; and a modern police state began to take shape. In this context the democrats had reason to regard the historical figures of Surikov's paintings as a symbol of their opposition to the Tsarist state. Morozova, in particular, was seen as a popular martyr. This was how the artist had portrayed the famous widow, a scion of the wealthy Moscow boyar family and a major patron of the Old Belief at the time of the Nikonian reforms in the mid-seventeenth century. In Surikov's huge painting (it stands several metres high) she is depicted on a sledge, being dragged towards her execution on Red Square, her hand extended upwards in the Old Believers' two-fingered sign of the cross as a gesture of defiance against the state. Morozova appears as a woman of real character and dignity who is prepared to die for an idea. The emotion on her face was drawn directly from contemporary life. In 1881 the artist had been present at the public execution of a female revolutionary - another woman who had been prepared to die for her ideas - and he had been shocked by the 'wild look' on her face as she was marched to the gallows.⁸⁴ History was alive on Moscow's streets.

Moscow grew into a great commercial centre in the nineteenth century. Within sixty years, the peaceful nest of gentlefolk Napoleon had found was transformed into a bustling metropolis of shops and offices, theatres and museums, with sprawling industrial suburbs that every year drew hordes of immigrants. By 1900, with 1 million people, Moscow was, along with New York, one of the fastest growing cities in the world. Three-quarters of its population had been born elsewhere.⁸⁵ The railways held the key to Moscow's growth. All the major lines converged on the city, the geographic centre between east and west, the agricultural south and the new industrial regions of the north. Financed mainly by Western companies, the railways opened new markets for Moscow's trade and linked its industries with provincial sources of labour and raw materials. Thousands of commuters came in every day by train. The cheap boarding houses in the areas around the city's nine main stations were always overcrowded with casual labourers from the countryside. Moscow, then, emerged as the metropolis of capitalist Russia - a position it still occupies today. Provincial towns like Tver, Kaluga and Riazan, all brought into Moscow's orbit by the train, fell into decay as Moscow's manufacturers sent their goods by rail directly to the local rural markets, and shoppers came themselves to buy in Moscow, where, even taking into account the cost of a third-class railway fare, prices still worked out cheaper than in district towns. Moscow's rise was the demise of its own provincial satellites, which spelt ruin for those gentry farmers, like the Ranevskys in Chekhov's The Cherry Orchard, who depended on these towns as consumers of their grain. They were unprepared for the international market which the railways opened up. Chekhov's play begins and ends with a train journey. The railway was a symbol of modernity: it brought in a new life and destroyed the old.*

* It is interesting to compare Chekhov's treatment of this symbol with Tolstoy's. For Chekhov, who believed in progress through science and technology (he was, after all, a doctor), the railway was a force of good (for example, in the short story 'Lights') as well as bad (for example, in 'My Life'). But for Tolstoy, a nobleman nostalgic for the simple country life, the railway was a force of destruction. The most important moments in the

(continued)

Moscow's emergence as an economic giant was associated with its transition from a noble- to a merchant-dominated town. But so, too, was its cultural renaissance in the nineteenth century - a renaissance that made Moscow one of the most exciting cities in the world: as their wealth grew, Moscow's leading merchants grabbed hold of the city's government and patronized its arts.