and educational policy (a set of changes collectively known as ‘the Great Retreat’). Along with structural changes went symbolic changes: with increasing emphasis on the fact that cultural values transcended social circumstances went a resurgence of ‘classic’ styles in architecture, music, and painting. Not coincidentally, too, the Lenin cult instituted upon the leader’s death in 1924 began to subside in favour of an emphasis upon ‘Soviet patriotism’, centred round figures whose glory reflected and enhanced that of the ‘coryphaeus of all knowledge’, Stalin himself. The centenary of Pushkin’s death in 1937 came at a crucial stage in this set of processes, and was itself used in order to enforce a new, and entirely circular, identification of artistic merit and political progressiveness.
During the 1920s, Pushkin had been perceived as an artist of supreme talent but dubious opinions; from 1937, he began to be seen as an