[…] Russia’s heroic dead In blocking the way to fascism. To the smallest dew-drop, she is close to me In her being and her fate. (lines 53-56) The new version thus prioritizes the Soviet resistance to Nazis over the suffering of those massacred and thrown into the ravine. In this instance, the word “Russia” is used not to invoke the “true” humanity claimed by Yevtushenko’s earlier speaker. Rather it is associated with the victory of the USSR over Nazism. In this context, “Russia” (gendered female) is used interchangeably with “Soviet.” The new speaker does not distinguish himself from the Soviet Union’s callous disregard, but aligns himself to “her being and her fate” in every detail – “to the smallest dewdrop.” Tellingly, though these changes were required before Shostakovich’s 13th Symphony was performed again, as it was in 1962, the composer was clear about the version he preferred, which aligned with his artistic vision. In his personal manuscript of the symphony, Yevtushenko’s original words remained untouched. II. Yumor (Humor) The sneering brass fanfare at the downbeat of the second movement signals a shift in the tone of Shostakovich’s orchestra and Yevtushenko’s rhetoric. Snare drums and a triumphal trumpet melody combine in a quick march that invokes military parades. To Soviet audiences Parades, a well-established post-WWII celebration of Soviet military strength. The march steers into the opening four lines of Yevtushenko’s second poem, which personifies "Humor" as an irrepressible rebel: Tsars, kings, and emperors, rulers of all the world. Have commanded parades But couldn’t command humor. (lines 1-4) Yevtushenko’s "Humor" is an alluring character – a figurative representation of the spirit of rebellion – who seems immune to efforts of those who would seek to control him, including the former Russian monarchy, as represented by the “tsar.” But more than simply difficult to control, Humor is also actively disruptive. The parade begins to deteriorate as the lyrics detail the various failed attempts to control humor. Dissonant chords and brazen articulations overthrow the steady controlled march, which falls further apart with each failed effort to control him. Yevtushenko details Humor’s imperviousness: 77 this would likely serve as a reminder of annual Victory Day
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