Reinventing Romantic Poetry : Russian Women Poets of the Mid-nineteenth Century

In Liza’s story, as Fusso remarks, Pavlova debunks Pushkin’s Pikovaia

dama(The Queen of Spades) (“Pavlova’s Quadrille,” 120–21). Pavlova’s Liza,

like her Pushkinian namesake, grows up as the ward of an evil-natured,

reputedly rich aunt who enjoys tormenting her. As in Pikovaia dama,a

young man who pretends to be in love with Liza sees her only as a means

to the aunt’s wealth. In contrast to Pushkin’s Gothic tale of madness, se-

crets, and ghosts, however, in Pavlova’s society tale Aleksei simply re-

jects Liza because he considers the legacy she receives from her aunt in-

sufficient. While Pushkin depicts Liza’s tragedy as Germann’s rejection

of her, Pavlova recenters the story on Liza’s psychological coming of age.

Liza has gained self-knowledge and the ability to see beyond the myth

of romantic love. Looking back she says of Aleksei:

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(In him I found a pretext

For love, and for happiness beyond measure.

We all, dreaming and loving,

Place our gift at the feet of chimeras,

We all are only searching for ourselves in the other.)

( 329 )

More than the loss of her relationship with Aleksei, Pavlova’s Liza

grieves her loss of spiritual balance and self-respect. Her desire for Alek-

sei blocked any compassion for her unpleasant but suffering aunt, lead-

ing Liza simply to wish her dead. Standing over her aunt’s body, Liza

silently says a requiem for her aunt and for herself. By the time she re-

counts the story, however, Liza, like Nadina, has achieved some peace

of mind.

Ol’ga’s story concerns the humiliation she experienced at her first ball.

Innocent, awkward, and defenseless, with no male relative to protect

her, Ol’ga becomes a victim of the cruelty of several men: they ignore her,

reject her, and finally make her the butt of a practical joke by introduc-

ing her to a madman who proposes to any woman on sight. Ol’ga takes

his proposal seriously until she overhears the jokers congratulating

themselves. Once again, romantic-appearing heroes—this one is not a

thief but a madman—cannot help women. Ol’ga, like the other women,

has learned to rely on herself and now commands respect in society.

160 Karolina Pavlova