Eugene Onegin: A Novel in Verse: Commentary (Vol. 2) 9780691228297

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BOLLINGEN SERIES LXXII

Eugene Onegin A NOVEL IN VERSE: BY

Aleksandr Pushkin

TRANSLATED FROM THE RUSSIAN, WITH A C O M M E N T A R Y , BY

PAPERBACK

Vladimir Nabokov

EDITION

IN T W O V O L U M E S

II Commentarv and Index

Bollingen Series LXXII Princeton University Press

Copyright © 1964 by Bollingen Foundation Revised Edition copyright © 1975 by Princeton University Press First Princeton/Bollingen Paperback printing, 1981 Second Princeton/Bollingen Paperback Edition, 1990 10

9

8

THIS TWO-VOLUME WORK IS AN ABRIDGMENT OF THE FOUR-VOLUME HARDCOVER EDITION, THE SEVENTY-SECOND IN A SERIES OF BOOKS SPONSORED BY BOLLINGEN FOUNDATION. VOLUME I OMITS THE CORRELATIVE LEXICON OF THE 1975 EDITION, VOLUME II COMBINES THE COMMENTARY, FROM VOLUMES 2 AND 3, AND THE INDEX, FROM VOLUME 4, AND OMITS THE APPENDIXES AND THE RUSSIAN TEXT. THE PAGINATION OF THE 1975 EDITION HAS BEEN RETAINED

Library of Congress catalogue card No. 80—8730. ISBN 0-691-01904-5 pbk. Printed in the United States of America Four-volume edition designed by Bert Clarke ISBN-13: 978-0-691-01904-8 (pbk.) 1SBN-10: 0-691-01904-5 (pbk.)

Contents*

V O I. U M E

II

Commentary, Part 1 {Volume 2 of i yyj Edition) FOREWORD PRELIMINARIES

Master Motto Dropped Mottoes Dropped Introductions Prefatory Piece

CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER

ONE TWO THREE FOUR FIVE

3 5

5 8 10 19 27 217 517 413 488

* The pagination of the 1975 edition has been retained for this paperback edition.

Contents

Commentary, Part 2 , Volume j of lgj$ Edition) CHAPTER SIX CHAPTER SEVEN CHAPTER EIGHT NOTES TO "EUGENE ONEGIN'' FRAGMENTS OF "ONEGIN's JOURNEY"

Pushkin's Foreword The Fragments (including Expunged Stanzas)

"CHAPTER T E N "

Addendum to Notes on "Chapter Ten v

TRANSLATOR'S EPILOGUE

THE WORK ["TRUD"]

Index \ [• ohune 4 of 197j Edition)

5 68 12g 252 253

253 254 311

365 376

384

NOTE OF ACKNOWLEDGMENT

The publishers acknowledge permission for the use in the Commentary of quotations as follows: to Random House, New York, for passages from Babette Deutsch's translation of Eugene Onegin in The Works of Alexander Pushkin, ed. A. Yarmolinsky, copyright 1936 by Random House, Inc.; to the Pushkin Press, London, for passages from Oliver Elton's translation of Evgeny Onegin, 1937; to the University of California Press, Berkeley, for passages from Dorothea Prall Radin's and George Z. Patrick's translation of Eugene Onegin, copyright 1937 by the Regents of the University of California Press; to Macmillan and Co., London, for passages from Henry Spalding's translation of Eugene Oneguine, 1881; and to Mr. Edmund Wilson for a passage translated in his The Triple Thinkers, revised edition, Oxford University Press, New York, 1948, and J. Lehmann, London, 1952.

Foreword

The following commentary consists of a series of notes to the whole of EO, including rejected stanzas and variants preserved in Pushkin's cahiers as well as projected continuations. Among these comments, the reader will find remarks on various textual, lexical, biographical, and local matters. Numerous instances of Pushkin's creative indebtedness are pointed out, and an attempt has been made, by a discussion of the actual melody of this or that line, to explain the enchantment of his poetry. Most of my notes are the result of original research, or amplify and continue research done by others, but in some cases they reflect a background of anonymous knowledge shared by all Russian lovers of Pushkin. The four "English," "metrical" "translations" mentioned in my notes and unfortunately available to students are Eugene Oneguine, tr. Lt.-Col. Henry Spalding (London, 1881); Eugene Onegin, tr. Babette Deutsch, in The Works of Alexander Pushkin, ed. A. Yarmolinsky (New York, 1936 and 1943); Evgeny Onegin, tr. Oliver Elton (London 1937; also published serially in The Slavonic Review, Jan., 1936-Jan., 1938); and Eugene Onegin, tr. Dorothea Prall Radin and George Z. Patrick (Berkeley, Cal., 1937).

Commentary Even worse are two rhymed versions, which, like grotesque satellites, accompanied the appearance of the first edition of this work; one is Walter Arndt's (a Dutton Paperback, New York, 1963, two printings), a paraphrase, in burlesque English, with preposterous mistranslations, some of which I discussed in The New York Review of Boohs, April 30, 1964; and the other Eugene M. Kayden's product (The Antioch Press, Yellow Springs, Ohio, 1964), of which the less said the better. V.N.

Preliminaries

MASTER MOTTO

Petri de vanite . . .: The corrections in PB 8 and the initials "A. P." replacing it in PD 129 lead us to suppose that the quotation is a spurious one—at least in its final aphoristic form. It would be idle to speculate if that *'private letter" ever existed, and if it did to wonder who was its author; but for those who like to look for the actual models of fictional characters and who search for "real life" in the dead ends of art, I have prepared a little line of sterile inquiry in One : XLVI : 5-7. The idea of tipping a flippant tale with a philosophical epigraph is obviously borrowed from Byron. For the first two cantos of Childe Harold's Pilgrimage, a Romaunt (London, 1812), Byron sent R. C. Dallas (Sept. 16, 1811) a motto beginning: "L'univers est une espece de livre, dont on n'a lu que la premiere page/' etc., from Louis Charles Fougeret de Monbron's Le Cosmopolite (London, 1750), p. 1.* The oblique epigraph was a great favorite with English writers; it aimed at suggesting introspective associa*A later edition, 1752, presumably printed in Amsterdam, has the added subtitle, ou le Citoyen du monde.

Commentary tions; and, of course, Walter Scott is remembered as a most gifted fabricator of mottoes. Petri in a metaphorical sense (possessed with, steeped in, consisting of) was not uncommonly used by Pushkin's French models. La Bruyere, in Les Caracteres ou les mceurs de ce siecle (1688), uses petri (spelled in the first editions paistri and paitri) in par. 15 of "De la societe et de la conversation" ("Us sont comme petris de phrases") and in par. 58 of "Des biens de fortune" ("ames sales, petries de boue"). Voltaire, in Epistle XLI (1733), says that the poems of Jean Baptiste Rousseau are "petris d'erreurs, et de haine, et d'ennui," and in Canto III (1767) of La Guerre civile de Geneve he refers to Jean Jacques Rousseau as a "sombre energumene . . . petri d'orgeuil," which is practically Pushkin's term. In Memoir es d'outre-tombe (1849-50), Chateaubriand defines himself as "aventureux et ordonne, passionne et methodique . . . androgyne bizarre petri des sangs divers de ma mere et de mon pere" (written 1822, rev. 1846); and I find petri at least once in that author's Rend (1802 and 1805): "Mon coeur est naturellement petri d'ennui et de mis ere." In Russian literature the next petri (half a century after Pushkin's) occurs, with a literal sense, in the famous French phrase spoken by the repulsive homunculus in Anna Karenin's fateful dream {Anna Karenin, pt. IV, ch. 3). The master motto contains, I suggest, a possible reminiscence of a passage in Nicolas de Malebranche, De la Recherche de la veritd (1674-75; edn. seen, 1712), vol. I, bk. II, pt. Ill, ch. 5: Ceux qui se louent se . . . [mettent] au-dessus des autres. . . . Mais c'est une vanite encore plus extravagante . . . de decrire ses defauts. . . . Montaigne me paroit encore plus fier et plus vain quand il se blame que lorsqu'il se loue, parce que c'est un orgueil insupportable que de tirer

Preliminaries: MASTER MOTTO vanite de ses defauts. . . . J'aime mieux un homme qui cache ses crimes avec honte qu'un autre qui les publie avec effronterie. I also suggest that this epigraph contains, if not a direct allusion to Jean Jacques Rousseau and his influence on education, at least a possible echo of current discussions on the subject. Its rhythm is not unlike the quotation from Rousseau in Pushkin's n. 6 (to One : xxiv 112). In a pamphlet published early in 1791 {A Letter to a Member [Menonville] of the National Assembly; in answer to some objections to his book on French affairs), Edmund Burke, that "diffuse and ingenious" orator (as Gibbon calls him), thus speaks of Rousseau: "We have had the . . . founder of the philosophy of vanity in England . . . [who] entertained no principle . . . but vanity. With this vice he was possessed to a degree little short of madness. It is from the same deranged eccentric vanity . . . " But let me rather continue in the French translation (Lettre de M. Burke, a un membre de VAssemblee Nationale de France, Paris, 1811), which Pushkin might have seen: "Ce fut cette . . . extravagante vanite qui [le] determina . . . a publier une extravagante confession de ses faiblesses . . . et a chercher un nouveau genre de gloire, en mettant au jour ses vices bas et obscurs"; and further, in the original: "Through him [Rousseau] they [the rulers of revolutionary France] infuse into their youth an unfashioned, indelicate, sour, gloomy, ferocious medley of pedantry and lewdness." Pushkin's library contained a cut copy of Reflexions sur la revolution de France, "par Edmond Burke" (Paris, 1823), which is an anonymous translation of Reflections on the Revolution in France (London, 1790), the "book on French affairs" referred to in the 1791 pamphlet. It would be vain, however, to seek in those publications the source of the Burke epigraph in PB 8 (see under

Commentary "Dropped Mottoes," below). I have traced it to Burke's Thoughts and Details on Scarcity; originally presented to the Right Hon. William Pitt in the month of November, . The passage where it occurs (my italics) reads: If the price of the corn should not compensate the price of labour . . . the very destruction of agriculture itself . . . is to be apprehended. Nothing is such an enemy to accuracy of judgment as a coarse discrimination, a want of such classification and distribution as the subject admits of. Increase the rate of wages to the labourer, say the regulators . . . I cannot imagine Pushkin, who, at the time, had no English (and was as indifferent to blights in England as he was to grasshoppers in Russia), reading Squire Burke on his turnips and pease. Presumably he came across the quotation in somebody's scrapbook and planned to use it in allusion, perhaps, to readers who do not "discriminate" between an author and his characters *—an idea that recurs in One : LVI, where Pushkin describes himself as anxious to mark the difference between author and protagonist, lest he be accused of imitating Byron, who portrayed himself in his characters. It is to be noted that Byron is said by his biographers to have enjoyed sending (from Venice) defamatory paragraphs about himself to the Parisian and Viennese newspapers in the hope that the British press might copy them, and that he was called (by the Due de Broglie) un fanfaron du vice—which brings us back to the master motto. DROPPED MOTTOES

The fair copy of Chapter One (listed as PB 8 and termed "The Autograph" in Acad 1937), which was prepared by Pushkin in Odessa not earlier than October, 1823, *Or to grandees who forget that an impecunious poet may be as noble-born as they (see vol. 3, p. 306).

Preliminaries: DROPPED MOTTOES and before January, 1824, differs in several details from the first edition of the chapter (Feb. 16, 1825). This fair copy is headed by a master motto written on the cover, namely, 11. 252-55 of Evgeniy Baratinski's poem The Feasts (later Pushkin planned to use them as a motto to Four, judging by the fair copy of that canto); then comes the title, Evgeniy Onegin, and, under this, another motto: *'Nothing is such an ennemy [sic] to accuracy of judgment as a coarse discrimination. Burke." (See above, "Master Motto.") Under this appears "Odessa MDCCCXXIII." This is followed by two chapter mottoes: O'er life thus glides young ardor: to live it hurries and to feel it hastes . . . * (Pushkin at first wrote "hastes," speshit, instead of "glides," skoVzit)', and Pas entierenient exempt de vanite il avait encore de cette espece d'orgueil qui fait avouer avec la meme indifference les bonnes comme les mauvaises actions, suite d'un sentiment de superiorite peut-etre imaginaire. Tire d'une lettre particuliere Pushkin first wrote "encore plus d'orgueil et de ce genre" and "suite d'un sentiment de superiorite sur les autres." A thirty-page transcript (termed Kopiya in Acad 1937) of Chapter One made by a copyist in the autumn of 1824, corrected by Pushkin, and sent with Lev Pushkin to Petersburg, omits Barafinski and Burke. It is headed by a dedication written on the cover in the poet's hand: Inscribed to Brother Lev Sergeevich Pushkin Then comes the autograph title: Evgeniy Onegin A Novel in Verse The work of A. P * These are 11. 75-76 from Pyotr Vyazemski's poem The First Snow (1819), discussed in my note to One: motto.

Commentary In the French motto that follows, the three initial words ("Pas entierement exempt") are crossed out by Pushkin; he replaced them by the one word Petri (in pencil, according to V. Sreznevski's description of this MS in P. i ego sovr.y II [1904], 3). The motto from Vyazemski is omitted and does not appear in either the 1825 edition or the 1829 reprint; it heads One in the 1833 an( ^ x^37 editions. DROPPED INTRODUCTIONS

Pushkin prefaced Chapter One, when published separately (1st edn., Feb. 16, 1825; 2nd edn., late March, 1829), with a dedication to his brother and with the following lines (pp. vii-viii), which were meant to suggest the aloofness of an editor and which were not reprinted by him in the complete editions of the novel: Here is the beginning of a long poem [boVshogo stihotvoreniya], which probably will not be finished. Several cantos [pesen] or chapters [glav] of Eugene Onegin are now ready. Written as they are under the influence of favorable circumstances, they bear the imprint of that gaiety* which marked the first works of the author of Ruslan and Lyudrnila [1820]. The first chapter [glava] presents a certain unity. It contains the description of a St. Petersburg young man's fashionable life [svetskoy zhizni] at the end of 1819 [sts. •Actually, by mid-February, 1825, Pushkin had ready only three chapters (and about half of Four). None of these is particularly gay. We should remember that in 1820 he had been ordered by the government to remain domiciled in southern Russia until further notice and that at the end of July, 1824, he had been expelled from Odessa to Mihaylovskoe, the familial country seat in northwestern Russia; the indolence of his life in Kishinev (where EO was begun in May, 1823) and Odessa and the not-too-dull retirement of Mihaylovskoe are the "favorable" circumstances mentioned here. Pesen is the gen. pi. of pesnya or pesn' (song, canto), and glav is the gen. pi. of glava (head, chapter). JO

Preliminaries:

DROPPED

INTRODUCTIONS

XV—xxxvn] and recalls Beppo,* somber Byron's humorous production. No doubt farsighted critics will notice the lack of plan. Everyone is free to judge the plan of an entire novel after reading the first chapter of the latter [onogo]. Critics will also deplore the antipoetical nature of the main character, who tends somewhat to resemble the Caucasian Captive [the hero of Pushkin's romantic poem of the same title published in 1822], as well as certain strophes written in the depressing manner of the latest elegies "wherein the feeling of dejection engulfs all other feelings." f We crave permission, however, to draw our readers' attention to merits rare in a satirical writer: the absence of insulting personal remarks and the observance of strict decorum in the humorous description of mores. In the MS of this introduction, written in 1824 (Cahier 2370, ff. io r , 1 i r ), with a charming drawing of Onegin's profile above the abbreviated title (Predislovie k Evg. Oneg.), the second sentence of the fourth paragraph begins: "One will be right in condemning the nature of the main character, remindful of Ch H" (sic; % altered from AdoVf, a reference to Benjamin Constant's Adolphe); and the following two paragraphs replace paragraph five: The status of editor allows us neither to praise nor to blame this new work. Our viewrs may seem partial; but we crave permission to draw the attention of the esteemed *The allusion is to Beppo (1818) or, rather, to Beppo, nouvelle venitienne, in the French version of Byron's works. A. Pichot, in his introduction (vol. II, 1820; repr. in vol. IV, 1822), says: "Comme Don Juan, Beppo est un hoax continuel: le poete semble se jouer de toutes les regies de son art. . . . Cependant, au milieu des digressions continuelles, le sujet marche toujours." fFrom Wilhelm Kiichelbecker's critical essay "On the Tendency of Our Poetry, Especially Lyrical, in the Last Decade," Mnemosyne (Mnemozina), pt. 11 (1824). pp. 29—44. See a ^ s0 n. to Four : xxxn : 1. £A Russian Ch and a Latin H. As further noted: Childe Harold is ChayVd GaroVd in Russian and was pronounced Shild-Arold in French. II

Commentary public and of Messrs. the Reviewers to a merit as yet new in a satirical writer: the observance of strict decorum in the humorous description of mores. Juvenal, Catullus, Petronius, Voltaire, and Byron far from seldom failed to retain due respect toward readers and toward the fair sex. It is said that our ladies are beginning to read Russian [instead of French]. We boldly offer them a work wherein they will find, beneath a light veil of satirical gaiety, observations both true and entertaining. Another merit, almost as important, and doing considerable honor to our Author's mildness of heart, is the total absence of insulting personal remarks; for [ibo~\ one should not attribute this solely to the fatherly watchfulness of our censorship, custodian of morals [and] of the tranquillity of the state, protecting citizens with no less solicitude from the attack of "naive slander" [and] of derisive levity . . . (The last sentence is incomplete.) In the 1825 and 1829 editions of One, the preface was followed (pp. xi-xxii) by a curtain raiser or Vorspiel in freely rhymed iambic tetrameters (ending in an emphatic sentence in prose) entitled Conversation of Bookseller with Poet (Razgovor knigoprodavtsa s poetom). It was completed Sept. 26, 1824, at Mihaylovskoe, and republished as a separate poem (i.e., not associated with EO, with which indeed it has little to do) in our poet's first collection of poems (1826; it appeared Dec. 28, 1825). In a letter of Dec. 4, 1824, Pushkin had asked his brother Lev to have the piece dated 1823 in print— with the purpose, perhaps, of preventing anyone from identifying certain lines in it (e.g., 144-59) with the author's experiences in Odessa during the early summer of 1824, when he had his affair with Countess Elizaveta Vorontsov. In translating this piece (which contains some admirable lines but is, on the whole, one of Pushkin's least successful poems), I have preserved the measure (and even a few docile rhymes here and there), except in the case of 11. 97-100, which absolutely refused 12

Preliminaries: DROPPED INTRODUCTIONS to turn into English tetrameters without loss or padding of sense and have therefore been abandoned to prose. Conversation of Bookseller with Poet BOOKSELLER*

l

Versets for you are mere amusement you just have to sit down a bit. Fame has already managed everywhere to spread the pleasantest of news: 'Tis rumored, a long poem's ready, a new fruit of the mind's devices. Decide, then; I await your word. Name your own price for it. The versets of the pet of the Muses and Graces 10 we shall at once replace by rubles and into a bunch of ready banknotes transform your little leaves of paper. Why have you sighed so deeply, may I learn? POET

I was far away. I was remembering the time when in the opulence of hope, a carefree poet, I would write from inspiration, not for pay. I saw again the cliffs' retreats 20 and the obscure roof of seclusion where to Imagination's feast, time was, I used to call the Muse. There sweeter would my voice resound, there longer brilliant visions, in loveliness ineffable,f * Pushkin has a footnote here (1825, 1829,p. x): "Let us observe for the edification of the squeamish custodians of decency that the Bookseller and the Poet are fictitious persons. The former's compliments are but social urbanity, a pretense necessary in a conversation, if not in a magazine." \S neiz ^yasnimoyu krasoy, "with ineffable beauty." The same term is employed in connection with Lenski's vision of Olga, EO, Six : xx : 7-8.

Commentary" swirled, flew above me in hours of nighttime inspiration. All would excite the tender mind:* a blooming mead, the moon's effulgence, 30 the storm's noise in a moldering chapel, an old crone's wondrous legend. A kind of demon would preside over my games, my leisure; he after me flew everywhere; to me he whispered sounds sublime, and with a grievous flaming sickness my head was filled; within it, wondrous dreams were born, into eurythmic measures flowed 40 together my obedient words and with a ringing rhyme were closed. In Harmony my rivals were the sough of woods, or raging whirlwind, or the oriole's live strain, or the sea's muffled noise at night, or purl of gently streaming river. Then, in the silence of my toil I was not prepared to share flaming transports with the crowd; 50 and the sweet favors of the Muse debase I did not by a shameful trade. I was their miserly protector. Exactly thus, in muted pride, from eyes of the bigoted rabble 'the favors of his youthful mistress does a foreboding lover hide. BOOKSELLER

But fame for you replaced joys of a secret reverie: you've been snapped up by eager hands, 60 whereas the dusty cumulations of moldy prose and verse * Chateaubriand, in Rene, had a similar intonation: "Qu'il falloit peu de chose a ma reverie: une feuille sechee . . . une cabane dont la fumee s'elevoit dans la cime depouillee des arbres . . . une roche ecartee, un etang desert . . . " (ed. Armand Weil [Paris, 1935], pp. 44-45).

Preliminaries: DROPPED INTRODUCTIONS await in vain their readers and fame's fickle reward. POET

Blest he who in himself concealed the high creations of the soul and from men as from tombs never awaited recompense for feeling. Blest who in silence was a poet, who unwreathed with the thorn of fame, 70 forgotten by the despicable rabble, quitted the world without a name. E'en more than dreams of hope deceitful, what's fame? Is it a reader's whisper? Base ignorance's persecution? Or a fool's admiration? BOOKSELLER

Lord Byron held the same opinion;* Zhukovski used to say the same;f but the world learned of, and bought up, their sweet-toned works. 80 And verily your lot is enviable: the poet punishes, the poet crowns; villains with levin of eternal darts *Byron went to Pope, and Pushkin went to Pichot. Pope (An Essay on Man, ep. IV, 237—38) has: "What's Fame? a fancy'd life in others breath, A thing beyond us, ev'n before our death." Byron (Don Juan), I, ccxvm, 1—2, 7—8) has: "What is the end of Fame? 'tis but to fill A certain portion of uncertain paper: To have, when the original is dust, A name, a wretched picture and worse bust." Pichot's wretched version (a fourth monument) turns Byron's first two lines into: "A quoi aboutit la gloire? a remplir peutetre une petite page de papier." See also in Lamartine's Harmonies the passage "Qu'est-ce que la gloire? Un vain son repete," etc. Pushkin himself used the formula in a long poem of the same period as the Conversation, his frankly Byronic The Gypsies (11. 219-23). I quote it in n. to One : vm : 10-14. j"The reference presumably is to Vasiliy Zhukovski's ballad Svetlana, 1. 259: "Fame, we have been taught, is smoke."

Commentary he smites in far posterity; heroes he comforts. Onto the throne of Cytherea with Corinna* he elevates his mistress. Praise is for you a tiresome din, but hearts of women ask for fame: for them write. To their ears 90 the flattery of Anacreon is pleasing: In young years roses are to us dearer than bays of Helicon. POET

Conceited daydreams, pleasures of frenzied youth! I also 'midst the storm of noisy life sought the attention of the fair. Charming eyes read me with a smile of love; magic lips whispered 100 my sweet sounds to me. But 'tis enough. To them his freedom the dreamer immolates no more: let them by Shalikovf be sung, nature's amiable darling. To me what are they? Now in backwoods my life sweeps on in silence. The moaning of the faithful lyre will not touch their light, giddy souls. Unclean is their imagination, *The "mistress" of the Roman poet Ovid, whom he celebrated in his elegies (Amores), c. 16—1 B.C. •fWhy Pushkin thought fit to pay this Gallic compliment (lyubezniy baloven1 prirodi, Fr. "aimable favori de la nature") to the lackadaisical poetaster, Prince Pyotr Shalikov (1768— 1852), editor of the Ladies' Journal {Damskiy zhurnal, Fr. Journal des dames), is not clear—unless it was simply prompted by the professions of rapturous admiration for Pushkin that Shalikov made in his magazine. Anyway, Pushkin replaced "Shalikov" by yunosha (the young man) when this Conversation appeared in his first collection of poems (1826). The sudden innomination and juvenescence greatly puzzled the elderly journalist, it is said. The draft has Bdtyushkov instead, a reference to the poet Konstantin Batyushkov (1787-1855).

16

Preliminaries: DROPPED INTRODUCTIONS ] 10 it does not understand us: to them God's token, Inspiration, is alien and preposterous. When to my mind, against my will, there comes a line they have instilled, at once I redden,* my heart aches, I am ashamed of my idols. To what, unfortunate, did I aspire? Before whom my proud mind debase? Whom with the rapture of pure thoughts 12O did I not shrink from deifying? BOOKSELLER

I love your anger. That's your poet! The reasons of your bitterness I cannot know. But some exceptions for winsome ladies don't you make? Can it be true that none is worth the inspiration or the passionsf and won't appropriate your songs to her almighty loveliness? You do not speak? POET

Why should a poet 130 disturb the grievous slumber of the heart? Remembrance he torments in vain; and then? What is it to the world? To all I am a stranger. Does my soul preserve an image unforgettable? Did I know ecstasy of love? With a prolonged heartache exhausted, in stillness did I hide my tears? Where was the one of whom the eyes % like heaven used to smile on me? 140 All life is it one night or two? §

* Altered to "I trepidate" (ya sodragayus') in the 1826 collection. fCf. One : xxxiv : 11-12. j"Of whom the eyes," kotoroy dc/ii—a clumsy turn. §The dots are Pushkin's pause, not an omission.

Commentary And then? My tiresome moan of love, my words would seem a lunatic's wild babble. Afar, one heart would understand them, and even so—with a sad shudder. Fate once for all has so decided. Ah, thoughts of her a wilted soul's youth might revive, and dreams of whilom poetry 150 would be again stirred up in swarms. Alone she would have comprehended my hazy verse; she'd in my heart alone have flamed like love's pure lamp. Alas, of no avail are wishes: she has rejected exorcisms, complaints, the heartache of my lot;* unbosomings of earthly transports she, a divinity, needs not. BOOKSELLER

160 To sum up: having tired of love, grown bored with rumor's prattle, a priori, you have repudiated your inspired lyre. Now that you've left the noisy world, the Muses, and volatile Fashion, what will your choice be? PORT

Freedom. BOOKSELLER

Fine. Here is my advice to you. Hark to a useful truth: our time's a huckster. In this iron time 170 where there's no money there's no freedom. What's fame? A gaudy patch upon the songster's threadbare rags. *Pocms (1826) gives "soul" for "lot."

18

Preliminaries: PREFATORY PIECE What we need is gold, gold, and gold; accumulate gold to the last! I see beforehand your objection, but then I know you gentlemen: your work to you is valuable while, set upon the flame of toil, Fancy boils, bubbles. 180 It cools, and then you are fed up with your own composition. Allow me to say simply this: not salable is inspiration, but one can sell a manuscript. Why then delay? Already come to me impatient readers; around my shop reviewers prowl; followed by scrawny songsters; one for a satire food is seeking, 190 another for the soul, or quill. That lyre of yours, quite frankly speaking, much good is going to fulfill. POET

You are perfectly right. Here, take my manuscript. Let us come to terms. PREFATORY PIECE

Rhyme sequence: ababececdiidofof (here as elsewhere the vowels stand for feminines). Meter: iambic tetrameter. The story of the publication of this piece (composed Dec. 29, 1827, after three chapters of EO had already come out and six had been finished) is rather curious. The first edition of Chapter One (printing completed Feb. 7, 1825, on sale nine days later) was inscribed by Pushkin to his brother Lev {Posvyashcheno bratu L*vu Sergeevichu Pushkinu). Lev Pushkin (1805-52), on leaving Mihaylovskoe in the first week of November, 1824, had taken an apograph of Chapter One to St. Petersburg to have it published there with the assistance of Pletiiyov (see below). Lev Pushkin was an enthusiastic literary factotum; but he was negligent in money

Commentary matters, and, even worse, he circulated his brother's MS poems, reciting them at parties and allowing them to be transcribed by admirers. He had a marvelous memory and much artistic acumen. The exile in Mihaylovskoe began to grumble in the summer of 1825 and exploded the following spring. Baratinski did his best to exculpate "Lyovushka" (diminutive of Lev), but Pushkin's relations with his dissipated young brother never regained their initial warmth. Much more diligent was Pyotr Pletnyov (1792-1862), a gentle scholar, ecstatically devoted to talent and poetry. In the 1820's he taught history and literature to young ladies and cadets at various schools; in 1826 he gave lessons at the Imperial Palace; from 1832 on he was professor of Russian literature at the Petersburg University and in 1840 wound up as its president (rektor). Pushkin wrote to Pletnyov, from Mihaylovskoe to Petersburg, at the end of October, 1824; the draft of this letter (Cahier 2370, f. 34r) reads: You published once my uncle. The author of The Dangerous Neighbor was very worthy of it, although the late Beseda spared not his countenance.* Now, chum, do publish (me), and the daring liberal, and the sweet-voiced diplomatist are ready . . . XXVI

1-4 Alongside the draft (2369, f. i2 v ; Efros, p. 125), in the left-hand margin, Pushkin drew the Roman-nose profile of Amalia Riznich. (See n. to One : LIV.) 4 / his attire: I imagine he wore to that particular ball (winter, 1819) not simply a black frac but (following io5

Commentary London rather than Paris), a brass-buttoned, velvetcollared, sky-blue coat—with skirts enclosing the thighs —over a very close-fitting white waistcoat; quite certainly, his Breguet repeater, with a dangling fob seal, was carried in the right front pocket of the trousers; these, I imagine were blue pantaloons (also termed "tights"—nankeen tights with three buttons at the ankle) strapped over varnished escarpins. There were thirty-two styles of tying a cravat. 7 / pantaloni, frak, zhilet: An obviously French listing— pantalon, frac, gilet. Ten years earlier, in his poem The Monk, young Pushkin followed Karamzin and other writers in using, for the upper garment clothing the legs, the Russian word shtani (frak s shtanami. . . zhilet), which initially had meant any kind of linen underwear for the legs (today podshtanniki or kaVsoni, Fr. calecon) but by the end of the eighteenth century had stood for "smallclothes," i.e., knee breeches, reaching only to the top of the stockinged calf. In my youth, before the era of Soviet provincialization, pantaloni and shtani meant simply trousers, while the synonym bryuki was regarded in St. Petersburg as a dreadful vulgarism, on a par with the lower-class variant zhiletka for zhilet (waistcoat). In the course of a rather comical examination of Friedrich Engels' tussle with the Russian language (as reflected in his German MS notes to the meaning of words in the first thirty-three stanzas of EO), M. P. Alekseev remarks (collection Pushkin, issledovaniya i materiali, [Leningrad, 1956], p. 8o,n.) that, although it is true that the words pantaloni, frak, zhilet are absent from the Slovar' Akademii Rossiyskoy (6 vols., St. Petersburg, 1789-94), they had been already incorporated in Yanovski's Noviy slovotolkovateV, raspolozhenniy po alfavitu (St. Petersburg, 1803-04, 1806). 106

One: XXVI 14 / the Academic Dictionary / Akademicheskiy Slovak: A note (6) appended by Pushkin here, in the separate edition to Chapter One (1825), reads: One cannot but regret that our writers too seldom consult the dictionary of the Russian Academy.* It will remain an everlasting monument to the solicitudinous will of Catherine and to the enlightened labors of Lomonosov's successors, strict and trustworthy guardians of our native tongue. Here is what Karamzinf says in his speech [before the Rossiyskaya Akademiya, Dec. 5, 1818]: "The Russian Academy marked the very beginning of its existence by a work of the utmost importance to the language; indispensable to authors, indispensable to anybody who desires to present his ideas with clarity, who desires to comprehend himself and others. The complete dictionary, published by the Academy, belongs to the number of those phenomena by means of which Russia astonishes attentive foreigners: our destiny, certainly a fortunate one in all regards, is characterized by a kind of extraordinary velocity: we mature not in the course of centuries, but in the course of decades. Italy, England, Germany were already famous for many great writers, while not yet possessing a dictionary; we have had religious, spiritual books, we have had writers in verse and in prose, but only a single true classic—Lomonosov— and we have produced a system of the language that may vie with the celebrated works of the Academies of Florence and Paris. Catherine the Great [Empress of Russia, 1762-96]—who of us even in the most flourishing age of Alexander I [r. 1801-25] can pronounce her name without a deep feeling of love and gratitude? [a very Gallic oratorical formula]—Catherine, loving the glory of Russia as her own, loving the glory of victory as well as the peaceful glory of Reason [Fr. raison, Russ. razum\ accepted this fortunate fruit of the Academy's labors with that flattering benevolence with which she *This Slovak Akademii Kossiyskoy was in Pushkin's library; see Modzalevski, "Biblioteka A. S. Pushkina," P. i ego sovr., Ill, 9-10 (1909), 94. f Reformer of the language, Gallicist, essayist, novelist, poet, and historian, Pushkin's precursor in literary style, Nikolay Karamzin (1766-1826). IOJ

Commentary knew how to reward all that was praiseworthy, a benevolence that has remained for you, gentlemen, an unforgettable, most precious recollection." [signed] The Author's Note. (Pushkin evolved a subtle interplay between the "authorial" and the "editorial" in his notes: literary masquerades were fashionable among Romantic writers.)

XXVII

The series of nineteen stanzas from xvm to xxxvi may be termed The Pursuit. In xxvil Pushkin overtakes his fellow hero and reaches the lighted mansion first. Now Onegin drives up, but Pushkin is already inside. In this stanza xxvil, I have attempted to render exactly the Russian perfective aspects (under other circumstances sufficiently well expressed by the English present) so as to preserve intact the significant structural transition from one character to another at this point, after which Pushkin, the conventional libertine (xxix) and the inspired preterist (xxx-xxxiv, ending on the initial flippant note), takes over so thoroughly that the troublesome time element in the description of Onegin's night is juggled away (since he is not shown wenching and gaming, the reader has to assume that seven or eight hours are spent by Onegin at the ball) by means of a beautiful lyrical digression, and Pushkin, after lagging behind at the ball (as he had lagged in Onegin's dressing room before it), must again overtake Onegin on his drive home (xxxv)—only to fall behind again while the exhausted beau goes to sleep (xxxvi). The pursuit that Pushkin started upon in xvill-xx, when, on the wings of a lyrical digression, he arrives at the opera house before Onegin (XXI-XXII), is now over. If the reader has understood the mechanism of this pursuit he has grasped the basic structure of Chapter One. 108

One: XXVII 3, 7 / in a hack coach / v yamskdy karete / twin lamps of coupes / Dvoyntefonarikaret: The Russian word for any kind of four-wheeled close carriage, with an outside box in front for the coachman—be it a road coach of the berlin type, or a chariot of the eighteenth century (with its two footmen behind), or a post chaise, or the sober functional brougham of modern times—is kareta (Pol. kareta, It. carretta, Eng. chariot, Fr. carrosse). The English were always highly precise in their application of carriage terms; and the difficulty of establishing what specific vehicle a Russian means in this or that case under the generic term of kareta is augmented by the difficulty of matching the actual variety of Continental carriage with its nearest English counterpart. Pictures of English post chaises are very close to those of the Russian dorozhnaya (road) kareta. In Onegin's time the ornate and heavy chariot was already giving way in cities to the carrosse-coupe (Fr.), the cut chariot, the coupe. The passenger part of the chariot was, in lateral view, a more or less symmetrical affair (easily derived from the fairy-tale pumpkin) with a door between its two windows, distal and proximal. The passenger part of the cut chariot lost its proximal third, retaining the door and the distal window. The form of the very light coupe called brougham was preserved in the first electric automobiles just as the outline of the passenger part of the chariot was multiplied in the lateral view of the first railway carriage: I have not seen any notice taken before of the curious prudishness with which conventional man disguises transitions from one form to another. There was no disgrace in Russia for a young man of fashion in not keeping his own horses and chariot. Pushkin's friend Prince Pyotr Vyazemski did not bother to buy a coach during a protracted stay in St. Petersburg. The same was true of London. In Lady Morgan's 109

Commentary Passages from My Autobiography (1859; begun in 1818), Lady Cork notes that "some right honourables of my acquaintance go in hacks" (p. 49). 6-11 Cf. Barat'inski's The Ball (begun February, 1825; finished September, 1828; pub. 1828), a story in verse consisting—in the autograph fair copy—of 658 iambic tetrameters in forty-seven stanzas of fourteen lines with rhymes abbaceceddifif (11. 15-18): . . . In a long array, besilvered by the moon, coupes stand parked . . . before a house sumptuous and ancient. The separate edition of EO, One, appeared Feb. 16, 1825. Baratinski by the end of February had written forty-six lines. Of these, 11. 15-19 came out in the Moscow Telegraphy 1827. 9 / rainbows / rddugi: My own sixty-year-old remembrance is not so much of prismatic colors cast upon snowdrifts by the two lateral lanterns of a brougham as of iridescent spicules around blurry street lights coming through its frost-foliated windows and breaking along the rim of the glass. 10 / with lampions / pldshkami: Cuplike or potlike vessels of glass (often colored—red, green, blue, yellow) containing oil with a wick, used for illuminations. 14/ oflnodish quizzes / mddnih chudakdv: Eccentric men of fashion, hommes & la mode. I suspect that my translation is overnice, and that Pushkin tautologically used two words ("fashionable dandies") to render one, namely, "fashionables," "elegants," "exquisites," "extravagants," "fantastics," merveilleux (from merveille, "marvel," Russ. chudo), which does suggest some freakIIO

One: XXVIII ish strain—whereas the trivial modnik would have implied conformity. Chudak (which I have rendered by "quizz," a modish English word of the time) also means "an odd fellow," "an eccentric," un original; and it is in this sense that Pushkin applies it elsewhere to Onegin: Two : iv : 14, "most dangerous eccentric" (reported speech); Five : xxxi : 6, "odd chap" (colloquial); Six : XLII : 11, "begloomed eccentric"; Seven : xxiv : 6, "sad and dangerous eccentric" (as fancied by Tatiana); Eight: VIII : 2, "play the eccentric"; Eight: XL : 4, "my unreformed eccentric" (jocose). Chudak has no feminine (the dreadful Moscow vulgarism chudachka belongs, of course, to a different word level); but just as chudak^ an "odd fellow," graded into "a fashionable" in Pushkin's day, so might the feminine noun prichudnitsa, coming from prichuda (caprice, whim, megrim, fad) and meaning une capricieuse, be made to mean une merveilleuse, i.e., an extravagantly fashionable woman, a capricious belle, an odd female, a spoiled beauty (One : XLII : 1 and Three : xxm : 2). VARIANT

1—4 Amalia Riznich in profile, wearing bonnet and shawl, is sketched alongside a first draft (2369, f. 2or; Efros, p. 129): But let us save our pages. To work! Let's hasten to the ball whither of the city Onegin too has sped. XXVIII

4 / Rasprdvil volosd rukdy: Idiom: "has arranged his hair with his hand." The process here is not necessarily one of smoothing down; on the contrary, a studied rufflement ill

Commentary might be the purpose (see n. to iv : 6). Miss Deutsch has the ridiculous interpolation: ". . . with his narrow | White hand he swiftly smoothed his hair . . ." 5 / has entered / Voshydl: The intonation of listed actions in the beginning of this stanza is the same as in xvi: 5-7. 7 / crowd / Tolpa: Frequently used in EO. In several instances I have preferred "throng" to "crowd." The image of a ball, a dinner, a rout, or any other convocation is consistently linked up in EO with that of a close-packed {tesniy) throng, a crush, a squeeze, Fr. la presse (tesnota); see 1. 8 and n. to One : xxx : 6. In English memoirs of the time one often finds such phrases as "at her squeeze," "the squeeze was great," "a rout-compressed company"; Pushkin's tolpa, tesnota, and tesniy are in the same key. In a metaphorical sense, tolpa is frequently used by Pushkin to mean "the common herd." 9 / cavalier guard's / kavalergdrda: Or chevalier garde's, 9 / spurs: Pushkin's MS note about this (2370, f. 82r) reads: Inexact. Cavaliers, as well as hussars, of the guard wore court dress and low shoes for balls. A judicious remark, but the notion lends something poetical to the description. I refer to the opinion of A. I. V. This is Anna Ivanovna Vulf (Netty Vulf), of whom Pushkin saw a lot at the Osipovs' countryseat, Trigorskoe, near Mihaylovskoe, when this note was made (early in 1826, about a year after One had been published; see also n. to Five : xxxn : 11). It is not quite clear to which part of the note the word "opinion" should be applied. Cf. quatrains vill and IX of Denis Davi'dov's trochaic ten-stanzaed Song of an Old Hussar (1817): 112

One: XXVIII And what now? In the high world even (ugh!) hussars you see wearing court dress and low* shoes waltzing on the parquetry. They've more brains, 'tis said, than we, but from each of them what's heard? "Jomini" and "Jomini"— and of gin not half a word. (For Jomini, see n. to One : v : vars. 1-4.) 11 The adjective "captivating," pleniteFniy, easily fills the middle of the iambic tetrameter with third-scud music. Plenit\ "to captivate," and its derivatives are typical pet words of the romantic poetry of the time. Sometimes one can use "enthralled" to relieve the monotony of "captivated,' ' a deadish epithet in English. Two near synonyms: oboVstiteVniy, "enravishing," and ocharovateVniy, "enchanting." At the lowest level of "attraction," we have prelestniy] "charming"; lyubezniy, Fr. aimable; and ?niliy, "dear," "sweet," "nice," "winsome" (see n. to Three : xxvn : 6, 12). 11—12 / upon their captivating tracks | flit flaming glances: The literal sense is trivial enough, but mark the supple alliterations \ Po ih pleniteV nim sleddm \ Letdyut pldmennie vzdri. Here, as so often in EO> a miracle of phrasing turns water into wine. 14 An eighteenth-century Gallicism, femmes a la mode, rendered in the English literature of the time as "fashionable women," "ladies of fashion," "modish wives," or even "Modern Ladies." The "jealous whispering" (in the fair copy it reads "perfidious" instead of "jealous") is not quite clear but presumably signifies that some modnie zhyoni were berating their lovers for attentions to other modnie zhyoni or perhaps not modnie zhyoni 11

3

Commentary (termed in 1. 10 "winsome ladies/' niilie dami, amiable dames). Cf. Coleridge, Lines Composed in a Concert-Room: Hark! the deep buzz of Vanity and Hate! Scornful, yet envious, with self-torturing sneer My lady eyes some maid of humbler state . . . Brodski (1950), p. 90, misinterprets the obvious Europeanism oimodnie zhyoni, takes ' 'modish" to mean ''adulterous," and goes on to rant sociologically: "Pushkin by means of this putative image . . . stresses the dissolution . . . of society," etc. A rhymed tale by Dmitriev, The Fashionable Woman (Modnaya zhena, 1792), a poor imitation of La Fontaine's style in his Contes, is as much an echo of the frivolous European fictions of the eighteenth century as is Pushkin's casual image here. VARIANT

2 / Fair copy: the bell has rung; he like an arrow . . . This is corrected to the published text in Pushkin's letter to his brother of Oct. 18, 1824. XXIX

9 / most strictly / postrdzhe: This is not the simple comparative (which is strozhe, u more strictly"), but a kind of iterative form of the comparative grading into the superlative by implying a strongly sustained repetition of the action it enjoins to perform. 12 / izbavi, Bdzhe: Idiom: "God [vocative] spare," "God deliver." Another similar term is upasi Bozhe, "God forfend." 114

One: xxix-xxx xxx

6 / the crush / tesnotu: A word constantly recurring in descriptions of balls and routs. The squeeze, the close throng, Fr. la presse. (See n. to XXVIII : 7.) 8-14 / little feet / ndzhki [Fr. petits pieds]: This is the beginning of the famous pedal digression (written in Odessa, begun not before mid-August, 1823), one of the wonders of the work. The theme goes on through five stanzas (xxx-xxxiv), and its last nostalgic vibrations are: One : LIX : 6-8 (Pushkin mentions the pen drawings of feminine feet in the margin of his manuscripts). Five : xiv : 6-7 (Pushkin describes with erotic tenderness Tatiana's losing her slipper in the snow of her dream). Five : XL (Pushkin, about to describe a provincial ball, recalls the digression of One : xxx-xxxiv, to which the invocation of a Petersburg ball had led). Seven : L (Pushkin clinches the lyrical circle by alluding to the terpsichorean spectacle with which the whole thing started, One : XX, Istomina's volitations, the prelude to the digression One : xxx-xxxiv). The associative sense of the Russian nozhki (conjuring up a pair of small, elegant, high-instepped, slenderankled lady's feet) is a shade tenderer than the French petits pieds; it has not the stodginess of the English "foot," large or small, or the mawkishness of the German Filsschen. Neither Ovid, nor Brant6me, nor Casanova has put much grace or originality into his favorable comment on feminine feet. Among the tenderer French poets, Vincent Voiture sang ". . . deux pieds gentils et bien faits" (A la reine Anne d'Autriche, 1644); and other quotations might be added; but on the whole, there do not seem to have been too many tender references to

Commentary petits pieds prior to the Romantic era (Hugo, Musset). Byron has a trite reference to the belles of Cadiz in Don Juan, II, v and VI: ". . . Their very walk would make your bosom swell" and ". . . their feet and ankles —well, | Thank Heaven I've got no metaphor quite ready . . ." English versionists of EO have not been happy: bluff Spalding has "Three pairs of handsome female feet," and entomologically minded Miss Radin mentions "Six pretty feet"; Elton speaks of "Three pairs of feet, in womankind" and of "one pair, long kept in mind"; and Miss Deutsch has not only the "little feet" but throws in some "lovely limbs," and has the heart beat "When two feet tripped toward their lover." For the plain translator, the difficulty of exactly following Pushkin's text is enhanced by his using the nondiminutive ndgi (e.g., One : XXX : 10) in the same breath as the diminutive (ndzhki). Taken out of context, and considering that noga may mean both foot and the entire leg, xxx : 10 might seem to be an invocation of graceful feminine legs. But a little further, in xxxni, the nogi certainly means feet, and this, as well as current fashions of dress, and the vignettes Pushkin penned in the margins of his MS, decides the issue in favor of ankle, instep, and toe against calf, shin, and thigh. Cf. P. P., "A Word with Blackwood in His Own Way," London Magazine and Review (Mar. 1, 1825), pp. 413-14: . . . All persons who have an atom of taste, or a sense of proportion, will agree that the French women shine in their feet and ankles, and truth compels me to confess that . . . generally speaking, the foot is not an admirable feature of the British female person. . . . Even in London there are not more than two or three artists to be found who can make a lady's shoe.

One: XXXI The passion for a pretty instep that Pushkin shared with Goethe would have been called "foot-fetishism" by a modern student of the psychology of sex. The Count in Wahlverwandtschaften (1809), pt. I, ch. 11, thus describes the charm of Charlotte O.'s foot: Ein schoner Fuss ist eine grosse Gabe der Natur. . . . Ich habe sie heute im Gehen beobachtet; noch immer mochte man ihren Schuh kiissen und die zwar etwas barbarische, aber doch tief gefiihlte Ehrenbezeugung der Sarmaten wiederholen, die sich nichts Besseres kennen, als aus dem Schuh einer geliebten und verehrten Person ihre Gesundheit zu trinken. 12-14 In t n e transcript (and in the 1825 edn.), where the lines read: . . . Doleful, grown cool, even at present in my sleep they disturb my heart Pushkin, without altering them, made a footnote: "An unforgivable Gallicism." This is corrected in the errata affixed to Six (1828). Pushkin may have recalled such Gallic constructions as Andre Chenier's "Ainsi, triste et captif, ma lyre toutefois I S'eveillait . . . " {La Jeune Captive, 1794). VARIANTS

7-9 In canceled drafts (2369, f. i4 r ), the "waltz and ecossaise" are fondly recalled, and "all Petrograd" more logically replaces "all Russia." XXXI

14 In Autumn Morning, a short pentametric poem of 1816, Pushkin had (11. 10-12): . . . upon the green of meads, I did not find the scarcely visible prints left by her fair foot . . .

Commentary See also Lenski looking for Olga's footprints on a mead in Two : xxic, variant of 12—14. XXXII 3-4 Cf. Le Joli-pied of Nicolas Edme Restif de la Bretonne, a mediocre but entertaining writer of the eighteenth century (1734-1806): Saintepallaie avait un gout particulier, et tous les charmes ne faisaient pas sur lui une egale impression . . . une taille svelte et legere, une belle main flattait son gout: mais le charme auquel il etait le plus sensible . . . c'etait un joli pied: rien dans la nature ne lui paraissait audessus de ce charme seduisant, qui semble en effet annoncer la delicatesse et la perfection de tous les autres appas. 7 / with token beauty / usldvnoyu krasdy: Although uslovniy means "conditional" or "conventional," the only possible sense here must turn on the idea of un signe convenu, with the emphasis on the sign, the emblem, the cipher, the code of beauty, the secret language of those narrow little feet. (See n. to xxxiv : 14.) Cf. Shakespeare, Troilus and Cressida, iv, v, 55: There's language in her eye, her cheek, her lip, Nay, her foot speaks . . . 8 / willful swarm / svoevdVniy rdy: A common Gallicism, essaim, with svoevoVniy, "self-willed," echoing alliteratively such cliche epithets as volage, frivole, foldtre. Cf. La Harpe writing in 1799 on Jean Antoine Roucher (1745-94, author of didactic poems; died on the scaffold with Andre Chenier) and his Les Mois: "[le] defaut dominant dans ses vers . . . c'est le retour frequent des mots parasites [tels que] 'essaims' . . . termes communs trop souvent repetes" (Cours de litterature [1825 edn.], X, 454). The term mots parasites 118

One: xxxii was first employed in a poem by J. B. Rousseau. A few examples will suffice: Parny, in Podsies drotiques, bk. Ill (1778), Souvenir: "L'essaim des voluptes." Antoine Bertin, in Eldgie 11, a Catilie (1785): "tendre essaim des Desirs." Ducis, in Epitre a Vamitid (1786): ". . . des plaisirs le dangereux essaim." J. B. L. Gresset, Vert-vert (1734; a poem—greatly admired by Pushkin—in four small cantos, about a renegade parrot which had been the pet of a nunnery): "Au printemps de ses jours | L'essaim des folatres amours . . ."* For years, Pushkin, not to speak of the minor poets of his day, could not get rid of these Wounds, Charms, and Ardors, of these clusters of cupids coming from their porcelain beehives in the eighteenth-century West. Gresset was a gifted poet, but his idiom was the same as that of the whole essaim of Xhefol&tres poets of his time. Yuriy Tinyanov ("Pushkin i Kyuhelbeker," an essay that should be taken with a lick of salt, in Lit. nasL, nos. 16-18 (1934), pp. 321-78) suggests that Pushkin first read Gresset in 1815, when Kuchelbecker's mother sent two volumes of that poet to her son, Pushkin's Lyceum comrade. Incidentally, the variations in the spelling of the name of Gresset's parrot are amusing. My copy has the following title: Les CEuvres de Gresset, Enrichies de la Critique de Vairvert | Comedie en I acte (Amsterdam, 1748). In the table of contents the title is Vert- Vert. In the half title (p. 9) and in the poem itself it is "Ver-Vert," and in the critique in comedy form appended to the volume, "Vairvert." *See also Pope, Imitation of Horace, bk. iv, ode 1: "Thither, the . . . Lyres Shall call the . . . young Desires." 119

Commentary 9 / Elvina: I suspect this is a natural child of Macpherson's Malvina. It occurs in French imitations of the Ossian poems (e.g., Elvina, pretresse de Vesta, by Philidor R., Almanack des Graces [1804], p. 129). 11-14; XXXIII : 1-4 In the last lines of xxxn, after the poet's invoking pretty ankles under the long cloth of tables, there comes that rare event, a run of several (namely four) second-foot scudders, which acts as a kind of brake, a pulling up, an impetus-storing retardment before the rush of Fast and Fast Flow lines in the next stanza. To reproduce this effect, the passage can be paraphrased thus: In springtime on the turf of meads, In winter on the iron fender, On glossiness of ballroom floor, On granite of the rocky shore. The sea, the tempest that was rumbling . . . Oh, the temptation to compete With billows turbulently tumbling And lying down to kiss her feet! Moreover, there are as many as four first-foot scudders in the rest of the stanza, a very rare event. XXXIII

The search for a historically real lady, whose foot the glass shoe of this stanza would fit, has taxed the ingeniousness or revealed the simplicity of numerous Pushkinists. At least four "prototypes" have been named and defended with considerable heat. Let us examine first a particularly specious candidate, Maria Raevski. The last week of May, 1820, saw the realization of a pleasant plan that had been devised at least a month before. General Nikolay Raevski, hero of the Napoleonic wars, traveling with one of his two sons and two of his 120

One: XXXIII four daughters from Kiev to Pyatigorsk (N. Caucasus), passed through Ekaterinoslav (now Dnepropetrovsk) and picked up Pushkin, who had been sent there from St. Petersburg a fortnight before to join the chancery of another kindly general, Ivan Inzov. General Raevski's party consisted of his son Nikolay, a close friend of Pushkin; little Maria, aged thirteen and a half; little Sofia, aged twelve; a Russian nurse, an English governess (Miss Matten), a Tatar dame de compagnie (the mysterious Anna, of whom further), a physician (Dr. Rudikovski), and a French tutor (Fournier). The elder son, Aleksandr, whom Pushkin had not yet met, was expecting the travelers at Pyatigorsk, while Mme Raevski and the two elder daughters (Ekaterina and Elena) were to welcome the party in August at Gurzuf (S. Crimea). The very first lap of the journey from Ekaterinoslav to Taganrog easily cured the ague caught by our poet on the Dnepr. One morning, May 30, between Sambek and Taganrog, the five occupants of one of the two huge berlins or dormeuse-chariots, namely, the two little girls, the old nurse, the governess, and the lady companion, caught a glimpse of the white-capped sea on their right and tumbled out to admire the surf. Young Pushkin quietly emerged from the third coach, a calash. In her remarkably banal and naive memoirs (Memoires de la Princesse Marie Volkonsky, "preface et appendices par l'editeur prince Michel Wolkonsky," St. Petersburg, 1904), the former Maria Raevski thus describes (p. 19), some twenty years later, this scene: Ne me doutant pas que le poete nous suivait, je m'amusais a courir apres la vague et a la fuir quand elle venait sur moi; elle finitpar mebaigner lespieds. . . . Pouchkine trouva ce tableau si gracieux qu'il en fit de charmants vers * *She quotes them below, not mentioning that they represent £O, One : xxxvn : 2-6. 121

Commentary poetisant un jeu d'enfant; je n'avais que quinze ans alors . . . The last statement is certainly wrong: Maria Raevski was only thirteen and a half, having been born Dec. 25, 1806, O.S. (see A. Venevitinov, Russkaya starina, XII [1875], 822); she died Aug. 10 (O.S.?), 1863 ("agee de 56 ans"; see M. Volkonski's preface to the Memoir es, p. x). After a summer sojourn at the Caucasian spas, where Pushkin fell under the cynical spell of Aleksandr Raevski, our travelers, leaving Aleksandr in the Caucasus, crossed over to the Crimea and reached Gurzuf at dawn on Aug. 19, 1820. Pushkin saw Maria Raevski occasionally in the course of the next four years. Of course, no commentator should ignore our poet's marginal drawings; thus, in the draft of Two : ixa, alongside 11. 6—14, where Lenski is said not to glorify "voluptuous snares . . . exhaling shameful delectation, as one whose avid soul [pursues] the images of former pleasures and to the world in fateful songs madly uncovers them," Pushkin in late October or early November, 1823, in Odessa, left a pen drawing of a bonneted female profile easily determinable as that of Maria Raevski (now almost seventeen years old); above it he sketched his own head, cropped as it was at the time. * If One : xxxm does refer after all to these wave-wooed feet then the recollection is marked by "delectation" and does divulge "former pleasures" (the drawings representing Maria Raevski are to be found in Cahier 2369, ff. 26V, 27V, 28 r , and 3OV; see my nn. to Two : ixa). She married at eighteen (January, 1825). Her husband, Prince Sergey Volkonski, a prominent Decembrist of the "Southern" group, was arrested when the St. * After which he let his hair grow, so that it was like Lenski's by the time he journeyed from Odessa to Mihaylovskoe in the summer of 1824. 122

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Petersburg insurrection of Dec. 14, 1825, failed. His heroic young wife followed him into his remote Siberian exile—and there, rather bathetically, fell in love with another man, also a Decembrist. The heroic part of her life has been chanted by Nekrasov in a long jogging poem, unworthy of his real genius, the painfully mediocre Russian Women (1873; MS title Dekabristki), which has always been a favorite with such readers as are more interested in social intent than in artistic accomplishment. The only lines I ever liked therein are from another, more melodious, section, in a passage related to the hobbies of the Decembrists: a collection of butterflies, plants of Chita, and views of that rigorous region. After November, 1823, Pushkin saw her again on Dec. 26, 1826, in Moscow (at the house of her sister-inlaw, Princess Zinaida Volkonski), on the eve of her departure for Siberia to join her husband at Blagatski Mine, Nerchinsk, 4000 miles away. On Oct. 27, 1828, at Malinniki, province of Tver, Pushkin wrote the famous dedication of his narrative poem Poltava, and it is thought that this dedication (sixteen iambic tetrameters rhymed abab) is addressed to Maria Volkonski: To you—but will the obscure Muse's voice touch your ear? Will you, with your modest soul, understand 4 the aspiration of my heart? Or will the poet's dedication, as formerly his love, in front of you without response 8 pass, unacknowledged once again? Do recognize at least the measures that pleasing were to you of yore and think that in the days of separation 12 in my unstable fate, your woeful wilderness, the last sound of your words, 12)

Commentary are the one treasure, shrine, the one love of my soul. The draft and the fair copy are headed with the words, written in English, "I love this sweet name" (the heroine of Poltava is called Maria). One would like to see for oneself this draft (Cahier 2371, f. 7Or), where a canceled variant of 1. 13 is said to read (see Bondi, Acad 1948, Sibiri hlddnaya pustinya Siberia's cold wilderness . . . It is on this alone that the supposition that Poltava was dedicated to Maria Volkonski rests. The reader will note the curious resemblance between lines 11-16 of the Poltava dedication and lines 9—14 of EO, Seven : xxxvi (composed a year earlier), where it is Moscow, the dowager empress of Russian cities, that is addressed by our poet in commemoration of the end of his provincial exile. Another candidate for the lady of One : xxxm is Maria Raevski's elder sister, the twenty-two-year-old Ekaterina (who was to marry Mihail Orlov, a lesser Decembrist, in 1821). While the rest of the family traveled, she, her sister Elena, and their mother were dwelling in a rented palazzo near the Tatar village of Gurzuf on the beautiful southern shore of the Crimea, whose romantic rocks and turfy terraces, dark cypresses and pale minarets, picturesque hovels and pine-covered steeps are surmounted by the jagged stone brow of the high plateau, which from the sea looks like a mountain ridge but degenerates, as soon as you get up there, into a grassy plain gently sloping north. It was at Gurzuf that our poet made the acquaintance of Ekaterina Raevski when a navy brig brought him there from Feodosia on Aug. 19, 1820, with Nikolay Raevski, Sr., Nikolay Raevski, Jr., and the two little girls, Maria and Sofia. Additional details relating to the voyage will be found in my notes to Onegirfs 124

One: XXXIII

Journey : xvi, in which, a decade later, Pushkin was to recall a love at first sight in the following rather poor lines: Beauteous are you, shores of the Tauris, when one sees you from the ship by the light of morning Cypris, 4 as for the first time I saw you. 10 And there. . . What ardency awoke in me! With what a magic yearning my flaming bosom was compressed! But, Muse, forget the past! She was a splendid-looking, goddesslike, proud young woman, and is thus briefly referred to in stanza xvil of OnegwHs Journey, where the surf, and the rocks, and romantic ideals are evoked. To her Pushkin probably dedicated the elegy beginning "Sparser becomes the clouds' volatile range" (Alexandrine couplets, 1820), wherein a young maiden, a very Venus in beauty, is alluded to as trying to distinguish in the dusk the planet Venus (which, as noted by N. Kusnetsov, in the publication Mirovedenie [1923], pp. 88-89, c o u ld not have been seen at that time and place, August, 1820, the Crimea) and calling it by her own name—humorously confusing, perhaps, katharos and Kypris, Kitty R. and Kythereia (she was something of a bluestocking). During his three-week stay at Gurzuf, Pushkin may have heard from Katerina ("K"—see his appendix to Bahchisarayskiy fontan, 1822) the Tatar legend of the Fountain of Bahchisaray, which he eventually visited with her brother Nikolay about Sept. 5, 1820, on the way north; but whether the Black Sea waves ever kissed her feet is another question. At this point (before taking leave of the Raevski sisters and welcoming a third candidate, Elizaveta Vorontsov) the actual genesis of One : xxxm must be discussed. I2J

Commentary Certain curious fragments written by our poet not later than 1822, in Kishinev, at least one year before he began EO, include a few verses that he used about June 10, 1824, in Odessa for making One : xxxm. These fragments are in Cahier 2366, which is preserved (or at least was preserved in 1937) in the Lenin Library in Moscow. They have been described by V. Yakushkin, * Tsyavlovski,f and G. Vinokur. J According to Yakushkin, the cahier contains forty-three folios numbered by hand, with many folios torn out before the beginning of the numeration. According to Tsyavlovski, a number of folios are also torn out after f. 13. The jottings in Cahier 2366 now to be considered belong to a poem, Tauris (Tavrida), of which a few fragments forming in all about one hundred lines (in iambic tetrameter, freely rhymed) are known to Tomashevski (see the easily accessible, complete, but also unscholarly 1949 edition of Pushkin's works, II, 106). Its title, date of composition (1822), and motto ("Gieb meine Jugend mir zuriick," from the prologue to Faust, "Vorspiel auf dem Theater," last line of ninth speech [c. 1790], a quotation frequently found in scrapbooks, commonplace books, and table books of Pushkin's time) are written out calligraphically on f. 131", probably in preparation or anticipation of a fair copy later canceled. On f. 13V we find a not very legible, incomplete note in prose: "My passions calm down, quiet reigns in my soul, hate, repentance [or "despair"?]—all vanishes, love anim—," and this seems to adumbrate the theme *"Rukopisi A. S. Pushkina, hranyashchiesyavRumyantzovskom Muzee v Moskve" (Pushkin's MSS, Preserved in the RumyantsovMuseum, Moscow), Kusskaya starina^XlAI (1884), 331—32. \RukoyuPushkina(\ 935), pp. 293-94, andAcad 1947, II 1 ,256-57. j u Slovo i stih v Evgenii Onegine" ( £ 0 : Word and Verse), in Pushkin (Publications of the Chernishevski Institute of History, Philosophy, and Literature, Moscow, 1941), ed. A. Egolin, pp. 155-213. See also Works i960, I (1959), 513-14. 126

One: XXXIII of a fragment of Tavrida, represented by a rough draft on both sides of f. 16: You are with me again, Delight! Stilled affectation— but how can one forgive their d'art et de critique (Paris, 1883), p. 49.

28

Six: XXI Osenni vetri vozshumeli I dtshut hlddom sred' poley, Kak prizrak lyogkiy uleteli Zlatte dni vesnt moey! Autumnal winds have started wailing and breathe their chill amid the fields; away have flown like a light phantom the golden days of my springtime. Millevoye's Chute des feuilles was also imitated by Barati'nski (1823-7), 11. 21-22: You've flown away, O golden dreams of my brief youth . . . 8 / Net nuzhdi; prdv sud'bt zakdn: I was tempted to render the intonation of Net nuzhdi by "let be," but it did not seem literal enough. It should be noted that Pushkin repeated the end of Lenski's melancholy line ten years later—in 1. 22 of his (not completed) poem dedicated to the twenty-fifth anniversary of the Lyceum and recited by him at the reunion of Oct. 19, 1836, which was to be his last. The poem consists of eight stanzas of eight iambic pentameters each. The last line of st. VIII is not finished. The strophic rhyme scheme is baabecec (11. 19—22): The years have fled . . . . . . how they have changed us! Do not complain. Such is the law of fate.

[takov sud^bi zakori]

The combination sud'bi zakon, "of fate the law," is not only in sense but also in sound close to a line in Millevoye's Priez pour moi: . . . du sort je subis la loi . . . 11I have been influenced in my choice of rendering Vsyo bidgo {blago meaning "the good," "the beneficial," all 29

Commentary that contributes to human felicity) by Pope's Leibnitzian "all is right,'' known to Pushkin through Voltaire's ironical refrain "tout est bon, tout est bien" in his pamphlet-novel Candide, ou VOptimisme (Geneva, 1759); see, for instance, chs. 10, 19, 23. Pope's line (An Essay on Man, ep. 1,1. 294) goes: One truth is clear, "Whatever IS, is RIGHT." (See also Essay, ep. IV, the first hemistich of 145 and the second of 394.) The tone of Lenski's elegy seems definitely to contain this current echo of Optimism, the original name of the doctrine propounded by Gottfried Wilhelm von Leibnitz or Leibniz, German philosopher and mathematician of genius (1646-1716). Voltaire as a thinker was infinitely inferior to him, whereas Pope's thematic imitativeness is at least saved from ridicule (which Voltaire's criticism is not) by that poet's exceptional talent for placing the best words possible in the best possible order. In a poern, UHomme, addressed to Byron and published in Meditations poetiques (Paris, 1820), Lamartine explains in 1. 56: Tout est bien, tout est bon, tout est grand a sa place . . . XXII

8 / maid of beauty / deva krasoti: Fille de la beaute, a pseudoclassic Gallicism; e.g., in the beginning of "an imitation of Horace," Odes, bk. I, no. xvi, by Etienne Augustin de Wailly (1770-1821), in Almanack des Muses (1808), p. 117, and separate edition, Odes de Horace (1817). 14 / spouse / suprug: Another Gallicism on Lenski's part, a literal translation of ipoux, which, in the French sentimental literature of the time, meant not only "spouse"

)°

Six: XXII-XXIII in the modern sense, but also "fiance," "betrothed mate," "bridegroom." There is a similar obsolete sense of "spouse" in English literature. The Pridi, pridi ("viens, viens") is presumably an invitation to visit his urn. See the quotation in my n. to XL : 14. XXIII

1-2 / "obscurely" and "limply" / temnd i vydlo: For years I had sought in vain an illustration of this obvious Gallicism, when I hit upon the following in Chateaubriand's "Remarques" to his Le Paradis perdu (1836), a marvelous prose translation of Milton's poem: Souvent, en relisant mes pages, j'ai cru les trouver obscures ou tratnantes, j'ai essaye de faire mieux: lorsque la periode a ete debout elegante ou claire, au lieu de Milton, je n'ai recontre que Bitaube\ ma prose lucide n'etoit plus qu'une prose commune ou artificielle, telle qu'on en trouve dans tous les ecrits communs du genre classique. Je suis revenu a ma premiere traduction. Some idea of what Pushkin meant by temno and vyalo may be gathered from a marginal note in his copy of Batyushkov's Essays in Verse and Prose, II, 166, Epistle to I. Muravyov-Apostol (1815). LI. 77—80 refer to the author of To the Volga and Ermak: How often Dmitriev, disclaiming worldly dues, Would lead us in the wake of his fortunate Muse As pure as are the streams of the bright waters' queen Whereon for the first time the sunrise he had seen . . . Our poet marked 11. 79-80 vyalo; he marked the last two lines of the same poem (99-100) temno. LI. 98-100: Feels strongly everything, with eye, with ear all captures, Delights in everything, and, in fine, everywhere Tribute his coming priest for Phoebus doth prepare. Pushkin italicized "obscurely and limply," perhaps 31

Commentary quoting some reviewer's definition of the romantic style. The two epithets to a certain degree do describe Lenski's poem. The "coming day" lurking "in deep gloom"; the formidable inversion in the original: "I of the tomb shall descend into the mysterious shelter"; the Ossianic "maiden of beauty," and the dedication to her of the doleful dawn, all this is no doubt both obscure and flabby, vers trainants et obscurs, style languissant et flasque, nebulous and feeble. 2 / romanticism: As happens in zoological nomenclature when a string of obsolete, synonymous, or misapplied names keeps following the correct designation of a creature throughout the years, and not only cannot be shaken off, or ignored, or obliterated within brackets, but actually grows on with time, so in literary history the vague terms "classicism," "sentimentalism" "romanticism," * 'realism," and the like straggle on and on, from textbook to textbook. There are teachers and students with square minds who are by nature meant to undergo the fascination of categories. For them, "schools" and "movements" are everything; by painting a group symbol on the brow of mediocrity, they condone their own incomprehension of true genius. I cannot think of any masterpiece the appreciation of which would be enhanced in any degree or manner by the knowledge that it belonged to this or that school; and, conversely, I could name any number of third-rate works that are kept artificially alive for centuries through their being assigned by the schoolman to this or that "movement" in the past. These concepts are harmful chiefly because they distract the student from direct contact with, and direct delight in, the quiddity of individual artistic achievement (which, after all, alone matters and alone survives); but, moreover, each of them is subject to such a variety of

Six: XXIII interpretation as to become meaningless in its own field, that of the classification of knowledge. Since, however, these terms exist and keep banging against every cobble over which their tagged victims keep trying to escape the gross identification, we are forced to reckon with them. For the needs of the present comments, I am prepared to accept the following practical definitions: "Classical" in regard to a literary work of our era suggests the imitation of ancient models, in traditional matter and manner. Russians use the term "pseudoclassical" for anachronistic imitations in which the Roman or Greek wears a powdered wig. "Sentimental" implies little beyond the shedding of conventional tears over the misadventure of conventional virtue in verse or prose. A "realistic" work of fiction is one wherein the author is ready to name or describe without fear of traditional restriction any physical or moral detail pertaining to the world he perceives. (In this sense EO is neither sentimental nor realistic, while containing elements of both; it parodies the classical and leans toward the romantic.) The fourth term in this series, "romanticism," requires a closer discussion of its main varieties as known in Pushkin's time. We can distinguish at least eleven forms or phases of the thing: (1) The primitive, popular sense: Johnson's Dictionary defines a "romance" as "a military fable of the middle ages." But the "military fable" has an Arcadian sequel, and in the seventeenth century, in England, "romantic" is definitely suggestive of the delightful lives of shepherds and retired knights living on honey and cheese. Both the "military" and "pastoral" parts fall under our first definition of "romantic" as characterizing the flights of fancy in popular literature during a period of time between the fall of Rome and the revival of letters. (2) "The addition of strangeness to beauty" (Walter

Commentary Pater, Appreciations: "Postscript")- An intensive preoccupation with the passionate and the fantastic. The retired knight is a necromancer; the moon rises over Arcadia in a new part of the ruined sky. As early as 166566, Pepys describes a site (Windsor Castle) as "the most romantique castle that is in the world." In 1799, Campbell notes that " 'Tis distance lends enchantment to the view." (3) The Highland subspecies and the eerie note. To paraphrase Beattie, The Minstrel (1772), "The grotesque and ghostly appearance of a landscape, especially by the light of the moon, diffuses an habitual gloom over the fancy and gives it that romantic cast that disposes to invention and that melancholy which inclines one to the fear of unseen things." (4) The romanesque: a "romanesque" person feels as "romantic" such landscapes, lakescapes, and seascapes as recall either direct emotion (love, friendship, old ambitions and longings) or the description of similar places in popular novels and poems of the sentimental or fantastic kind. "II [Fonsalbe] a rendu a raes deserts quelque chose de leur beaute heureuse, et du romantisme de leur sites alpestres" (Senancour, Oberman, Letter LXXXVll). (5) The German subspecies (a hybrid, with a strong strain of sentimentalism). Reveries, visions, apparitions, tombstones, moonshine. The pictorial grading into the metaphysical. Lofty sentiments couched in a flaccid and nebulous idiom. The expression in poetry of the soul's endless approach to a dimly perceived perfection. (6) The textbook synthetic conception of c. 1810: a combination of "melancholy" as the essence of Northern (Germanic, "Ossianic") poetry and of Renaissance vividness and vigor (e.g., Shakespeare). Romantic as implying "modern and picturesque" and as opposed to "classical" (the latter standing for "antique and sculpturesque"): this seems to be the end product of cogita-

34

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tions on the matter by the well-meaning but hardly readable cofounder (with his brother, Friedrich, the philosopher, 1772—1829) of the romantic school of German literature, August Wilhelm von Schlegel (17671845), tutor of Mme de Stael's children (c. 1805—15); he assisted her in her work De VAllemagne\ was ennobled and invested with many decorations, and delivered his lectures on dramatic art and literature in Vienna, 1808. * (7) A romantic epic is one in which the tragic and the comic, the lofty and the lowly, the sacred and the profane, the metaphysical generalization and the physical detail, and so forth are pleasingly mingled (cf. the program oiEO as set down in the Prefatory Piece). (8) " Romantic" as applied to a style abounding in vivid specific details (local color, exotic landscapes, national peculiarities, realistic popular traits, new shades of perception, emotion, and meaning, etc.) as opposed, in such writings as those by Chateaubriand or Victor Hugo, to the generalized mist of sentimentalism; e.g., the waters of Lamartine (it will be noticed that, on the other hand, the mist plus the melancholy is somehow also "romantic," although directly opposed to the specific brightness and this is why the same Lamartine figures among the romantics). (9) A new style in poetry, free of classic rigidity and conventionalism, permitting enjambments, mobile caesuras, and other liberties. (10) Literary genres not known to the ancients. (11) "Modem" as opposed to "ancient" in any literary form. There is a good deal of overlapping in these concepts, *His Uber dramatische Kunst und Literatur (1809-11) was translated into French (Cours de littercaure dramatique, Paris, 1814, 3 vols.) by Albertine Adrienne Necker de Saussure, Mme de Stael's cousin; and this translation Pushkin had carefully read.

Commentary and no wonder some muddle existed in Pushkin's mind as to what should be termed "romantic" in the strict sense, a question that interested him and his fellow writers more acutely than it does us. In a note entitled ' 'On Poetry Classical and Romantic'' (1825), our poet accuses French critics of confusing the issue by referring to romanticism all such poetry as is characterized either by "the stamp of dreaminess and Germanic ideology" or is founded upon "the prejudices and traditions of the common people." He maintains that the distinction between classicism and romanticism can be drawn only in terms of form and not of subject matter. His definition of romantic poetry reads: "All such genres of poetical composition as were not known to the ancients or have since changed in form." According to our poet, western European poetry in the Dark Ages was at best an elegant bauble, a troubadour's triolet. Two circumstances, however, had a vigorous influence on its eventual course: the invasion of the Moors, "who inspired it with frenzy and tenderness, a leaning toward the marvelous and rich Oriental eloquence," and the Crusades, which imbued it "with piety and naivete, a new code of heroism, and the loose morals of camp life." This was, according to Pushkin, the origin of romanticism. In the same note, and elsewhere, Pushkin is h^rd on French "pseudoclassicism" as personified by Boileau: "It originated belowstairs and never went further than the salon. . . . It dressed the maudlin conceits of medieval romanticism in the severe garb of classicism." In a postscriptum, however, to this 1825 note he praises La Fontaine's Contes and Voltaire's Pucelle as masterpieces of pure romantic poetry. We should not forget that "pure French classicists," such as Corneille, Racine, and Moliere, were among Pushkin's favorite writers. In another MS note (1830), Pushkin continues:

Six: XXIII The French critics have their own notions of romanticism. They either assign to it all works bearing the stamp of melancholy and reverie or apply the term to neologisms and bad grammar. Thus Andre Chenier, a poet permeated with the spirit of antiquity, a poet whose very defects are owing to his desire to give the French language the forms of Greek versification [this is a singular error on Pushkin's part], becomes a romanticist for them. 7 / "ideal": Schiller's Die Ideate (Ideals; from the Musenalmanach for 1796), an elegy of eighty-eight iambic tetrameters in eleven strophes, begins: 50 willst du treulos von mir scheiden, Mit deinen holden Phantasien, Mit deinen Schmerzen, deinen Freuden, Mit alien unerbittlich fliehn? Kann nichts dich, Fliehende! verweilen, O! meines Lebens goldne Zeit? Erloschen sind die heitern Sonnen, Die meiner Jugend Pfad erhellt, Die Ideale sind zerronnen . . . Mme de Stael, De VAllernagne, pt. 11, ch. 13, observes: II seroit interessant de comparer les stances de Schiller sur la perte de la jeunesse, intitulees VIdeal, avec celles de Voltaire: 51 vous voulez que j'aime encore, Rendez-moi l'age des amours, etc. I have acted upon her suggestion, but it is not mteressant at all; in fact, her observation is completely irrelevant. Lamartine (on the night he wrote the piece mentioned in the n. to XXI: 10), in the autumn of 1818, read Childe Harold, in the incomplete French version of the Bibliotheque Universelle de Geneve, all night and finally "[s'endormit] de lassitude, la tete sur le volume comme sur le sein d'un ami" (Lamartine, Vie de Byron, 1865).

37

Commentary 10—14 / uzh sosed ("already the neighbor") . . . sed'mdy uzh chds ("seventh already hour") . . . zhdydt uzh nds ("is awaiting already us"). I have kept these "adders" (see n. to Eight : LI : 3-4). XXIV

4 / Vesper-. By a strange oversight, Pushkin calls the morning star "Vesper" or Hesperus (which is the evening star), instead of the correct Lucifer or Phosphor. All these names were given by the ancients to the planet Venus. Tn certain districts of Russia the word zornitsa or zarnitsa (which otherwise means "summer lightning," "sheet lightning") is used for the morning star and evening star. (See vecherniya zarnitsi, "of the evening star," in Milonov's elegy quoted in n. to XLI : 1-4, and utrennyuyu zarnitzu, "the morning star," in Tolstoy's Anna Karenin, pt. VI, ch. 12.) 7 / shifting flurries / perelydtnaya myateV: The epithet means "flying from one place to another," and myateV or meteV is not "snowstorm" or "blizzard" (as it would be in a general sense of "driving snow"), but what is more specifically termed in Russian zamet\ namely, spinners of powdery surface snow caused by gusts of wind on a morning of bright sun and keen frost. 12 / pdlizdvesa: The two parts, or "skirts," of a bed curtain. XXV

2 / Guillot: This is, technically, a French comedy name. It is mentioned as a typically humble name, among other lowly ones ("Pierre, Guillot et Michel"), in Montaigne's essay "Des Noms," written c. 1573 (Essais, bk. I, ch. 46). As that of a shepherd, the same first name occurs twice in La Fontaine's Fables (1668-79), bk. in, no. Ill, "Le

3*

Six: XXIV-XXVI

Loup devenu Berger," and bk. IX, no. xix, "Le Berger et son Troupeau." Pushkin, I think, uses the name as a surname (cf. "Picard," in Count Nulin, 1825). Griboedov, in /Foe from Wit (known since 1825), has Chatski mention a volatile French dance master in Moscow whom he calls "Guillaumet" (Act 1, 11. 405-11). The French translator of Shakespeare (in 20 vols., 1776-83), Pierre Letourneur (1736-88), was baptized by Bernardin Felix Guillot, vicar of Valognes (Basse Normandie); and there are other Guillots in the margin of history. 11-14 The text is clumsy: Onegin ubids his valet to carry" the pistol case and (bids) "the horses" (including sleigh and coachman) "to drive off" into a field. 12 / Lepage's / Lepdzha: The reference is to Jean Le Page or Lepage (1779—1822), Parisian gunsmith. I happen to notice that in the Rudolph J. Nunnemacher Collection of projectile arms * there is only one Lepage pistol, and that its make has been misread by the author of the description of the collection as "Lgiage" (the looptail of the p in "Lepage" having been assigned by the transcriber to the preceding e, to form a g). 12 / fell tubes / stvdli rokovte: I find in a spirited paragraph of Leigh Hunt's Table-Talk (London, 1851), "Sporting," pp. 158-63, the application of "death-tubes" to the weapon of sportsmen who "crack the legs of partridges" and "strew the brakes with agonies of feathered wounds." XXVI

9 / iz chuvstva: I am not sure that "out of feeling" renders *See John Metschl's paper in Bulletin of the Public Museum of

Milwaukee, IX (1928), 446.

59

Commentary as well as the Russian equivalent does Zaretski's professional fondness for order and thoroughness in the conduct of these affairs. XXVII

9 / if you are willing / pozhdluy: A fading word that from an initial sense of "please," "if you please," Fr. s'il voiis plait, shaded subsequently into an expression of bland deference to another's desire (as here) and soon dwindled to a casual locution expressing merely the acceptance of a suggestion or possibility ("I think one m i g h t . . . " and so forth). Hodasevich, O Pushkine (Berlin, 1937), p. 79, sagaciously observes that the long-drawn and dejected tone of the musical phrase Nachnyom pozhdluy ("Yes, if you like, let's start"), given to the tenor in Chaykovski's opera Eugene Onegin, makes a whining weakling of Pushkin's virile Lenski. XXVIII

7 To the oneirologist, Onegin's behavior throughout that morning has an uncanny dreamlike quality, as if he had been infected by Tatiana's recent nightmare. We all know that dream sensation of "lateness," those casual "substitutions" (as here—the valet turned second), those "omissions," that odd discomfort followed by its carefree dismissal. Onegin behaves as he never would have behaved in a normal state of moral awareness. He deals Lenski a gratuitous insult by grossly oversleeping, in result of which the fuming youth has to wait a couple of hours or more in an icy wind. He omits somehow to secure a witness, and while knowing as well as Zaretski does that in an encounter between gentlemen the seconds must be of equal rank in society with the principals 40

Six: XXVII-XXIX they attend, he turns up with a servant, thus dealing Lenski yet another silly insult. He fires first and shoots to kill, which is quite out of character. Lenski, no doubt, has murderous intentions, but Onegin, a fearless and scornful marksman, would, if in his right mind, have certainly reserved his fire, and not even returned it but, if still alive, thrown it away, i.e., discharged his pistol into the air. When Lenski falls, one almost expects Onegin to wake (as Tatiana does) and realize that it has all been a dream. 10—11 / laughing while their hand is not encrimsoned / pokd | Ne obagrilas1 ih rukd [their hand]: Cf. dawn's 4 'crimson hand," n. to Five : XXV : 1—4. One wonders if Lomonosov's shade is not laughing, too. 13-14 "Le faux point d'honneur, leur [aux gens du monde] inspire une crainte farouche, et les arrete" (TurgenevViardot translation). 14 / false shame: Ldzhniy stid\ faiisse honte, mauvaise honte. It seems clear to me that this very trite couplet reflects a reminiscence of Boileau's Epistres, ill (1674), 11. 28, 37-38: Des jugemens d'autrui nous tremblons follement, Quelle fausse pudeur a feindre vous oblige? "Qu'avez-vous?"—"Je n'ai rien.". . . (Cf. Lenski's exit.) See also n. to Six : ix : 4. XXIX

3 / uhddyat puli: Each of the two balls goes into its

41

Commentary respective pistol barrel, which is polyhedral (hence "cut," granyoniy) in cross section. 4 Cf. Byron, Don Juan, IV, XLI, 1-2: It has a strange quick jar upon the ear, That cocking of a pistol . . . Pichot (1823): "C'est une etrange sensation que produit sur l'oreille le bruit qu'on fait en arniant un pistolet . . . " 5-6 / The powder . . . is poured / pdroh . . . sipletsya: "The early arms of Lepage of Paris," says Major H. B. C. Pollard in A History of Firearms (London, 1926), p. 113, "show attempts to use loose powder evolved by Pulat of Paris, 1818." 9 / Behind a near stump . . . Guillot: In Ilya Repin's most famous and most execrable picture of the Lenski-Onegin duel, in which everything, including the attitudes and positions of the combatants, is ludicrously wrong, Guillot, whom a puny sliver does not screen, is in the line of Onegin's fire and in danger of sharing the fate of a second who was shot in a bungled duel, on a Wednesday morning in November, on Bagshot Heath (as recorded by the Morning Chronicle, Nov. 26, 1821). It is doubtful that the "great" Russian painter had read Pushkin's novel (although he certainly had seen the opera by the "great" composer) when he painted his Duel of Onegin and Lenski (1899). As in the opera, everything in the picture insults Pushkin's masterpiece. The two duelists, two stolid dummies, stand stockstill, one foot thrust forward, la taille cambree, pointing their dummy pistols at each other. Lenski is in the same pose as young Pushkin reading his verses to Derzhavin, in another ridiculous picture (1911) by the same painter. These ignoble daubs are lovingly reproduced in all illustrated editions of Pushkin's works.

Six: XXIX-XXX

The society (Obshchestvo Imeni A. I. Kuindzhi) that accorded Repin a prize of three thousand rubles and a golden medal for the "Lyceum examination" picture declared that it was rewarding him not so much for the picture itself as because of his being abused by the dekadenti (avant-garde painters). 13 / his friends / Druzey. Russian construction allows an ambiguity here: the meaning may be "the two friends" just as well as "his friends"; but the opening ejaculation of xxvill seems to preclude the former interpretation. XXIX-XXX

The hostile meeting described here is the classical duel a volontd of the French code, partly derived from the Irish and English pistol duel, for which the basic code duello was adopted in Tipperary about 1775. According to this Clonmel Code and to an additional rule adopted in Gal way, firing was regulated by signal, or word of command, or at pleasure, and in the last case, either party might advance "even to touch muzzle." In the favorite Continental variation, however, a stretch of ground at mid-distance could not be trespassed upon, and this was called the barriere (a term stemming from the oldest form of any pistol duel, the French one, which was fought on horseback, with the combatants divided by posts placed some ten yards asunder to represent the nearest range from which they were permitted to fire). The affair was conducted as follows. The adjustment of the preliminary ceremonies would comprise not only the actual "calling out" or, in English parlance of the time, "calling upon," with the dispatch of a written challenge or "message," technically termed "cartel of defiance" (Six : ix), but also a conference between the seconds; we shall note that the latter formality

43

Commentary is omitted in the present case, nor are the conditions of combat set down in writing by the witnesses, as formal usage would demand. It is not necessary to assume that suicide notes, at least, have been deposited, with a view to exempt the survivor from prosecution; officially, duels were forbidden, which did not affect, however, their frequency; the participants remained unpunished when no death followed, but even in case of a fatal result influence in high places helped to mitigate, or eliminate altogether, such penalties as imprisonment or banishment. The parties repair to the selected spot. The seconds mark the ground at a certain number of paces (yards); for instance, in the present case, thirty-two yards are measured off, and the combatants, after a given signal, are allowed to reduce the distance by walking toward each other (otherwise, twelve paces or less would do). The limits of this progression are fixed by a number of paces being told off between the extreme marks, leaving a space of, say, twelve paces in the center of the ground: this is la barriere, the boundary, a kind of no man's land beyond the inner limits of which neither man can advance; its boundaries would be generally marked by the coats, carricks, or pelisses doffed by the combatants. The pistols are loaded or "charged" by the seconds, and the duel begins. The principals take their positions at the extreme points of the ground, facing each other and keeping the muzzles of their pistols pointing down. At a given signal (Marchez! Skhodites1 /, meaning "March toward each other"), they advance upon each other and may fire whenever they think proper. Onegin starts gently leveling his pistol when both have advanced four paces; they walk another five, and Lenski is killed on the first fire. If Onegin, while taking aim, had discharged his pistol without effect, or if it had snapped, or even if a severe hit had not utterly disabled Lenski,

44

Six: XXIX-XXX

the latter might have made him come up to the barriere limit and at twelve paces taken a long cool aim at him. This was one of the reasons why serious duelists preferred to have the other fellow fire first. If after the exchange the adversaries still felt bloodthirsty, they might have the pistols reloaded (or use a fresh brace) and begin all over again. This type of duel, with variations (for example, the barriere idea seems to have been less clearly defined in the Irish and English duels), was popular in France, Russia, Great Britain, and the Southern states of America from the end of the eighteenth century to about 1840 and was still fought in Latin and Slav countries in our time. The reader should not imagine, when reading this chapter, anything resembling the "back-to-backmarch-face-about-fire" affair popularized in modern times by movies and cartoons. This was a variant invented in France in the 1830's and popular with Parisian journalists later on. The description of the Lenski-Onegin duel is, on our poet's part, a personal recollection in regard to various details, and, in regard to its issue, a personal prediction. Pushkin had been out at least three times before his fatal meeting with d'Anthes. His first, with Rileev, occurred presumably between May 6 and 9, 1820, in the district of Tsarskoe Selo (see my n. to Four : XIX : 5). In his next affair (1822, first week of January, 9 A.M., at a mile and a half from Kishinev), with Colonel Starov, commander of the Chasseur Regiment, for adversary, accurate aim was impaired by a raging snowstorm; the boundary was set at sixteen paces for the first exchange and narrowed to twelve for the second. In the spring of the same year, in a vineyard near Kishinev, he fought with another military man named Zubov. In these three duels no blood was shed; very few details are known about them, but it would seem that in the first and third Pushkin discharged his pistol into the air.

45

Commentary In his fourth and last encounter, with Baron Georges Charles d'Anthes, also known as Baron Georges de Heeckeren, on January 27, at 4:30 P.M., near St. Petersburg (on the north side of the Neva, some 1500 feet north of the Black River, in a pine grove a little way off the Kolomyaki road), the parties took their ground at a distance of twenty paces, and Pushkin was mortally wounded at the first fire. Here are the conditions of the duel. 1. Les deux adversaires seront places a vingt pas de distance, a cinq pas chacun des deux barrieres qui seront distantes de dix pas entre elles. 2. Armes chacun d'un pistolet, a un signal donne, ils pourront en s'avanc,ant l'un sur Tautre, sans cependant dans aucun cas depasser la barriere, faire usage de leurs armes. 3. II reste convenu en outre qu'un coup de feu parti, il ne sera plus permis a chacun des deux adversaires de changer de place pour que celui des deux qui aura tire le premier essuie dans tous les cas le feu de son adversaire a la meme distance. 4. Les deux parties ayant tire, s'il n'y a point de resultat on recommencerait Taffaire . . . en remettant les adversaires a la meme distance de vingt pas. . . . The six clauses, of which I quote four, were signed on Jan. 27, 1837, at 2:30 P.M., in St. Petersburg. Two hours later Pushkin received a wound in the lower abdomen and died of traumatic peritonitis at 2145 P.M., January 29. The circumstances that led to Pushkin's tragic death can be briefly summarized as follows. In 1833 the Dutch minister, Baron Jacob Theodore van Heeckeren (Jacques Thierry Borchard Anne van Heeckeren-Beverwaert, 1791-1884), who after a leave of absence was returning to his post in St. Petersburg, at an inn befriended a young Alsatian gentleman going the same way. This was Georges Charles d'Anthes (181295), a native of Colmar and onetime student at Saint-

46

Six: x x i x - x x x Cyr. According to Louis Metman, the official (and not always reliable) biographer of the family, the d'Anthes had originated on Gottland Island and had been established since the seventeenth century in Alsace, where a Jean Henri Anthes, manufacteur cCarmes blanches, was ennobled in 1731. The father of Georges d'Anthes had been baronized by Napoleon I. Our hero's military studies in France had been interrupted by the July Revolution, which ended the reign of Charles X (1824-30) and hoisted Louis Philippe upon the throne. D'Anthes remained faithful to Charles and went to seek his fortune at the court of Tsar Nicholas I, who liked legitimists. Georges d'Anthes and his protector arrived by steamer on Oct. 8, 1833. Pushkin, who happened to be keeping a journal at the time, jotted down on Jan. 26, 1834, almost exactly three years before his fatal duel, that a foreigner, Baron d'Anthes, had been received into the Chevalier Guards. He met d'Anthes in St. Petersburg at the end of July, 1834. Natalia Pushkin and the two children, Maria and Aleksandr, were spending the summer on her mother's estate in the province of Kaluga, after a miscarriage she had suffered in March of that year. She returned to St. Petersburg in the autumn and bore a third child (Grigoriy) in May, 1835, and a fourth (Natalia) a year later. There is no proof that her relations with d'Anthes, who fell in love with her at the close of 1834, ever went further than flirtatious conversations and snatched kisses; this was bad enough, but it is also true that her husband had affairs with other women, among whom was her sister Alexandra. Her other (elder) sister, Ekaterina, was madly enamored of d'Anthes. In the summer of 1836, the Pushkins rented a villa in the suburbs, near the Black River (I have read somewhere that the name Black River, known as early as 1710, came from its peculiar dusky tint, owing to the fact that the dense alder shrubs growing along its banks

47

Commentary and clipping their roots in the water produced a dark, tawny suffusion of alnein in it), and both Natalia and Ekaterina saw a good deal of d'Anthes. July passed in an atmosphere full of billets-doux, petits jeux, rides, and picnics, and somehow, in the course of that month, Ekaterina Goncharov became pregnant (a circumstance carefully camouflaged in the annals of the Heeckerend'Anthes family, but conclusively proved by Grossman in Krasnaya niva, XXIV, 1929). It is certain that by the early fall of 1836 rumors were circulating about a possible marriage between her and d'Anthes (by now Baron de Heeckeren—his father having officially ceded him in April of that year to the Dutch minister). It is also certain that d'Anthes' courtship of Natalia Pushkin, a source of passionate interest to the grand monde, went on just as before. Vienna society a few years earlier had found great fun in conferring on people various absurd certificates. A coterie of effeminate young men decided to renew the fad in St. Petersburg. A member of this giggling clique, Prince Pyotr Dolgoruki (nicknamed in society le bancal, "bowlegs"), cooked up an anonymous letter that Pushkin and his friends received by the (recently inaugurated) city mail on Nov. 4, 1836: Les Grands-Croix, Commandeurs et Chevaliers du Serenissime Ordre des Cocus, reunis en grand Chapitre sous la presidence du venerable grand-Maitre de l'Ordre, S. E. D. L. Narychkine, ont nomme a Vunanimite Mr. Alexandre Pouchkine coadjuteur du grand Maitre de VOrdre des Cocus et historiographe de VOrdre. Le secretaire perpetuel: Cte J. Borch I have preserved the orthography. The secretary is Count Joseph Borch: him and his wife, Lyubov, the monde dubbed a model couple because "she lived with the coachman, and he with the postilion." The vener-

48

Six: XXIX-XXX able Grand Master is His Excellency Dmitri Lvovich Nari'shkin, whose wife, Maria, had been the mistress of Tsar Alexander I for many years. It is surmised that this " certificate "should be construed in the sense that Pushkin had been cocufied by the tsar. This was not so. Although the potentate had had his eye on Natalia Pushkin even before she married, she is thought to have become his mistress for a brief spell only after our poet's death. That the hand is a Russian's is clear from the very attempts to disguise it (for example, by forming the French u as a Russian i, which in block-letter script is the mirror image of N)\ but Pushkin, for some reason never explained, decided it had been written by Heeckeren. Soviet graphologists proved (in 1927) that it was Dolgoruki's work; his subsequent forgeries lend strong psychological support to his authorship. He belonged to the Heeckeren set, but it was Heeckeren and d'Anthes whom Pushkin immediately saw as the main villains. On November 7 he called out Lieutenant d'Anthes; a hectic period of pourparlers ensued, with Pushkin's friend Zhukovski doing his best to patch up matters. On November 17 Pushkin took back his challenge on the grounds that d'Anthes had proposed to Ekaterina Goncharov—which it was high time he did, since she was now five months with child. He married her on Jan. 10, 1837. On January 24 Pushkin had a mysterious interview with the tsar. During the fortnight following his wedding d'Anthes continued to pay court to Natalia Pushkin on every possible occasion. On January 26 Pushkin sent an insulting letter to the Dutch minister, accusing him of being "the pimp of his bastard." This last epithet was a perfectly gratuitous insult since lleeckeren was a confirmed homosexual, a fact well known to our poet. For reasons of protocol, Heeckeren abstained from challenging Pushkin, and it was d'Anthes who immediately called him out.

49

Commentary Pushkin's second was his old schoolmate, Lieutenant Colonel Konstantin Danzas, and that of d'Anthes was Viscount Laurent d'Archiac, a secretary of the French embassy. The duel took place on Wednesday, January 27. Both sleighs arrived in the vicinity of the so-called Commandant's Villa about 4 P.M., with dusk already dulling the frosty air. While the two seconds and d'Anthes were engaged in trampling out a twenty-yardlong path in the snow, Pushkin, enveloped in a bearskin pelisse, sat waiting on a snowdrift. The seconds marked the ten-yard boundary with their shed carricks, and the duel began. Pushkin at once walked up his five paces to the boundary. D'Anthes made four paces and fired. Pushkin fell on Danzas' military carrick, but after a pause of a few seconds raised himself on one arm and declared he had enough strength to fire. His pistol had stuck barrel down in the snow; another was given him, and Pushkin took slow careful aim at his adversary, whom he had ordered to come up to the boundary. The shock of the ball, which hit d'Anthes in the forearm, bowled him over, and Pushkin, thinking he had killed him, exclaimed, "Bravo!" and threw his pistol up into the air. He was carried to the livery coupe that had conveyed the passionately anxious Dutch minister to the vicinity of the ground (Heeckeren then quietly transferred himself to one of the hack sleighs). D'Anthes later had a distinguished career in France. In Les ChdtimentSj bk. iv, no. vi, a fine diatribe of thirty resounding Alexandrines "Ecrit le 17 Juillet 1851, en descendant de la tribune," Victor Hugo qualified the members of Napoleon Ill's senate, including d'Anthes, as follows (11. 1-2, 7): Ces hommes qui mourront, foule abjecte et grossiere, Sont de la boue avant d'etre de la poussiere. Us mordent les talons de qui marche en avant.

5°

Six: XXX

It is extremely curious to discover—as I have from a work by Baron Ludovic de Vaux, Les Tireurs de pistolet (Paris, 1883), pp. 149-50—that the son of Georges and Catherine Heeckeren d'Anthes, Louis Joseph Maurice Charles Georges (1843-1902), was one of the most celebrated duelists of his day. "Baron Georges de Heeckeren . . . grand, gros et fort, yeux clairs et barbe blonde," while heading in the sixties a counterguerrilla action in Mexico, "se prit de querelle," at a hotel in Monterey, "avec un Americain qui mettait les pieds sur la table avant le dessert" and fought a duel with him "a l'americaine au revolver et lui brisa le bras. . . . Rentre en France il eut un duel a Tepee avec Albert Roge. . . . Tout le monde se rappelle son duel avec le Prince Dolgorouki dans lequel il fracassa l'epaule de son adversaire apres avoirsubisonfeuadixpas. . . . C'est un charmant viveur . . . qui compte beaucoup d'amis a Paris et qui le merite bien."

XXX

3 / Pohddkoy tvydrdoy, tiho, rdvno: The rhythm of the duelist's grim advance, stressed by these thudding epithets, is curiously anticipated at the end of pt. 1 of Pushkin's earlier poem, Tfie Caucasian Captive (182027), in which the protagonist recalls his former encounters (11. 349-52): A thrall of honor, merciless [honor], he at close range had seen his end when in a duel he, firm, cold [tvyordiy, hlddnTy], would face the fateful lead. The "thrall of honor," nevdVnik che'sti, was to be borrowed in 1837 by Lermontov for a famous poem on Pushkin's death.

S1

Commentary 13 / hours / Chasi: The appointed hours of his life come to an end as the last one strikes. XXXI

6 / lump of snow / gliba snegovdya: A gliba conveys the idea of larger bulk than "lump," midway between it and "mass." When, in Pushkin's EO, Six : xxxi : 4-6, Lenski's falling in the fatal duel is illustrated by the comparison "Thus, slowly, down the slope of hills, shining with sparkles in the sun, a lump of snow descends," we visualize, with the Russian author, a Russian bright winter day, but cannot help recalling that when in Macpherson's Fingal, bk. ill, Agandecca is slain by Starno, she falls "like a wreath of snow, which slides from the rocks of Ronan." When Lermontov, in A Hero of Our Time (pt. 11, "Princess Mary"), compares Mt. Mashuk in the northern Caucasus (elev. 3258 ft.) to a shaggy {rnohnataya) Persian fur cap, or defines other, low, timbered mountains as kudryavie gori, we remember the many "shaggy mountains" in The Poems of Ossian (e.g., in the beginning of Darthula). And when Tolstoy begins and ends his marvelous story "Haji-Murad" (1896-98; 1901-04) with an elaborate comparison involving the crushing of a vigorous thistle and the death of a Caucasian chieftain, we note the faint but indubitable prompting of "they fell like the thistle's head," a recurrent phrase in Ossian (e.g., in Sul-malla of Lumon). 10-14; xxxii : 9-14 The torrent of unrelated images with which xxxi closes—young bard, untimely end, the storm has blown, the bloom has withered, the flame upon the altar has gone out—is a deliberate accumulation of conventional poetical formulas by means of which Pushkin mimics poor Lenski's own style (cf. XXI-XXII, Lenski's

S2

Six: XXXI-XXXII last elegy); but the rich and original metaphor of the deserted house, closed inner shutters, whitened windowpanes, departed female owner (the soul being feminine in Russian), with which XXXII ends, is Pushkin's own contribution, a sample as it were of what he can do. In the 1820's neither Shelley nor Keats was yet famous enough to be widely read in French versions as were the more grossly grained and more easily paraphrased Macpherson, Byron, and Moore. When Pushkin was writing Chapter Six of EO, he certainly did not know Adonais, Shelley's poem on the death of Keats, written in June, 1821, and published the same year. As with so many other parallelisms mentioned in my notes, the similarity between the metaphors accumulated around Lenski's death and the images in Adonais, vi, 7-9— The bloom, whose petals, nipped before they blew, Died . . . The broken lily lies—the storm is overpast —is readily explained by the logic of literary evolution working on the same fund of immemorial formulas. Pushkin's image of the abandoned house is, however, more original in specific detail than the metaphor of the "angel soul" who was the "earthly guest" of the "innocent breast" in Adonais, xvil. XXXII

2 Cf. Browning's After (1855), the soliloquy of a duelist who has killed his adversary: How he lies in his rights of a man! Death has done all death can. And, absorbed in the new life he leads, He recks not, he heeds Nor his wrong nor my vengeance; both strike On his senses alike, And are lost in the solemn and strange Surprise of the change.

S3

Commentary 8 / Igrdla zhizn\ kipela krdv': Even a professed literalist is stopped by "played life, boiled blood." 9-14 See n. to Six : xxxi : 10-14. 12—14 By Jan. 6, 1827, Vyazemski had read Six (brought by Pushkin to Moscow) and, for the nonce, was enthusiastic. He admired, with great acumen, the metaphor of the abandoned house (see letter of that date to Aleksandr Turgenev and Zhukovski, who were abroad). The "window boards," stdvni, are folding shutters on the inside of the casement panes. 14 / Propdl i sled: "Has disappeared even the trace." XXXIII

12 / at a gentlemanly distance / Na blagorddnom rasstoydni: Cf. Byron, Don Juan, IV, XLI, 4-6: . . . twelve yards off, or so; A gentlemanly distance, not too near, If you have got a former friend for foe. Twelve yards is twelve paces (thirty-six feet), three eighths of the distance in the Onegin-Lenski duel. Actually, they were at a distance of fourteen yards from each other when Onegin fired. In duels where family honor was involved the distance might be considerably less. Thus R'ileev and Prince Konstantin Shahovskoy fought at three paces (Feb. 22, 1824)—with their bullets colliding in mid-air. Pichot (1823): "C'est une distance honorable . . . " The formula was not Byron's invention, either. See Sheridan's silly The Rivals, v, iii, where Sir Lucius O'Trigger, the second of the comedy coward Acres, measures paces and remarks: "There now, that is a very pretty distance—a pretty gentleman's distance." (Acres thinks "forty, or eight and thirty yards" is "a good dis-

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Six: XXXIII-XXXIV

tance," with the duelists not walking toward each other as the Franco-Russian code allowed.) xxxiv VARIANTS

Drafted continuations, in the Maykov collection (PD xxxiva It is praiseworthy to be (brave) in battle, but who's not brave in our courageous age? One and all boldly fight, lie brazenly. 4 Hero, be first a human being! At one time sensibility was current even in our Northern nature. When burning grapeshot 8 tears off the head from a friend's shoulders, weep, warrior, do not be ashamed, weep freely! Caesar, too, shed tears (when he learned) of a friend's (death) 12 and was himself most badly wounded

(I don't remember where, I don't remember how); he was, of course, (no) fool.

10-14 Here, Pushkin vaguely recollects a passage from Plutarch's Lives (read in Jacques Amyot's French), in which Caesar in Alexandria, on being presented with Pompey's head, "ne put retenir ses larmes" {Vies des hommes illustres: "Cesar," Lin). It was near the statue of Pompey that, at the meeting of the Senate, Caesar received a first gash in the neck (dealt by Casca) before being killed (ibid, LXXI)—hence the mention here of his being wounded. Works 1949, p. 612, adds a draft where Cassius and Brutus replace Caesar and his friend (11. 10-11): I Kdssiy slyozi prolivdl, Kogdd on Bruta smerV uzndl . . .

Commentary And Cassius also tears did shed When he found out that Brut was dead . . . It was the other way round. This vagueness of classical knowledge is curious. xxxivb But one can also weep without a wound over a friend if he was dear, did not tease us imprudently, 4 and served our whims. But if the fatal Reaper, ensanguined, blind, in fire and smoke, before a father's eyes, 8 smites his stray youngling— O dread! O bitter moment! O St[roganov]—when your son fell, smitten, and you were alone, 12 and battle "of thoughts," to dush, "of souls." This hardly affects the meaning of the whole rather colorless passage (a very ordinary tabulation); in fact, both dush and dum might be rendered in English by "of mentalities." Pushkin obviously did not bother much about this correction, for the stanza, when relegated to the notes in the complete 1833 and 1837 edns., retains the reading dum. Raschyoti means "schemes," "calculations," "computations," "estimates." Dushi, as already mentioned, means "souls." Brodski (EO commentary, pp. 250-51), in his sociological fervor, abolishes the comma between raschyotov and dush, gives "souls" the sense of "souls of peasants" (serfs being reckoned by "souls," as cattle are by "heads"), and makes the two lines read: 66

Six: XLVII amidst the vexing emptiness of estimates of serfs and conversations . . . implying that Pushkin is here satirizing barons who in high society engaged in shop talk, in calculating the number of slaves each possesses and haggling about their prices! This is sheer nonsense, of course: no such talk was typical of the beau-monde prattle. Besides, the construction raschyotov dush is impossibly clumsy and thematically throws out of balance both the "vexing emptiness" and the unspecified *'conversations." XLIII-XLVI

In the last four stanzas of this chapter Pushkin passes in review, among other things, some of the favorite words of his vocabulary.

67

Chapter Seven

MOTTOES

The first motto is Dmitriev's poem The Liberation of Moscow (1795), 11. 11-12. In the opening lines of the greatest ode in Russian, Pushkin's Liberty (composed 1817): Be gone, be hidden from my eyes, weak queen of Cythera! our poet slightly imitates Dmitriev's worthless Liberation of Moscow (liberation from Troubled Times, Poland, and Pretenders in 1613, when Prince Dmitri Pozharski vanquished the Lithuanians and the first Romanov was elected to the throne), 11. 3-4: I wish to sing not noisy pleasures, not sweets of Cytherean bonds. Dmitriev's poem (162 iambic tetrameters, irregularly rhymed) is marked, incidentally, by the most formidable clash of consonants known in Russian poetry (1. 14): a diamond scepter in your hands . . . Almdzniy skiptr v tvoih rukdh . . . ptrvtvl The second motto to Seven is Barat'inski's Feasts (1821), 1. 52 (see n. to Three : xxx : 1). 68

Seven: MOTTOES-I The third is Griboedov's Woe from Wit (finished 1824), I, vii, Sofia's taunt, Chatski's retort (see n. to Six : x i : 12). For reasons that will transpire in the course of the notes to this chapter, one would like to suggest that Pushkin might have also used a fourth motto—from Kozlov's Princess Natalia Dolgoruki, can. 11, st. IV: . . . Moscow appears . . . The eye now sees Ivan Velikiy; its crown glows ember-bright . . . The name "Big John" is applied to the tallest steeple of the city: ". . . the great campanile of Ivan Veliky, erected in the Lombardo-Byzantine style by Boris Godunov, in 1600, rises to the height of 271 ft. (318 ft. including the cross), and contains many bells, one of which weighs 64% tons" (Prince Peter Kropotkin and John Thomas Bealby, in The Encyclopaedia Britannica, 1 ith edn., New York, 1911).

1—3 / vernal beams . . . turbid streams: A literary, not a local spring. In many western European poems fashionable at the time, we find similar "rills | Let loose in spring-time from the snowy hills," from Moore's Lalla Rookh (1817): "The Veiled Prophet of Khorassan" (5th edn., London, 1817, p. 30), and the earlier "Dissolving snows in livid torrents lost," from Thomson's Spring, 1. 16. Their real source is Virgil; cf. Georgics, I, 43-44: Vere novo gelidus canis montibus humor liquitur . . . or imitations of Virgil: Au retour du printemps, quand du sommet des montagnes qu'elle blanchissait, la neige fondue commence a s'ecouler . . .

69

Commentary 4 / onto the inundated fields / Na potoplydnnie lugd; II : 2 j spring, spring, season of love / Vesnd, vesnd! pordlyubvi'. A curious rewording of Baratmski's Spring (six tetrametric staves rhymed abbab, first published December, 1822, in The Polar Star), 11. 5-10, 28-30: The earth has risen from her sleep The snows in torrents flow; in hills again the horns resound; again the zephyrs fly onto the renovated fields [Na obnovlyonnie lugd]. Ah, if the generous gods allowed that to a mortal would return the season of love with the season of flowers [Pord lyubvi s poroy tsvetov]\ 10 / after the tribute of the field / za ddrtyu polevdy: To fetch the mead's meed, duty, due; to tax the meadow. Cf. Jean Antoine de Baif (1532—89), Passetemps, bk. I: Du printemps, st. IX: Les menageres avettes Voletant par les fleurettes Pour cueillir ce qui leur duit. This also stems from Virgil and not from direct observation. 11/ waxen cell: A commonplace in both English and French poetry. See, for instance, Gay, Rural Sports, a Georgic .. .to Mr. Pope (1713), can. 1,1. 88: "[bees] with sweets the waxen cells distend," or Andre Chenier, Ettgies, 1 (ed. Walter; XVI, (Euvres posthumes, 1826), 1. 33: "Sa cellule de cire"; there are many other examples. In his commentary to EO, Brodski (p. 253) drags in a bit of Russian "folklore," wherein is mentioned a little cell of honey, which is obviously the work of some minor

7°

Seven: II

Russian poet of the beginning of the nineteenth century who had read French poets or their Russian imitators. 13 / Stadd shumydU The herds and flocks bellow and bleat. II

There are a number of analogies (probably coincidental or going back to Chateaubriand) between sts. 11 and ill and Letters xxil-xxiv of Senancour's Oberman (for instance, end of xxii: ". . . tout existe en vain devant lui, il vit seul, il est absent dans le monde vivant"; and XXIV: ". . . cette volupte de la melancolie . . . printemps. . . . Saison du bonheur! je vous redoute trop dans mon ardente inquietude"). See also a passage of Chateaubriand's Memoires d'outre-tombe, the chapter on his sojourn of 1793 on Jersey, written 1822 (ed. Levaillant, pt. I, bk. x, ch. 3): Ce qui enchante dans Page des liaisons devient dans 1'age delaisse un objet de souffrance et de regret. On ne souhaite plus le retour des mois . . . une belle soiree de la fin d'avril . . . ces choses qui donncnt le besoin et le desir du bonheur, vous tuent. 2 See n. to Seven : I : 4. 3 / dark / tydmnoe: Other editions have Kakde tdmnoe volndrfe, "What a languorous agitation." 5 / tender feeling / umilen'em (instr.): The word can be accurately rendered only by the French attendrissement, for which the horrible "inteneration" has been suggested in English. It can be paraphrased by "melting mood," "softheartedness," "tender emotion," and the like. It is related to compassion as charm is to beauty or a dewy eye to one brimming with tears. See n. to Six : XIV : 9.

71

Commentary VARIANT

12-13 In a draft of 11 (Leonid Maykov coll., PD 108) a variant (possibly of 12—15) r e a ds: Give back to me snowstorms and blizzards and the long shade of winter nights . . . Ill

See my n. at beginning of II. IV

1 / Now is the time / Vot vrernya: Cf. Thomson, Winter (1726), 11. 33-35, 39: . . . Then is the time [fair autumn], For those, whom wisdom, and whom nature charm, To steal themselves from the degenerate crowd. And woo lone quiet, in her silent walks. 1 / good lazybones / ddbrie lenivtsi: Fr. bons paresseux. Len\ in the idiom of the time, meant "the enjoyment of outward inactivity in contrast to the simultaneous animation of the inner senses'* (Hodasevich, c. 1930, quoted from his Literaturnie stat'i i vospominaniya, New York, 1954). It has, moreover, a Gallic turn of meaning. Cf. the delightful note of indolence in Gresset's Epitre v, to Father Bougeant, in which he speaks of the "smiling ease" of his verses, which have earned him . . . Findulgence Des voluptueux delicats, Des meilleurs paresseux de France, Les seuls juges dont je fais cas. 4 / you, fledglings [ptentsi] of the Lyovshin school: Students of Lyovshin's works (not "peasants," as some Russian commentators have thought!).

72

Seven: I I I - I V

Vasiliy Lyovshin (1746—1826), a Tula landowner, prolific compiler, author of over eighty works in 190 volumes, including various tragedies and novels, and whatnots, mostly translated from the German, such as The Enchanted Labyrinth (Ocharovanniy labirint), an Oriental tale in three parts (1779—80), and a Life of Nelson (1807). I have seen a work of his on windmills, steam mills, and water mills. He was known in the 1820's for his voluminous compilations dealing with Flower Gardens and Vegetable Gardens, and for a Manual of Agriculture (1802-04). At present he is remembered only for his rather remarkable Russian Tales (Russhie skazki), 1 'containing the most ancient accounts of famous bogati'rs [peasant knights, strong men], folk tales, and other adventures remaining in the memory through their retelling" (Moscow, 1780-83). Of all his works only this is mentioned by D. Blagoy, Istoriya russkoy literaturi XVIII veka (Moscow, 1945), pp. 271—72, who is also my authority on the pronunciation of the name. 5 / Priams: Priam, last king of Troy, a gentle old man with more than fifty children. His life ended in despair and ruin. Un Priam is generally used in the sense of type a"extreme ?nalheur rather than in that of a venerable rusticator or rural paterfamilias, as apparently Pushkin has it here, through some twist of literary memory. 14/ start to trek / Tyanites*: Inf. tyanut*sya. A term difficult to translate wholly. It blends the idea of "tending," "stretching," and "progressing in a long, slow line." The same verb is used for the caravan of geese in Four : XL : 12. VARIANT

4 The draft reads (2571, f. 3r): you, carefree songsters . . .

7)

Commentary

2 / calash / kolydske: A four-wheeled open carriage with a folding hood. Also spelled, in eighteenth-century England, with a g (after its passage through Germany). It is the true French caleche—which, incidentally, the American reader should be careful not to confuse with the similarly named Canadian vehicle, a rude two-wheeled contraption (depicted, for example, in Webster''s New International Dictionary, 1957). A later variety of holyaska is the victoria. 6; VI: 5-6: The Batyushkov and Millevoye decor is again described as we revisit Lenski's tomb with the Amazon, an ally of Pushkin's Muse. The following observation may be of interest to the Pushkinian scholar. In one of his greatest short poems, The Lord Forbid My Going Mad (1832), Pushkin, in his special code, signals an awareness of Batyushkov's madness: Batyushkov, in his elegy The Last Spring (1815), an imitation of Millevoye's La Chute desfeuilles (discussed in my n. to Six : XLI : 1—4), had used an epithet for the nightingale that was unusual in Russian poetry (11. 3-4): The brilliant [ydrkiy] voice of Philomela has charmed the gloomy pinewood . . . Pushkin, in his 1833 piece of five six-line stanzas, with masculine lines bbcddc, in iambic tetrameter (b, d) and trimeter (c), echoes Batyushkov's lines in the last stanza: And I shall hear at night neither the brilliant voice of the nightingale, nor the dense forest's murmur, but my companions' cries, the oaths of the night wardens, shrill sounds, the clink of chains. Batyushkov's and Pushkin's epithet is, really, a simple

74

Seven: V-VII Gallicism. See, for example, Dudoyer (Gerard, marquis du Doyer de Gastels, 1732-98), in a madrigal to Mile Doligny (a charming actress, whom he eventually married), May 1, 1769 {Almanack des Muses [1809], P- 35). . . des oiseaux la voix brillante . . . VI

2-3 Cf. Addison, The Spectator, no. 37 (Apr. 12, 1711): ". . . a little Rivulet which runs through a Green Meadow . . . " 5—6 See n. to Seven : v : 6. 6 / cinnamon rose / shipdvnik: European brier with fragrant pink flowers and soft red fruit, Rosa cinnamomea L., the modest country cousin of some six thousand cultivated varieties of roses. It blooms in June. L. H. Bailey, Manual of Cultivated Plants (New York, 1949), p. 536, pleasingly says: "an old garden rose, running wild and persisting about old premises, along fences, in cemeteries, and by roadsides." Russian sources, on the contrary, consider it to be the ancestor of garden roses (M. Neyshtadt, OpredeliteV rasteniy [Moscow, 1947-48], p. 263). 10 / to the stranger / PrisheVtsw. Prishelets means grammatically "he who comes from another place," and possibly Pushkin used this loosely for prohozhiy, "passenger," "wayfarer," Lat. viator. VII

2-4 A poet's tomb, with a wreath and lyre suspended from the branches over it, had been sung by Zhukovski in a

75

Commentary famous elegy of 1811 entitled Tlie Bard {Pevets). It consists of six stanzas of eight verses each, with rhymes abbaceec. Its meter is curious and was a great novelty in Russian prosody: four iambic pentameters are followed in every stanza by three iambic tetrameters, and the closing verse is a dactylic dimeter (11. 41-48): Gone is the bard, and from these haunts his traces Have disappeared, the voice we heard is still, And all is melancholy, dale and hill, And all is mute. Only the quiet zephyrs Shaking the withered wreath, when they Over the tomb sometimes suspire, Are sadly echoed by the lyre: Piteous bard [Bedniy pevets]! It will be noted that the term bedniy pevets, "poor songster," "luckless poet," is applied to Lenski in Six : XIII : 10, Na vstrechu bednogo pevtsd, "a la rencontre du pauvre chantre." 9-10, 12 See n. to Six : XL : 14. 9-11 In describing Lenski's neglected tomb by the roadside in Russian Arcadia, Pushkin expresses the work of weeds and oblivion by means of two remarkable enjambments: No nine . . . pdmyatnik untliy Zabit. K nemu privfchniy sled Zagldh. Venkd na vetvi net . . . The translator would dearly wish to preserve the exact cut and the alliterations (the long-drawn ni, the recurrent rhythm of the two disyllables in z), but must content himself with the following: but now . . . the drear memorial is forgot. The wonted trail to it, weed-choked. No wreath is on the bough. 76

Seven: VII

The opening word in 1. 11 is most accurately translated by "weed-choked/' but, strictly speaking, no Russian equivalent of "weed" actually appears within zagloh. This would not matter much, had not the presence of "weed" in English improved upon a situation that is quite extraordinary enough. I doubt very much that at the time this was written (between autumn, 1827, and Feb. 19, 1828) Pushkin had acquired enough English not only to read through an English poem of almost two thousand lines but to catch niceties of English rhythm. Howbeit, the fact remains that EO, Seven : VII : 9-11 bears a striking resemblance, both in mood and modulation, to a passage of Wordsworth's The White Doe of Rylstone (composed 1807-08, pub. 1815), can. VII, 11. 1570-7*> 1575-76: Pools, terraces, and walks are sown With weeds; the bowers are overthrown, The lordly Mansion of its pride Is stripped; the ravage hath spread wide . . . 12 / beneath / pod: Misprinted nad, "above/' in the 1837 edn. VARIANT

1-10 In a draft of this stanza (2368, ff. 36% 37r): Around it blooms the cinnamon rose, brief herald of warm days, and ivy twines, lover of tombs; the nightingale resounds and trills in the hush of the muted wilderness, and over the white urn, 'tis said, the fresh breeze in the morning sometimes will sway a wreath upon the boughs of two old pines, and on the urn a scripture says . . . According to Tsyavlovski {Works 1936,1,757), the following quatrain is twice repeated on the same page

77

Commentary (2368, f. 36r, according to Tomashevski, Acad 1937, p. Around it blooms the cinnamon rose, brief herald of warm days; the ivy twines, lover of tombs, anight there trills the nightingale. Then the following seven lines in dactylic and anapaestic hexameter with feminine endings, unrhymed, are jotted down (1827): In the groves of Caryae, dear to the hunters, a cavern is hidden: Lithe pines bend their branches around, and its entrance Is screened by the freely twining and rambling Ivy, lover of crags and crevices. Flowing from stone To stone, in a sonant arc, a boisterous brook Floods the cave's bottom and, cleaving a deep bed, meanders Afar through a dense grove, which with its purl it gladdens. VIII

In draft (2371, f. 4): 25> 37> 4°>5i>59> 67.

Seven: XXII

The rhythm and richness of phrasing are admirable; Flaubert could not have done better. Tantdt nous [Rene and his sister Amelie] marchions en silence, pretant l'oreille au sourd mugissement de l'automne, ou au bruit des feuilles sechees, que nous tralnions tristement sous nos pas; tantdt, dans nos jeux innocens, nous poursuivions l'hirondelle dans la prairie, Tarc-enciel sur les collines pluvieuses . . . These rain-blurred hills slope toward a new world of artistic prose. The melancholic and tender narrator, after the death of his father, wanders in the resounding and solitary cloisters of a monastery where he half thinks of retiring (". . .la lune eclairoit a demi les piliers des arcades, et dessinoit leur ombre sur le mur oppose"). Then he decides to travel: . . . Je m'en allai m'asseyant sur les debris de Rome et de la Grece [where the next traveler, Childe Harold, will never recall his predecessor]. . . . La lune, se levant dans un ciel pur, entre deux urnes cineraires a moitie brisees, me montrait les pales tombeaux. We find him next before the statue of Charles II in London. Up in the Highlands, he muses on the heroes of Morven. After a visit to Sicily, he returns to his country, which he finds corrupted and debased by the Revolution: "Traite partout d'esprit romanesque, honteux du rdle que je jouois, dego&te de plus en plus des choses et des hommes, je pris le parti de me retirer dans un faubourg . . ." These intonations are echoed in the stanzas of EO, Chapter Eight, dealing with Onegin's return to St. Petersburg and his state of mind, which has affinities with Rene's ennui in Paris: Je me fatiguai de la repetition des memes scenes et des memes idees. Je me mis a sonder mon coeur, a me demander ce que je desirois. Je ne le savois pas; mais je crus

99

Commentary tout-a-coup que les bois me seroient delicieux. Me voila soudain resolu d'achever, dans un exil champetre, une carriere a peine commencee, et dans laquelle j'avois deja devore des siecles. He contemplates suicide, but Amelie comes and saves him: ". . . elle tenoit de la femme la timidite et l'amour, et de Fange la purete et la melodie." A subtle perfume of incest permeates their relationship: "cher et trop cher Rene . . ." She leaves him for a convent. In her passionate letter to him there is "je ne sais quoi de si triste et de.si tendre, que tout mon coaur se fondoit." After a wonderful visit to the country estate where they had lived, and a description of her consecration (at which she admits her "criminelle passion")? Rene sets out for America. Constant's remarkable novel (written 1807, pub. 1816) Adolphe, "anecdote trouvee dans les papiers d'un inconnu, et publiee par M. Benjamin Constant" (Henri Benjamin Constant de Rebecque, 1767—1830), was represented in Pushkin's library by an 1824 edition; but he had read it earlier. Adolphe is a contrived, dry, evenly gray, but very attractive work. The hero courts, adores, and torments a more or less Polish lady, Ellenore (a niece of Rousseau's Wolmar), first in a vague German setting, then in a still vaguer Polish one, between 1789 and 1793, when (unmentioned) events and conditions in France prevented the author from localizing a purely psychological romance (where a bright specific backdrop would be a needless distraction) within such familiar surroundings as might be taken for granted; that pale Poland is at least pale, and the artist has managed to outwit history. In an epistolary afterword to his novel, Constant describes Adolphe as blending egotism and sensibility, and as foreseeing evil but retreating in despair when the advance of evil is imminent. His is a checkered na100

Seven: xxn ture, now knight, now cad. From sobs of devotion he passes to fits of infantile cruelty, and then again dissolves in saltless tears. Whatever gifts he is supposed to possess, these are betrayed and abolished in the course of his pursuing this or that whim and of letting himself be driven by forces that are but vibrations of his own irritable temper. "On change de situation, mais . . . comme on ne se corrige pas en se deplagant, Ton se trouve seulement avoir ajoute des remords aux regrets et des fautes aux souffrances." The analogies with Onegin are several, all of them obvious; it would be a great bore to go into further details. One thing should be marked, however: physically, Adolphe hardly exists. He glides and sidles, a faceless figure in an impalpable world. But as a character, as a case history, as a field of emotional tensions on display, he is vigorously alive, and his romance is a masterpiece of artistic saturation. In contrast to him, Onegin (if, for the nonce, we consider him a "real" person) is seen to grow fluid and flaccid as soon as he starts to feel, as soon as he departs from the existence he has acquired from his maker in terms of colorful parody and as a catchall for many irrelevant and immortal matters. On the other hand, as a physical being, Onegin, in comparison to the gray engraving of Adolphe, is superbly stereoscopic, a man with a wardrobe, a man with a set of recognizable gestures, a man existing forever in a local world colored and crowded with Pushkin's people, Pushkin's emotions, memories, melodies, and fancies. In this sense, Pushkin transcends French neoclassicism; Constant does not. On Jan. 1, 1830, in the first issue of the Literary Gazette {Literaturnaya gazeta), published by Delvig, Orest Somov, Vyazemski, Pushkin, and Zhukovski (in that order of management), our poet published the following unsigned note: IOI

Commentary Prince Vyazemski has translated and is soon to publish Benj. Constant's celebrated novel. Adolphe belongs to the number of "two or three novels in which the epoch is reflected and modern man rather correctly represented with his immoral soul, selfish and dry, to dreaming measurelessly given, with his embittered mind boiling in empty action." Constant was the first to bring out this character, which later the genius of Lord Byron popularized. We await the appearance of this book with impatience. It will be curious to see if the experienced and live pen of Prince Vyazemski is able to overcome the difficulties of Constant's metaphysical language, always harmonious, elegant, and often inspired. In this respect the translation should be an original creation and an important event in the history of our literature. (It was not. Polevoy, an influential reviewer who had translated the same book some ten years before, but with even less success, was right in accusing Vyazemski's version, which came out in spring, 1830, with a dedication to Pushkin, of being clumsy and inexact.) Neither Chateaubriand nor Constant seems to have been highly appreciated by English critics. Of Chateaubriand's Atala, The Edinburgh Review, an influential Philistine sheet of the period, wrote, no. LXIX (March, 1821), p. 178: "The subject, conduct, and language of it, are, to our apprehension, quite ludicrous and insane." And Constant is referred to (same page) as "the author of a poor novel called * Adolphe.' " XXIII

1-2 One recalls that in Sheridan's famous but singularly inept comedy, The Rivals, Lydia Languish says of Lady 102

Seven: XXIII-XXV Slattern that she "cherishes her nails for the convenience of making marginal notes" (i, ii). The art is a lost one today. xxv This stanza and the next three are wanting in Cahier 2371. None is numbered in the draft. The next stanza drafted (2371, f. 7i v ) is the xxix of the established text. 2 / the word: A Gallicism, le motdeVdnigme. The key word, the solution. 8 / with a groan / krehtyd: A participle from krehtet! or kryahtef that cannot be rendered by one verb in English. It is to emit a deep diaphragmatic sound between a grunt and a groan in sign or result of a feeling of oppression or indecision. 13/ I'll not marry [him, you] / Neydu [za negd, za vds]: A contraction of ne idu, "I do not go," "I do not accept." Cf. xxvi : 7, poydydt, "she will accept." ALTERNATE T

Draft in 2371, f. 6§ . In Tomashevski's recension of 1937 (p. 442, xxiva) the cancellations are shown; they are not shown in the text published in his commentary of 1949 (p. 543) and 1957 (p. 546), where, moreover, one line reads differently (Acad 1937: "the driver lashed out, whistled"). I have been obliged, as in other cases, to follow 1937 for the deletions and 1949 (or 1957) for the actual wording. On her discovery we shall congratulate my dear Tatiana, and turn our course aside, 4 lest I forget of whom I sing. 10)

Commentary After he'd killed his inexperienced friend, the irk of (rural) leisure Onegin was unable (to bear); 8 (to seat himself in a kibitka he decided)*. The full-toned yoke bell (sounded), the dashing driver whistled, and our Onegin sped away 12 (to seek a gladdening) of dull (life) in distant parts, himself not knowing where exactly. In the course of composing Chapter Seven, Pushkin was twice faced with alternate routes: one branches off after xxi : 9 and the next (upon his returning to the main road) after xxiv. At the bifurcation of xxi, he toyed, as we have seen, with the idea of having Tatiana discover Onegin's St. Petersburg diary (kept by the melancholy rake before his retiring to the country in May, 1820). This first alternate route is followed through xxn alt. (description of the album) to a kind of plateau with the ruins of the album's contents (accumulated in the moonlight), of which some fourteen, unstanzaed, entries, making about a hundred lines, are tentatively quoted. The idea fizzled out. By omitting Tatiana's discovery and perusal of Onegin's St. Petersburg diary, Pushkin no doubt showed good taste and saved Tatiana from a brazen inquisitiveness hardly in keeping with her character. There is a world of difference between, on one hand, reading a private letter placed in a borrowed book and, on the other, deducing its owner's character from the scholia in its margins. However, one cannot help thinking that Pushkin might still not have deprived us of finding those picturesque fragments inset in his story at that particular place, if he had let Tatiana turn away in all modesty from the discovered album while allowing the reader to dip into it behind her back. 104

Seven: XXVI-XXVUI

Upon returning to the main road Pushkin continued (xxi : 10, etc.) as we know from the established text: Tatiana reads Onegin's books (xxi : 10-14, xxn), and from the marks in their margins (XXIII) deduces more or less clearly their owner's character (xxiv). After xxiv comes the next bifurcation. Our poet follows an alternate route for the stretch of one stanza (xxv alt.), in which he plans to leave Tatiana to her thoughts in the deserted chateau and to describe Onegin's sudden departure (say, in February or March, 1821) from his countryseat, whereupon, presumably, the rest of Seven would have been devoted to his arrival in St. Petersburg and the surge of patriotic sentiments that send him on the Journey, of which we have at least two thirds. But after composing xxv alt. Pushkin again changed his mind and returned to the highway. He remained with Tatiana (xxv) and launched, in the same stanza, upon the matrimonial theme that leads to Moscow. XXVI

6 / melkim besom rassipdlsya: The idiom is: "[he], a regular petty devil, dispersed himself [in crafty compliments]." Cf. Fr. se repanditen compliments. XXVIII

Tatiana's soliloquy should be compared to Lenski's elegy in Six : XXI-XXII.

9; xxxii : 11-12: The intonation is a familiar one. See, for example, Pope's Winter: The Fourth (and last) Pastoral (1709), 1. 89 (with three to go): Adieu, ye vales, ye mountains, streams and groves . . .

Commentary XXIX

5-7 Cf. Kozlov, Princess Natalia Dolgoruki (1828), can. I, xiv, 16, 18-19: . . . pond, trees, flowers— these unfor gotten friends she meets again . . . See nn. to Seven : xv : 8-14; xvi : 1-7. VARIANT v

5-6 Draft (2371, f. 7 i ) : with oak grove, meadows, as with dear friends . . .

XXXI

1-3 / overdue . . . made solid / prosrdchen . . . uprdchen: To judge by a note (Cahier 2382, f. i5 v ; first published in Rukoyu Pushkinay p. 321) in the margin of the draft of the short poem Winter—" 'Tis winter: what can one do in the country?" (dated Nov. 2, 1829)—Pushkin intended at the time to change the order of the lines in the quatrain to 3, 4, 1, 2, and replace the rhyme uprdchen-prosrdchen by isprdvlen-oVydvlen ("is mended" -"has been announced"). Above this is the word voron ("raven"), a memento referring to a contemplated change (never made) in the already published Five : xxiv : 7 (to which see note). 5 / kibitki: In common with the traveling coach, these are also on runners in winter. 14 / eighteen nags: In a canceled draft (2371, f. 72'), Pushkin had "six troikas" ( 6 x 3 = 1 8 ) . 106

Seven: XXIX-XXXII XXXII

11-12 / Farewell. . .: Before his arrival in Mihaylovskoe from Odessa, in August, 1824, for a two-year stay, Pushkin had visited it twice: in the summer of 1817, soon after graduating from the Lyceum, and in the summer of 1819. During his first visit, he made the acquaintance of the Osipov family in nearby Trigorskoe, and on Aug. 17, 1817, before returning to Petersburg, dedicated to them a little elegy of sixteen iambic tetrameters that starts (11. 1-2, 5, 11-12): Farewell, ye faithful coppices, farewell, ye carefree peace of fields . . . Farewell, Trigorskoe! . . . Perhaps (delicious reverie!) I shall come back . . . and it is, indeed, to Trigorskoe rather than to his own Mihaylovskoe that our poet returns in the last retrospective digression of Onegin's Journey (1830). Cf. also Lenski's elegy in Six : xxi-xxil. And see n. to Seven : XXVIII : 5—9. 13 / Uvizhu V vds? / Shall I see you?: The implied "again" is drowned in a sob. 13-14 Cf. Kozlov, Princess Natalia Dolgoruki, can. 11, end of V: . . . and sudden from her eyes [flow] streams of tears . . . which has the same rhyme, ochey-ruchey. See nn. to Seven : xv : 8-14; xvi: 1-7; and xxix : 5-7. Cf. a similar ending of a verse paragraph in Baratmski's Eda (1826), 11. 262-65: Ah, where are you, peace of my soul? To find you, whither shall I go? IOJ

Commentary And infantine involuntary tears flow from her eyes. XXXIII

4 / Filosoficheskih tablits: This final reading is jotted down in the copybook (2382, f. iO7r) that contains drafts of Onegin's travels, with the note ''Canto vn." Pushkin apparently wrote (the autographs, fide Tomashevski, are not very legible) in his draft (2371, f. 72V) polistaticheskih after canceling "Dupin's comparative tables" andgeostaticheskih tablits. The reference is to Charles Dupin ("le Baron Pierre Charles Frangois Dupin, Membre de l'lnstitut," as he was styled; 17841873) and to his statistical tables [statisticheskih tablits, gen. pi., was what Pushkin wished to say, but was one syllable short). In the glorious afterglow of her victories over Napoleon, political Russia, a young and acutely self-conscious world power, was greatly interested in anything the wary West wrote about her. Hence the vogue of Dupin's Observations sur la puissance de VAngleterre et sur celle de la Russie au sujet du parallele etabli par M. de Pradt entre ces puissances (Paris, 1824; for the parallele established by that prophet in regard to America and Russia, see my n. to Four : XLIII : 10). In a later work, Forces productives et commercials de la France (Paris, 1827, 2 vols.), Dupin discusses (II, 284-85^ the routes transversales and the routes radicales in France; "Esperons," he says, u que le gouvernement. . . completera notre systeme de communications transversales: c'est un des moyens les plus efficaces de favoriser le commerce, 1'agriculture et 1'industrie" (see, below, Vyazemski's fireside crack). In his tables Dupin compares the populations of the principal European states including Russia and predicts (II, 332) that by 1850 the 108

Seven: xxxm-xxxiv population of Paris will rise to 1,460,000. In 1827-28, Dupin also produced Le Petit Producteur francais, in six handy volumes, with a ''petit tableau des forces productives de la France" in vol. I. 5-14 Alexander I was almost pathologically interested in roads; many of them were built in his reign, and liberal critics had a great time poking fun at their defects (see Comm., Ten : v i : 5). Cf. a passage (quatrain IV, 11. 1-2) in Vyazemski's ponderous but picturesque and witty Winter Caricatures (1828), with the subtitle "Ruts, Caravans" (Uhabi, Obozi), published in Maksimovich's literary almanac, Sunrise (Dennitsa), for 1831 (and highly praised by Pushkin in a letter to its author, Jan. 2, 1831): In armchair, by the hearth, I'm no less than Dupin cheered by the overplus of earthly force in motion . . . but (to paraphrase the next lines) "I curse agriculture and commerce when I have to travel on roads that have been ruined by the heavy train of Moscow-bound wagons loaded with the produce of the land."

XXXIV

1 The passage in Pushkin's n. 42 is from The Station {Stantsiya)—meaning the stopping place, the roadside inn or the like, in a stage route—a poem by Vyazemski, pub. Apr. 4, 1829, in the literary almanac Snowdrop (Podsnezhnik). The line "for passers-by!," dlya prohodyashchih, which Vyazemski quotes in his poem (meaning occasional strollers who can admire the roadside trees, but are not obliged to endure the ruts), is the last in The Passer-by, in Dmitriev's Fables, pt. Ill, bk. 11, no. VII (5th edn., Moscow, 1818): 109

Commentary A passer-by {un passant, a passenger) visits a monastery and is enchanted with the view from the steeple. "Is it not beautiful!" he cries; And with a sigh "Yes," answered a laborious brother— "for passers-by!" Dmitriev's little fable is based on an old French anecdote, cropping up in eighteenth-century collections of bons mots and ascribed to various persons. A version of it appears in the first edition (1834-36, edited by L. J. N. de Monmerque, J. A. Taschereau, and H. de Chateaugiron, who had the MS since 1803) of the posthumous Historiettes written in 1657—59 by the gifted and witty Gedeon Tallemant des Reaux (1619-92; he died on the eve of his seventy-third birthday), whose name, incidentally, Chizhevski (p. 278) not only mutilates in three ways, but also transforms into the designation of a vacuum: "the anonymous [sic] Les Historiettes de Tallement [sic] de [sic] Reaux [sic]" (I defy, moreover, anyone to understand the same compiler's reference, in the same sentence, to Henri IV). The edition of the Historiettes that I have consulted is the third (1854-60), brought out in Paris by Monmerque and Paulin. The anecdote is found under No. 108 in ch. 477, vol. VII (1858), p. 463. It goes: Henry IVe, estant a Cisteaux, disoit: "Ah! que voicy qui est beau! mon Dieu, le bel endroit!" Un gros moine, a toutes louanges que le Roy donnoit a leur maison, disoit tousjours: Transeuntibus. Le Roy y prit garde, et luy demanda ce qu'il vouloit dire: "Je veux dire, Sire, que cela est beau pour les passans, et non pas pour ceux qui y demeurent tousjours." In discussing the location of the MS, Monmerque says that there have been earlier leakages (see VIII, 2). I suggest that Dmitriev saw the anecdote in Marmonters Essai sur le bonheur (1787): HO

Seven: XXXV

Aussi triste que le chartreux, a qui Ton vantait la beaute du desert qui environnait sa cellule, tu diras: "Oui, cela est beau pour les passans," transeuntibus. McAdam, McEve (in Pushkin's n. 42): "Macadamization" (a fashionable topic; see, for example, The London Magazine, X [Oct., 1824], 350-52) was the paving of roads with small stones and shingles. The inventor was John L. McAdam (1756-1836), a Scottish engineer. Vyazemski's painful pun turns on the gender of the word for "winter" in Russian, zima, which is feminine (see, for example, Seven : xxix : 13-14).

xxxv 5 / Automedon: The charioteer of Achilles (hero of Homer's Iliad). 7-8 In reference to Pushkin's n. 43, Spalding (1881, p. 271) calls this a "somewhat musty joke" and darkly adds: "Most Englishmen, if we were to replace verst-posts with milestones and substitute a graveyard for a palisade, would instantly recognize its Yankee extraction." 14 General evidence weighed, and particular circumstances considered, the most the Larins could have made that winter (January or February, 1822), with their four heavy sleighs and eighteen hoary jades, in a week, would have been two hundred miles (a distance that could be covered in as little as two days by traveling post in a light sleigh and changing horses every few miles). This and other considerations suggest locating their estate two hundred miles west of Moscow, about halfway between it and Opochka (province of Pskov), near which Pushkin's estate was situated. This would place the Larins' seat in the present Kalininskiy Region (consisting of the northern part of the former province of Smolensk and

Commentary the western part of the former province of Tver). This district is about four hundred miles south of St. Petersburg and is bounded on the west by the source of the Western Dvina and on the east by the sources of the Volga. It will be noticed a little further (xxxvn, Petrovskiy Castle; xxxvm, Tverskaya Street) that the Larin procession penetrates Moscow from the northwest, where Pushkin himself entered it upon his arrival there from his Mihaylovskoe exile, in the midst of writing the preceding canto (on Sept. 7, 1826). Caesar, who is said by Gibbon to have posted one hundred miles a day with hired carriages, could not have competed with his Russian colleagues. The Empress Elizabeth, daughter of Peter the Great, in the 1750's, had a special sleigh-coach, containing among other things a stove and a card table; by hitching twelve horses (which were changed every few miles) to this vehicle, she used to equal her father's record of making the journey on snow from St. Petersburg to Moscow (486 miles) in forty-eight hours. Alexander I, about 1810, beat the record by covering that distance in fortytwo hours, and Nicholas I, in December, 1833, made it (according to a note in Pushkin's journal) in the phenomenal time of thirty-eight hours. On the other hand, winter might pile up so much snow that traveling "on the snow track" was no better than in the seasons of slosh and mud. Thus, Vulf remarks in his diary that owing to a particularly abundant snowfall it took him, with his uncle's troika, a whole day, from early morning to eight in the evening, to cover the forty miles between Torzhok and Malinniki, in the province of Tver. The heavy Larin caravan must have crawled not much faster. Jn his draft (2371, f. 73O Pushkin at first wrote "a week,'7 then struck it out and altered it to "about ten days." 112

Seven: XXXVI-XXXVII Brodski {EO commentary, p. 399) gives the wrong date for the arrival of the Larins in Moscow. They arrived there at the very beginning (not at the very end) of 1822, soon after Christmas, 1821 (see XLI : 13). By August, 1824, Tatiana has been married to Prince N. for about two years (see Eight : XVIII : 2). VARIANT

1-6 A false start to the stanza is represented by the following lines in the draft (2371, f. yi v ): The nurse, ^regarding stilly Tatiana as a child, promises her a merry time, exhausting the rhetoric of her eulogy. grandiloquently [she] describes vividly Moscow . . . XXXVI

8 / chertdgov: Luxurious ceremonial halls, splendid buildings, palazzos. 12 /Moscow! . . .: Cf. the first line of a poem in Pierce Egan's Life in London, bk. 1, ch. 2: London! thou comprehensive word . . . VARIANT

9-14 The draft (2368, f. 22V) reads: Moscow! . . . How much within that sound is blended for a Russian heart, how strongly it is echoed there!

XXXVII

2 / Petrovskiy Castle: John Lloyd Stephens, Incidents of

Commentary Travel in Greece, Turkey, Russia, and Poland (2 vols., New York, 1838), II, 72-73: Pedroski [sic] is a place dear to the heart of every Russian. . . . The chateau is an old and singular, but interesting building of red brick, with a green dome and white cornices. . . . The principal promenade is . . . through a forest of majestic old trees. The Petrovskiy Park is thus described in 1845 by Mihail Dmitriev, a minor poet, Moskovskie elegii (Moscow, 1858), pp. 40-41: Merrily looks at the crowd our Petrovskiy Gothic old castle: Circular towers, spirals of chimneys, ogives of windows; Cut of white stone are its columns, its walls are dark red. There, in the dark dense and wide greenery of ancient pine trees, Merry and stately, it stands, a grandsire 'mid merry young grandsons. This Mihail Dmitriev (1796—1866) was Ivan's nephew and Pushkin's Zoilus. 4—14 Fires had already started here and there on Sept. 3/15, 1812, at the time of Napoleon's entrance into Moscow. He removed from his quarters in the burning Kremlin, in the center of Moscow, to Petrovskiy Castle, in the western suburbs, on Sept. 4. The following day was overcast. A downpour at night and rain on the sixth extinguished the conflagration. XXXVIII

6-14 There is a slight echo of Tatiana's dream in this accumulation of impressions. 9 / Bokharans / Buhdrtsi: Inhabitants of Bokhara (Bohara, Buhara), Russian Asia, north of Afghanistan. In Moscow they were hawkers of Oriental wares, such as Samarkand rugs and robes. 114

Seven: XXXVIII-XL 1 3 / lions on the gates: Lions of iron or alabaster, painted a reptile green and put up, generally in pairs, on or before house gates, as heraldic intimations. In their jaws they often held imposing iron rings, which, however, were only symbolic since they in no way controlled the opening of the gates. In Pisemski's A Thousand Souls, a kind of Russian Le Rouge et le Noir, and on the same level of paltry literary style, there is an amusing passage concerning leonine ornaments (pt. iv, ch. 5): On almost every holiday [the scene is laid in a provincial town], this rake and his valet would perch on the gateposts, tuck up their legs, put great rings in their mouths, and, forming certain grimaces with their noses, would represent, rather accurately, lions. VARIANTS

6-14 In canceled drafts (2368, f. ztf) the list includes "dummies in wigs," "bright-colored shop signs," "columns," "popes," "wenches," and "Germans." xxxix Perhaps a feigned omission to suggest the blurry repetition of trivial impressions. XL

3 / by St. Chariton's / u Haritdrtya: A Moscovite identified his habitation by its proximity to this or that church. The saint figuring here was a martyr in the Orient, under Diocletian, about 303. Pushkin lodged the Larins in the same "upper-class residential" quarter where he had spent several years as a child. St. Chariton's parish was in East Moscow, so that is why the Larins, who entered by the western gate, had to traverse the entire city.

Commentary Our poet was born (May 26, 1799) in a rented house, long gone, in Nemetskaya Street (now renamed Bauman Street in honor of a young revolutionist killed in 1905 in an affray with the police). The autumn and winter of 1799 w e r e spent at the maternal estate of Mihaylovskoe, province of Pskov. After a brief stay in St. Petersburg, the Pushkin family lived again in Moscow, from 1800 to 1811, with summer sojourns at Zaharino (or Zaharovo), an estate acquired in 1804 (and sold in 1811) by our poet's maternal grandmother, Maria Gannibal, in the Zvenigorod district, some twenty-five miles from Moscow. The Pushkins resided (from 1802 to 1807), at No. 8 Greater Haritonievski Lane. Our poet's uncle, Vasiliy Pushkin, lived in Lesser Haritonievski Lane. For some of the information in this note I am indebted to Messrs. Levinson, Miller, and Chulkov, joint authors of Pushkinskaya Moskva (Moscow, 1937), and to N. Ashukin's Moskva v zhizni i tvorchestve A. S. Pushkina (Moscow, 1949)XLI

12 / by St. Simeon's / u Simeona: Simeonovskiy Lane in that parish (see n. to XL : 3). St. Simeon Stylites the Elder (39O?~459) was a Syrian hermit who spent thirtyseven dull years on a pillar about sixty-six feet high and about three feet in width. 13 The "Christmas Eve" establishes the date of the arrival of Tatiana and her mother in Moscow (January or February, 1822). VARIANTS r

9-10 Draft (2371, f. 74 ): Coz, you remember Grandison, and at our house that ball? . . .

Seven: XLI-XLV 13-14 Canceled draft (ibid.): He is a Senator, he's got a married son, he visited me recently. XLII

1 / As to the other / A tdt: Tot here may also mean "the latter." In fact, it is not too clear whether Aunt Aline is still speaking of the son of her cousin's former beau or is referring to that "other Grandison" who formerly courted her, Aline. XLIII

1 1 / The darkness thins / Redeet sumrak: An English poet would have said: "Night wanes" (e.g., Byron, Lara, beginning of can. 11). XLIV

8-14 It is not at all clear where and when these Moscow relatives could have seen Tatiana as a child. We may suppose that some of them had visited the Larins in the country. 11/ And since I pulled you by the ears: Cf. Griboedov, Woe from Wit, act ill, 11. 391-92 (Beldam Hlyostov's speech): You, I recall, danced with him as a child, I used to pull him by the ears—too seldom! XLV

3-10 Aunt Aline (Frenchified diminutive of Aleksandra), Pauline Larin's cousin, whom we have already met, and this Aunt Elena are both spinsters and presumably sisters; both come from a titled family (they might be the Princesses Shcherbatski). Lukeria Lvovna (i.e., daughter of Lev) is presumably another grandaunt of Tatiana's.

u7

Commentary Lyubov, Ivan, and Semyon are evidently siblings, their father being Pyotr, possibly the father of Dmitri Larin. Palageya or Pelageya, daughter of Nikolay, may be a cousin of either Dame Larin or her late husband; and M. Finemouche may have been a former tutor of Pelageya's children. 12 / sedulous clubman / kluba Men isprdvniy: Presumably a member of Moscow's so-called English Club (which was neither "English," nor, strictly speaking, a "club"), famed for its good food and gambling tables. It had at the time about six hundred members. This Moscow English Club should not be confused with the considerably more fashionable St. Petersburg English Club, with three hundred members, founded Mar. 1, 1770, by one Cornelius Gardiner (appearing as Garner in Russian sources), an English banker. VARIANT

14 The separate edition (1830) has: and just as gravely catches flies. XLVI

2 / Moscow's young graces / Mladi'e grdtsii Moskvi: A most melodious line. The first syllable lingers voluptuously on the m before resolving itself in the liquid Oriental la of the vowel; then another foot touches off the ardent roll of grdtzii (which has the full sound of the Italian grazie), flowing on to a dying scud in the third foot. 12 Moscow and Petersburg fashions closely followed Paris and London, so that this passage—C. Willett Cunnington, English Womerts Clothing in the Nineteenth Century (London, 1937), p. 95—is relevant: 118

Seven: XLVI-XLIX All through the decade [1820-30] there was a steady increase in the apparent size of the [female] head, and especially in the breadth. The hair, instead of hanging in vertical ringlets by the side of the face [as was still fashionable in 1822], was now [c. 1824] puffed out in curls on the temples, causing the face to assume a round shape. XLVII

5 / Pushkin is at his best in evolving the erotic euphony of this line, with its petaled p's and lapping Z's; and indeed the entire passage portraying those soft Muscovite demi-vierges, whom he knew so well, is lovely. The madrigal to the majestic lady in Seven : LII is considerably more formal and trite. XLIX

1 / *'archival youths" / Arhivni yunoshi: A nickname coined by Pushkin's friend Sobolevski (according to Pushkin, in the draft—MB 2387A, f. 221"—of some critical notes, autumn, 1830) for denoting his, Sobolevski's, colleagues, young men of gentle stock enjoying soft jobs at the Moscow Archives (Office of Records) of the Ministry of Foreign Affairs (Moskovskiy arhiv kollegii inostranmh del; see also n. to Two : xxx : 13-14). Pushkinists have made halfhearted attempts to explain the attitude our poet supposes that these youths would take toward Tatiana by the fact that the office harbored certain Muscovite litterateurs (such as Prince Odoevski, Shev'iryov, and Venevitinov) who were immersed in Germanic mists of idealistic philosophic thought (Muscovized Schelling, especially) that were foreign to Pushkin's mind. In the draft (1-4), however, Pushkin had the archival youths enthusiastically admire "the dear girl." It may be recalled that the prig and toady Molchalin, 119

Commentary in Griboedov's Woe from Wit, is also attached to the Archives (act in, 1. 165), or, as an English commentator has it, "[is] on the rolls of the Records Office'' {Gore ot uma, ed. D. F. Costello [Oxford, 1951], p. 177). Pushkin's Zoilus, the minor poet Mihail Dmitriev (see n. to xxxvn : 2), was also employed there. The employment was nominal; and the choice of that branch of civil service among young men who did not care to go into the army was owing to the fact that of all nonmilitary institutions only the Foreign Office (to which, in Moscow, only the Archives belonged at the time) was considered, in the 1820's, a fit place for a nobleman to serve. 5 The "sad coxcomb" {shut pechdVniy) is replaced in the draft (2368, f. 3i v ) by "of Moscow dames the sad poet," and there are canceled readings: podt pechdVniy i zhurndVniy ("topical") and po6t buVvdrniy ("cheap," "popular," "meretricious"). Cf. vol. 2, p. i6n. Shut has a variety of meanings, the main semantic subspecies being: court jester, clown, punchinello, and a jocose euphemism for "devil" and "house goblin," whence branches the (familiar and good-natured) equivalent of "rascal" in the parlance of Pushkin's time (a Gallicism, le drole; see n. to XLIX : 10). 10/ V[yazemski]: The name is completed in the draft (2368, f. 3i v ). There is something very pleasing in Pushkin's device of having his best friends entertain his favorite characters. In One : xvi: 5-6, Kaverin is there to meet Onegin at a fashionable Petersburg restaurant, and now Vyazemski in Moscow, by alleviating Tanya's boredom with his charming talk, provides her with the first moment of pleasure she has experienced since she left her dear woods. The bewigged old party who is fascinated by 120

Seven: L-LI Vyazemski's new acquaintance is of course not Prince N., Onegin's former fellow rake, now a fat general, whom Tatiana will presently meet, but a kind of forerunner. Vyazemski, in a letter to his wife, from Petersburg, Jan. 23, 1828, writes in reference to the fragment of the chapter that had come out in the Moscow Herald: Pushkin's description of Moscow does not quite live up to his talent. It is limp and frigid, although, of course, containing many nice things. The rascal [shut] put me in, too. The critic N. Nadezhdin, reviewing the chapter in the Messenger of Europe {Vestnik Evropi), 1830, found that the description was made in a manner "truly Hogarthian" (istinno Gogartovskiy). L VARIANTS

11-14 Contrary to the final text, Pushkin in his draft (2368, f. 32r) had Tatiana create quite a stir in the theater: lorgnettes and spyglasses did turn toward her; and the stanza is followed by the false start of La (f. 32V), 11. 1—3: Questions were bruited in the pit: who is that on the right-hand side, in the fourth box? . . . LI

/ Sobranie / Sobrdn'e: Vigel thus describes its appearance in the beginning of the nineteenth century; Zapiski (Moscow, 1928), I, 116: A three-story palace, all white, all full of columns, so brightly lit that it seemed on fire . . . and at the end of a ballroom, on a pedestal, the marble effigy of Catherine smiling upon the general gaiety. 121

Commentary The full name of the club (founded in 1783) was, since 1810, the Russian Assembly of Nobility (Russkoe blagorodnoe sobranie). It was also known as Dvoryanskiy Klub or Club de la Noblesse. 13—14 / haste to arrive . . . flash . . . and wing away: A wellknown intonation in Western poetry. Cf. Moore, Lalla Rookh: u The Fire-worshippers" (5th edn., London, 1817, p. 184): To show his plumage for a day To wondering eyes, and wing away! VARIANTS

10-11 A draft (A. Onegin coll., PD 156) reads: an empty head, a corset, starched neckcloth, quizzing glass . . . with the cancellation (1. 11): here a starched pedant . . . Lia

1-4 A draft (Maykov coll., PD 108), continuing LI, reads: How ^vividly) did caustic Griboedov in a satire describe the grandsons as had F[on]v[izin] the grandsires described! Moscow 1816, imitating Parny's Ddguisements de Vdnus, IX, 1808 edn.): The young nymph dropped back. I then followed her—she fled . . . Nimfa yunaya otstdla. Yd za ney . . . ond bezhdla . . . 21 am reminded by the intonation of Pushkin's line, and by the sense of Batyushkov's trochaic one, of a line in The Fall, a poem by Sir Charles Sedley (c. 1639-1701), of whom neither could have known anything: 150

Eight: IV I followed close, the Fair still flew . . . 2 / fled afar; 6 / Caucasia's crags; 9 / shores of Tauris; v : 3 / Moldavia; 11 / in my garden: Pushkin's peregrinations have been alluded to several times in this commentary. After he fled (or rather was expelled) from Petersburg in the beginning of May, 1820, Pushkin spent most of the summer in the Caucasus and then stayed for three weeks in southern Crimea. These two stages are commemorated by the first draft of The Caucasian Captive (begun August, 1820) and The Fountain of Bahchisaray, which he wrote at his next official domicile, Kishinev, in the general region of Moldavia or Bessarabia (the scene of his Gypsies, 1823-24), where he had his headquarters from autumn, 1820, to summer, 1823, thence moving to Odessa. "My garden" refers to his countryseat Mihaylovskoe, in the province of Pskov, to which he was confined by governmental order from August, 1824, to September, 1826. It has become a commonplace with commentators to deplore Pushkin's "exile." Actually, it may be argued that during those six years he wrote more and better than he would, had he remained in St. Petersburg. He was not permitted to return to the capital; this no doubt greatly irritated our poet during his years of provincial office and rural seclusion (1820-24, 1824-26). The biographer should not, however, exaggerate the hardships of his banishment. His chief, General Inzov, was a cultured and sympathetic person. Pushkin's vegetation in Kishinev was an easier life than that of many a military man gambling and drinking in the provincial hole where his duty took him and his regiment. His life of fashionable dissipation and romantic adventure in gay, sophisticated Odessa was a very pleasant form of exile indeed, despite his feud with Count Vorontsov. And the quiet of Mihaylovskoe, with the friendly Osipov family

Commentary at the end of the pinewood ride, was in fact sought out by our poet again very soon after he was permitted to reside where he wished. 6 / on . . . crags / po skaldm\ 9 / on the shores / po bregdm: The preposition po cannot be rendered by one word in English. It combines the idea of "on" {na) and that of "along" (vdoV). 7-8 / Ond Lendroy, pri lune> | So mnoy skakdla na hone: Lenore is the celebrated ballad written at Gelliehausen, near Gottingen, in the summer of 1773, by Gottfried August Burger (1747-94). He had been assiduously reading the Reliques of Ancient English Poetry (3 vols., London, 1765), collected by Thomas Percy (1729-1811), later Bishop of Dromore. Lenore consists of 256 lines, or thirty-two stanzas of eight iambic lines, with a rhyme scheme going babaccee and with the masculine-ending lines in tetrameter and the feminine-ending ones in trimeter—a most ingenious arrangement. This pattern is exactly imitated by Zhukovski in his mediocre translation of 1831 (Lenora), and is exactly the stanza of Pushkin's The Bridegroom (Zhenih, 1825), a poem far surpassing in artistic genius anything that Burger wrote. His Lenore owes a great deal to old English ballads; his achievement is to have consolidated and concentrated in a technically perfect piece the moon-tomb-ghost theme that was, in a sense, the logical result of Death's presence in Arcadia, and the cornerstone of Goethe's Romanticism. Scott's version of the ballad—William and Helen (1796)—is well known (11. 113-16): We saddle late—from Hungary I rode since darkness fell; And to its bourne we both return Before the matin-bell. 152

Eight: IV Incidentally, the idea of magically rapid transit occurs, with a curious echoing ring about it, in The Song of Igor's Campaign, where in one famous passage or interpolation, concerning a necromancing prince (Vseslav, Prince of Polotsk, 1044—1101), the latter is said to have been able to travel ("enveloped in a blue mist") so fast across Russia that while the matin bells were ringing at his departure from Polotsk he would be in time to hear them still chiming in Kiev; and from Kiev he would reach the Black Sea before cockcrowing. This Vseslav is a kind of Slavic Michael Scot (c. 1175-c. 1234). Zhukovski imitated Burger's Lenore twice: in 1808 {Lyudmila, an approximate version, in 126 tetrametric couplets, among which we find one of the sources of Pushkin's information on Lenore in such a passage as: "the moon glistens, the dale silvers, the dead man with the maid gallops") and in his wonderful ballad of 1812, Svetlana, which I discuss in my n. to Three : v : 2—4. Zhukovski had German, but most Russian men of letters knew Burger's ballad only from Mme de Stael's De VAllemagne, which contains an analysis of it, and from French versions. The title of the first French version beautifully brings out the method: Leonora, "traduction de l'anglais" (i.e., based upon W. R. Spencer's English version) by S. Ad. de La Madelaine (Paris, 1811). Another ridiculous French imitation came from the dainty pen of Pauline de Bradi (Paris, 1814), who at least knew the German text. I think that this is the model of Pavel Katenin's Olga (1815), a clumsy thing in trochaic tetrameter. A much finer French version is Paul Lehr's Ldnore (Strasbourg, 1834): Ses bras de lis etreignent son amant, Au grand galop ils volent hors d'haleine . . . This is excellent music, though only a paraphrase of Burger's 11. 148-49.

Commentary After Lenore, grieving over her William's absence, has thoroughly upbraided Providence (this passage was considerably toned down by Zhukovski), her lover, a dead man by now, conies to fetch her (11. 97-105): Und aussen, horch! ging's trap trap trap, Als wie von Rosseshufen, Und klirrend stieg ein Reiter ab, An des Gelanders Stufen; Und horch! und horch! den Pfortenring Ganz lose, leise klinglingling! Dann kamen durch die Pforte Vernehmlich diese Worte: "Holla, Holla! Thu auf, mein Rind! . . ." The horseman warns Lenore that it is a hundred-mile ride to their nuptial bed in Bohemia, and, as transpires after a few more stanzas, this bed is his grave. Off they go in the famous lines (149): Und hurre hurre, hop hop hop! . . . and (157-58): . . . Der Mond scheint hell! Hurra! die Todten reiten schnell! At one point (st. xxv) they pass by a gibbet in the stark moonlight. I have often wondered why Pushkin chose to identify his Muse with that frightened girl, and although no doubt his choice may be understood as an acknowledgment of the romanticism that used to tinge his early inspirations, one is tempted to decipher the figures of five spectral Decembrists dangling from those gallows by the autobiographical road over which he swiftly passes in his retrospective fancy of 1829. 12 / Nereid's / Nereidv. A sea nymph, daughter of the seagod Nereus.

Eight: V VARIANT

1-4 The fair copy reads: But fate at me cast looks of wrath and bore me far. . . . She followed me. How oft the gentle maid would sweeten the nocturnal hour . . .

3 / Moldavia: Moldova in Romanian; part of the province of Bessarabia, extreme SW Russia. It has already been mentioned with the same intonation of melancholy remoteness in One : VIII : 13. 4-9 Pushkin has in mind his impressions of 1820-23, w n e n he resided in Kishinev, capital of Bessarabia, and on two or three occasions toured the surrounding country. Thus, in December, 1821, he took a ten-day trip to Izmail. He revisited Moldavia briefly in January, 1824, going to Tiraspol and Kaushani (Kaushany), where he sought in vain the traces of Mazepa's grave. The main artistic result of all this was The Gypsies (Tsigani), a romantic poem of 549 iambic tetrameters, begun in winter, 1823, in Odessa and finished in a fair copy Oct. 10, 1824, at Mihaylovskoe. "The scant, strange tongues and songs of the steppe" refers to two pieces: (1) some indifferent couplets in amphibrachic tetrameter composed by Pushkin Nov. 14, 1820, and called Moldavian Song (known as The Black Shawl), which became a popular ballad (and is said to have enjoyed, in a Romanian version, a new lease of life as a "folk song"), and (2) the excellent little song of twenty anapaestic dimeters given Zemfira to sing in The Gypsies:

Commentary Husband old, husband fierce, cut me \rezK menyd], burn me [zhgi menjra]\ I stay firm, unafraid of the knife or the fire. There is said to be a genuine Moldavian gypsy song that goes "arde-ma, fride-ma" (fide Pushkin). In Romanian, arde is "to burn" and fride, "to fry" (Leonid Grossman, Pushkin [Moscow, 1939], trans-

literates ardi ma,fridzhe ma).

George Henry Borrow (1803-81), Targum; or, Metrical Translationsfrom Thirty Languages and Dialects (St. Petersburg, 1835), p. 19, renders the song of Pushkin's Zemfira as: Hoary man, hateful man! Gash my frame, burn my frame; Bold I am, scoff I can At the sword, at the flame. Prosper Merimee, in his inexact and limp prose version of Pushkin's poem, Les Bohe'miens (1852), renders Zemfira's song as "Vieux jaloux, mediant jaloux, coupemoi, brule-moi," etc.; and thence it is in part transferred by Henri Meilhac and Ludovic Halevy, in their libretto of Georges Bizet's opera Carmen (1875), based on Merimee's novella of that name (1847), to Carmen, who derisively sings it in I, IX. Finally, Ivan Turgenev translated this nomadic song from The Gypsies for Edmond de Goncourt, who gives it as a "chanson du pays" to the gypsy woman Stepanida Roudak (also supplied by his Russian friend) in his mediocre Les Freres Zemganno (1879), c n - 8: Vieux epoux, barbare epoux, Egorge-moi! brule-moi! and the last quatrain: i56

Eight: V Je te hais! Je te meprise! C'est un autre que j'aime Et je me meurs en l'aimant! 11 See n. to Eight : IV : 2, 6, 9. 13—14 / 5* pechdVnoy dumoyu v ochdh, | S Frantsuzskoy knizhkoyu v rukdh: Perhaps this is better rendered by: sad brooding in her eyes, a French book in her hands. This sounds like a neat little summary of the closing lines of La Melancolie, by Gabriel Marie Jean Baptiste Legouve (1764-1812): . . . tendre Melancolie! Ah! si l'art a nos yeux veut tracer ton image, II doit peindre une vierge, assise sous l'ombrage, Qui, reveuse et livree a de vagues regrets, Nourrit au bruit des flots un chagrin plein d'attraits, Laisse voir, en ouvrant ses paupieres timides, Des pleurs voluptueux dans ses regards humides, Et se plait aux soupirs qui soulevent son sein, Un cypres devant elle, et Werther a la main. (JVerther, pronounced "Verter," rhyming with vert— abbreviated title of Goethe's novel in a French version.) VARIANT

10 A fair-copy variant of this line reads: but the wind blew, the thunder crashed . . . The allusion is to the events of July, 1824—Pushkin's expulsion from the civil service, and from Odessa, to rustication at Mihaylovskoe.

Commentary VI

2 / high-life rout / svdtskiy rdut: The term raut was still used in St. Petersburg society as late as 1916. Vyazemski, in a letter to his wife (Aug. 1, 1833), has the jocular barbarism, fastionaheVniy raut. The French called it raout. 3 / steppe / stepnte: In a larger sense than the "steppe" of V : 9; "agrestic." 6 / Voennih frdntov, diplomdtov: It has been suggested (I do not remember by whom) that perhaps a misprint in all three editions (1832, 1833, and 1837) caused a comma to disappear after voennih, a word that may mean either "military" or "military men." The comma would, of course, give the line a much more Pushkinian cut (besides disposing of the rather too-ostentatious image of "military fops"): of military men, of fops, of diplomats. 14 / around . . . about / Vkrug . . . dkolo: The comparison is trivial, and the expression, clumsy. The whole stanza, in fact, is poor. VARIANTS

5 The separate edition of Eight (1832) has: Through an array of pompous magnates . . . The draft of this stanza is on the cover of the fair copy of the canto. 10-11 Draft (2387A, f. i7 r ): the slow turmoil of guests, apparel, feathers, speech . . .

Eight: VI-VIII VII

6 / nebulous / tumdnniy. "Misty," "bemisted," "with clouded brow''(a synonym of pasmurniy, "overcast," and sumrachniy, "somber," tdnebreux, as used to characterize Onegin). VARIANTS

1-7 Fair copy: Who there among them in the distance as a superfluous something stands? With none, it seems, is he in contact, he speaks to hardly any man he seems a stranger everywhere. And these canceled lines in the fair copy (4-6): lost, and forgotten, and alone, among the young aristocrats, among the transient diplomats . . . VIII

1 / grown more peaceful / usmirilsya: The connotation is "tamed by life," "quieted down" in relation to "passions," etc. 2 / kdrchit. . . chudakd: The verb korchif combines two ideas: "to pose" and "to grimace." Impersonation rather than imitation is implied, and this precludes the use here of "to ape" or "to mimic." 5-7 Maturin's Melmoth the Wanderer, VHomme errant, with the stamp of Fate and Eternity on his livid brow (see n. to Three : xn : 9).

*59

Commentary "Cosmopolitan," a person at home in any country, but especially in Italy if an Englishman, and in France if a Russian. Onegin, however, had never been abroad. "Patriot," a nationalist, a Slavophile. We know from Onegin1 s Journey, on which he started early in 1821, that he had gone through that phase and had come back disillusioned to Petersburg in August, 1824. Byron's Childe Harold, friend of the mountains, companion of the caverns, familiar of the ocean, but in man's dwelling a restless stranger who looks at the painted world with a smile of despair and crushes his enemies with the curse of forgiveness. "Quaker," a member of the Society of Friends, the religious sect founded by George Fox in England in the middle of the seventeenth century. "Bigot," a blind worshiper of his own intolerance. The bizarre beau of the time, while sitting in a state of torpor with his feet on the bars of the grate, might balance "between becoming a misanthrope and a democrat" (Maria Edgeworth, Ennui, ch. 5).

VIII-IX

Brodski's well-developed sociological ear distinguishes in the reported speech of these stanzas (and in xil : 1-7) a volley of abuse hurled at Onegin by conservative aristocrats. This is, of course, nonsense. Brodski forgets that Tatiana, too, questioned Eugene's genuineness. Actually, the hubbub of queries and answers here is a kind of artistic double talk on our poet's part. The reader must be made to forget for the time being that Onegin is Lenski's murderer. The "sensible people" (xil : 4) are merely the imagined reviewers of the canto. The state160

Eight: VIII-XII merits that we are busybodies, that we dislike wit and cling to traditional values, had been the stock in trade of literary eloquence since the birth of satire and should not be taken seriously here. If they are, the whole passage becomes meaningless since such a phrase as "the rashness of fiery souls" is the last thing we could think of applying to Onegin, and such phrases are really smuggled in here only to create the right atmosphere for and prepare the transition to Onegin's passionately falling in love with Tatiana.

IX

8 / Chto urn, fyubyd prostdr, tesnit: The meaning is: intelligence, needing elbowroom, squeezes fools out. Prostor has several meanings, all depending on the idea of spaciousness, such as "scope," "range," "open expanse," etc. The word for "space" itself is prostranstvo. 12, I grave are trifles / vdzhni vzddr'i: Cf. Andre Chenier, La Republique des lettres, frag. VIII (ed. Walter): "S'il fuit les graves riens, noble ennui du beau monde . . . "

X, XI, XII

These three stanzas, composed in Moscow, are dated by Pushkin Oct. 2, 1829. They were at the time visualized by him as the beginning of the canto (note the proemial ring of x), which was to contain Onegin's Journey and which was to come after Chapter Seven. The established text to Eight (then Nine) was begun Dec. 24, 1829, in St. Petersburg, at Demut's Hotel. A fortnight later in a letter to Benkendorf, he asked permission (which was 161

Commentary refused) to go abroad as a private citizen—or to accompany a Russian mission to China.

1 The not-very-new advice to be*'young in one's youth''had already been extended by Pushkin in a short poem of 1819 to the poetaster Yakov Tolstoy ( I 791-1867)»whom he had met at dinners of the Green Lamp, another of those champagne clubs to which commentators are prone to ascribe too much revolutionary and literary significance. 3 Miss Deutsch serenely rhymes (with "merry"): Who ripened, like good port or sherry . . . XII

1-7 See n. to Eight:

VIII-IX.

7 A reference to Pushkin's poem The Demon (October or November, 1823). It will be noticed that the first lines of this poem, given below, prelude Eight: 1 : 1: In those days when to me were new all the impressions of existence— and eyes of maids, and sough of grove, and in the night the singing of the nightingale; when elevated feelings, freedom, glory, and love, and inspired arts, so strongly roused my blood; the hours of hopes and of delights with sudden heartache having shaded, then did a certain wicked genius begin to visit me in secret. Sad were our meetings: 162

Eight: X-XII his smile, his wondrous glance, his galling speech, cold venom poured into my soul. With inexhaustible detraction he tempted Providence; he called the beautiful a dream, held inspiration in contempt, did not believe in love, in freedom, looked mockingly on life, and nothing in all nature did he desire to bless. This "demon" is connected with the "Byronic" personality of Aleksandr Raevski (1795-1868), whom Pushkin first met in Pyatigorsk in the summer of 1820 and of whom he saw a good deal in Odessa, in the summer of 1823, and at intervals later, till the summer of 1824. In the draft of a letter to him, October, 1823, Pushkin calls Raevski his "constant teacher in moral affairs" and remarks upon his "Melmothlike character." When, in pt. in of the literary almanac Mnemosyne (c. Oct. 20, 1824), this piece appeared under the title My Demon (changed to The Demon when republished in the Northern Flowers for 1825 and in Pushkin's Poemsy 1826, from which text I translate it), some readers thought they recognized Raevski, and Pushkin wrote, but did not publish, a refutation. In this MS note (1827) our poet, writing of himself in the third person, advises readers that his Demon is to be regarded not as the portrait of any particular individual but as the spirit influencing the morality of the age, a spirit of negation and doubt {Works 1936, V, 273). Pushkin left a tentative continuation of The Demon in rough draft, of which the last lines read: I started looking with his eyes with his dim words my soul would sound in unison . . .

Commentary Very similar lines Pushkin planned to use at one time in continuation of One : XLVI (see n. to 11. 5-7 of that stanza). An interesting sequel to all this comes in the form of Pushkin's poem The Angel, which is a kind of amendment to The Demon. It is a not-uncolorful but on the whole mediocre little poem, a cross between the Byronic elegy and the Gallic madrigal, marked by very routine rhymes and a telltale poverty of scud modulation* (o, ill, ill, ill, I, in, ill, ill, o, O, ill, in, in contrast to the rhythm of The Demon: O, I—ill, O, III, III, ill, I—ill, II, i l l , i l l , O, II, O, O, i l l , O, I—ill, 1—in, i n , 1—in, o , 11, I, I—ill).

It was first published in the 1828 issue of the Northern Flowers and then appeared, in the form in which it is here translated, in Pushkin's Poems (1829), where it is dated 1827. Here it is: The Angel At Eden's door a tender Angel let sink his radiant head, while, gloomy and restless, a Demon flew over hell's abyss. The spirit of negation, the spirit of doubt gazed at the stainless spirit and an involuntary glow of tender feeling for the first time he dimly knew. Quoth he: "Forgive me, I have seen you, and your radiance has not been lost on me: not everything in heaven I hated, not everything on earth I scorned." It is surmised that the thing refers to Countess Vorontsov and Aleksandr Raevski, thus consolidating the presumed link between the fictional Onegin and the stylized Raevski (see n. to One : XLVI : 5-7). A decade later, from these two poems the main strain of Lermontov's romantic epic Demon was evolved.

•See App. II, "Notes on Prosody."

164

Eight: XIII 9-14 The intonation here, especially in 1. 13, is very like that in a passage of Chateaubriand's Rend (ed. Weil, pp. 41—42): "Sans parens, sans amis, pour ainsi dire seul sur la terre, n'ayant point encore aime, j'etois accable d'une surabondance de vie." 13 / Bez sluzhbi, bez zheni, bez del: Without any military or civil position in the government service; without a wife; and without any affairs, private or professional.

XIII

1 / A restlessness took hold of him . . . / Im ovladelo bespokdystvo: A Gallicism; e.g., Chateaubriand, Memoires d'outre-tombe, entry of 1838, on the death of the Duke of Enghien (ed. Levaillant, pt. 11, bk. iv, ch. 2): ". . . II me prend . . . une inquietude qui m'obligerait a changer de climat." See also Maria Edge worth, Ennui, ch. 1: " . . . an aversion to the place I was in . . . a childish love of locomotion." 2 / toward a change of places / k peremene mest: The same Gallicism [changement de lieu) occurs in Griboedov's Woe from Wit, act IV, 11. 477-79: Those feelings . . . which were not cooled in me either by distance, or by amusement, or by change of places. This is also curiously close to the description of Lenski's constancy in Two : xx : 8-14: Neither the cooling [quality of] distance, nor the long years of separation . . . 10 / Dostupniy chuvstvu odnomu: An ambiguous line. "Accessible to one sensation only" (say, ennui or remorse) or i65

Commentary "moved only by feeling" (not "reason")? Neither makes good sense. 14 / from boat to ball / s korablyd na bdl: An allusion to Chatski's arrival, in I, vii, of Griboedov's Woefrom Wit. He suddenly makes his entry on a winter morning, in 1819, at Famusov's house in Moscow, whither he returns after three years spent in foreign climes (act 1, 1. 449). He has driven more than seven hundred versts (above four hundred miles) in forty-five hours (1. 303), without stopping, i.e., traveling post. This obviously refers to the St. Petersburg-Moscow stretch. He has come via Petersburg from abroad, apparently from a watering resort (in Germany? Liza's remark, 1. 277, may also be construed as his having visited the Caucasus for his health at the start of his journey). He has, it would seem, been to France (obliquely mentioned in ill, viii). The korabV ("ship," "boat") in Pushkin's reference is a telescoped reminiscence of Chatski's having arrived in Russia from abroad, evidently by water (i.e., the Baltic), and of Sofia's (act 1,1. 331) observing that she had been inquiring even of sailors if they had seen him passing in a mail coach. The "ball" refers to the party given at the close of the same day at Famusov's house in act ill. At first blush, it would seem that Onegin has arrived in St. Petersburg by sea from a foreign country beyond the Baltic. But various complications arise: How far—if at all—should one be influenced in one's understanding of the established text by details of plot and characterization explicitly mentioned by the author only in such MS passages as he had preserved but not published? And if some degree of influence be admitted, should it depend on the category of the MS (draft, fair copy, struck-out readings, etc.), as well as on special 166

Eight: XIII

reasons for its not being published by the author (e.g., pressure of censorship, fear of offending the living, etc.)? I am inclined to rely on the established text only. In the established text of EO we find nothing of a positive nature to exclude the possibility of Onegin's having returned to Russia from a trip to western Europe (after the visit to the shores of the Black Sea, described in the passages of OnegirCs Journey published by Pushkin). When using all the material we have, we find that, starting from St. Petersburg (where he had arrived soon after his duel) in summer, 1821, Onegin traveled to Moscow, Nizhni, Astrahan (Astrakhan), and the Caucasus, was in the Crimea in autumn, 1823, then visited Pushkin in Odessa, and in August, 1824, returned to St. Petersburg, thus closing the complete circle of his Russian tour, with no possibility of any trip abroad. When in Eight: xix Tatiana casually asks Onegin whether he had come to St. Petersburg from his country place, his reply is not given, but we can easily hear Onegin answering: "No, I came straight from Odessa''; but only by a great effort of the imagination can we have him say: "As a matter of fact, I was abroad: traversed western Europe from Marseilles to Liibeck—enfin, je viens de debarquer." I would suggest, without probing the problem any further, that the transition from deck to dance has no geographic reality and is a mere literary formula derived from a situation in Woe from Wit, where the "ship" is also more or less of a metaphor. See my nn. to Onegin}s Journey, where I give all variants and rejections. There is another little problem here: logically, the events and moods described in the twenty-one lines from XII: 8 to the end of xill seem to represent a consecutive series, and then Onegin should be twenty-nine now, in 1824; but stylistically one might be tempted to regard the whole of Xill as merely an illustration and developi67

Commentary ment of the comments closing the preceding stanza (xii : 10—14), a n d then Onegin would be twenty-six now, in 1824, in which case a pluperfect turn (which Russian does not possess) should be given to Xin ("A restlessness had taken hold of him," etc.). xiv-xv In these two stanzas Tatiana's entrance with Prince N., her husband (the "imposing general" of xiv : 4), is observed by Pushkin's wide-awake Muse, not by sluggish and sulky Onegin. He will notice her only in xvi (beginning with 1. 8), by which time she has joined another fashionable lady. Meanwhile Prince N. has walked up to his kinsman—whom he has not seen for several years —and the Spanish ambassador is paying his respects to Tatiana. xiv 9 / without those little mannerisms / Bez etih mdlen'kih uzhimok: Fr. sans ces petites mignardises. ". . . Whatever is evidently borrowed becomes vulgar. Original affectation is sometimes good ton; imitated affectation always bad," writes Lady Frances to her son Henry Pelham in Edward Bulwer-Lytton's tedious Pelham; or, Adventures of a Gentleman (3 vols., London, 1828), vol. I, ch. 26, a work that Pushkin knew well from a French version (which I have not seen): Pelham, ou les Aventures &un gentilhomme anglais, tr. ("librement") Jean Cohen (4 vols., Paris, 1828). 9-10 / mannerisms . . . devices: Although the following beautiful passage refers not to Russian wives of the 1820's but to English misses of a century before, it does convey some idea of what these airs and mannerisms 168

Eight: XIV

might be; letter signed Matilda Mohair, written by Steele, The Spectator, no. 492 (Sept. 24, 1712): Glycera has a dancing Walk, and keeps Time in her ordinary Gate. Chloe, her Sister . . . comes into the Room . . . with a familiar Run. Dulcissa takes Advantage of the Approach of the Winter, and has introduc'd a very pretty Shiver, closing up her Shoulders, and shrinking as she moves. . . . Here's a little Country Girl that's very cunning. . . . The Air that she takes is to come into Company after a Walk, and is very successfully out of Breath upon occasion. Her Mother . . . calls her Romp . . . 13 / comme ilfaut\ xv : 14, "vulgar": In a letter to his wife from Boldino to Petersburg, Pushkin wrote, Oct. 30, 1833: I am not jealous . . . but you know how I loathe everything that smacks of your Moscow missy, everything that is not comme ilfaut, everything that is *'vulgar." 13 / [Shishkov]: The reference is to the leader of the Archaic group of writers, Admiral Aleksandr Shishkov (1754—1841), publicist, statesman, president of the Academy of Sciences, and a cousin of my great-grandmother. Shishkov's name is left out in all three editions (1832, 1833, 1837), but the presence of its first letter (Sh) in the fair copy, and a marginal gloss by Vyazemski in his copy of the novel, settle a problem, to the solution of which all logic points. Poor Kiichelbecker was pathetically wrong when in his prison diary (entry of Feb. 21, 1832, Sveaborg Fortress) he bitterly hinted that the dots stood for his Christian name (Wilhelm) and that Pushkin was poking fun at his addiction to mixing Russian and French in his letters. Actually, he was closer in many ways to the Archaists than to the Moderns. Facetious references to the champion of Slavisms were frequent in the first third of the century. Thus Karam169

Commentary zin, Shishkov's amiable opponent, writes in a letter to Dmitriev, June 30, 1814: You are angry with me—or am I mistaken? . . . I know your ''tenderness" [nezhnost^—I would have said

"delicacy" [delikatnost\ Fr. delicatesse], but I fear Shishkov.

Shishkov had the following to say in 1808, in commenting on his own translation of two French essays by La Harpe (I quote from Pekarski's excellent notes to his and Grot's edition of Karamzin's letters to Dmitriev, St. Petersburg, 1866): The monstrous French Revolution, having trampled upon all that was based on the principles of Faith, Honor, and Reason, engendered in France a new language, far different from that of Fenelon and Racine. This is presumably a reference to Chateaubriand, whose genius and originality owed nothing, of course, to any "revolution"; actually, the literature produced by the French Revolution was even more conventional, colorless, and banal than the style of Fenelon and Racine; this is a phenomenon comparable to the literary results of the Russian Revolution, with its "proletarian novels," which are, really, hopelessly bourgeois. "Simultaneously," continues Shishkov, "our letters, too, following the model set by the new French and Frenchified-German literatures, started to lose all resemblance to Russian." This is an attack on Karamzin's prose of the 1790's. It was in order to stop this dangerous trend that Shishkov wrote, in 1803, his Dissertation on the Old and New Styles in the Russian Language, followed by an addendum in 1804. (Pushkin possessed an 1818 edition of that work.) What he attacked was liberal thought rather than Gallicisms and neologisms; but he is mainly remembered for the uncouth and artificial Russisms with which he attempted to replace the current terms that had been 1 jo

Eight: XIV automatically adopted in Russia from western European sources for the designation of a German abstraction or a French trinket. The struggle between him and the followers of Karamzin is of historical interest, * but it had no effect whatsoever upon the evolution of the language. On Mar. 25, 1811, Shishkov founded the group Beseda lyubiteley rossiyskogo slova (Concourse of Lovers of the Russian Verb). If we discount the nominal membership of two major poets, Derzhavin and Krilov, we can concur with Russian critics in defining the activities of the group as the naive recreations of elderly grandees. Its doomed purpose was to support "classical" (really, neoclassical or pseudoclassical) forms of Russian against Gallicisms and other infections. Another, younger, group of literary men took up the cudgels, and there ensued a rather insipid "literary war" on the lines of those querelles of the anciens with the modernes which are so tedious to read about in histories of French literature. It has been quite a tradition with Russian historians of literature, ever since the middle of the last century, to assign exaggerated importance to the Arzamas group, which arose under the following circumstances. Prince Shahovskoy, a Resedist, wrote and produced, Sept. 23, 1815, a weak play that contained a skit on Zhukovski (The Lipetsk Waters-, see my n. to One : xvill : 4—10). The future well-known statesman Count Dmitri Rludov (1785—1869) countered the attack on his friend with an (even more wretched) squib modeled on French polemical badinage and entitled A Vision in an Arzamas Tavern, Published by the Society of Learned People, Arzamas, a town in the province of Nizhni, was deemed as provincial as Lipetsk. It was famed for its poultry and was often mentioned in the gazettes because •Foreshadowing as it did the mid-century antagonism between the politico-philosophical Slavophiles {Slavyanofili) and Westerners (Zapadniki).

Commentary an artist of plebeian origin, with more energy than genius, Aleksandr Stupin (1775-1861), had founded there, about 1810, the first art school in Russia. The paradox (enlightenment coming from stagnation) tickled the Russian sense of humor. Moreover, Arzamas was a kind of incomplete anagram of Karamzin, the leader of the Moderns. Zhukovski and Bludov founded the Arzamas Society (Arzamasskoe obshchestvo bezvestnih lyudey, Arzamasan Society of Obscure People) Oct. 14, 1815, and the first meeting was held soon after. It was meant to stand up against the Ancients for colloquial simplicity of idiom and for modern forms of Russian (many of which had been more or less artificially derived from the French). The meetings of Arzamas consisted of roast-goose dinners followed by the reading of painfully facetious minutes and trivial verse. The carousers, of whom there were seldom more than half a dozen (out of the final number of twenty), donned red calpacks: these bonnets rouges are gloated upon by leftist commentators, who forget, however, that some of the heads that these caps covered belonged (e.g., in the case of the leaders of the group, Zhukovski and Karamzin) to ardent champions of monarchy, religion, and genteel literature, and that the thread of travesty that ran through the proceedings of the club precluded the presence of any serious political (or artistic) purpose. The club's juvenile symbols had a deadening effect on the few poems of Pushkin in which the Arzamas facetiae were reflected. It should also be remembered that Zhukovski's humor was at best that of a fabulist (e.g., monkeys and cats are a priori comic) and a child (the belly is comic). The nicknames by which the members of the group went were taken from his ballads: Zhukovski was Svetlana; Bludov, Cassandra; Vyazemski, Asmodeus; Aleksandr Turgenev, Eol's Harp; Vasiliy Pushkin, Vot (Fr. void, voiti, "here," "there," "lot"), I72

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and so on. When Pushkin joined this merry organization in the autumn of 1817, he was dubbed Sverchok (Cricket), the source being Svetlana, V, 13 (see my nn. to Five : x : 6 and xvn : 3-4). The whole affair, as so frequently happens with such things, soon became a bore and waned, despite Zhukovski's efforts to inject life into it. It disintegrated in 1818. If Shishkov's group was notable for its insufferable black-letter pedantry and reactionary attitudes, Arzamas, on the other hand, was characterized by an archness of humor that sets one's teeth on edge. Its liberalism (in contrast to the obscurantism of the Ancients) had no political significance: Zhukovski, for example, was as stanch a supporter of monarchy and religion as was Shishkov. Russian historians of literature have vastly overrated the importance of these two societies. Neither had any marked influence on the course of Russian literature, which, as all great literatures, is the product of individuals, not groups. From tactical considerations, Pushkin, in the months preceding the printing of the first canto of EO, voiced patriotic respect toward the leader of the Ancients. In his Second Epistle to the Censor (at that time, Aleksandr Biryukov, 1772-1844, who occupied the post from 1821 to 1826), consisting of seventy-two Alexandrines and composed late in 1824, Pushkin welcomed Shishkov as the new Minister of Public Education (11. 31—35): An honest minister our good tsar has elected: Shishkov already has the sciences directed. We cherish this old man. To honor, to the people, he is a friend. His fame is that of the year twelve; alone among grandees he loves the Russian Muses. For similar reasons Pushkin, in 1824, changed his attitude toward the Besedist Prince Shahovskoy (who had been the main scapegoat of the Arzamasists) and inserted a couple of flattering verses about him in Chapter One.

Commentary xv 4 / vzdr eyd ochey: Fr. Le regard de ses yeux. 7 Cf. Vyazemski, 1815, a tetrametric poem inscribed to Denis Davidov (11. 20-23): . . . a general's epaulets which often cause unconsciously the shoulders ' of some to rise . . . 12 The fair copy contains a much better epithet than ' 'autocratic/' namely "gentle-voiced" (tihogldsnoy). 14 / "vulgar": The Russian adjective vuVgarnly was soon to come into general use. In its more general sense of "common" and "coarse" the term is equivalent to ploshchadnoy (from ploshchad, "town square," "market place"), which appears elsewhere in EO (Four : XIX : 8 and Five : xxm : 8). Cf. Mme de Stael, De la Littdrature (see n. to Three : XX : 14), pt. 1, ch. 19 (1818 edn.), vol. II, p. 5on: ". . . ce mot la vulgarite n'avoit pas encore ete employe [au siecle de Louis XIV]; mais je le crois bon et necessaire." See also n. to Eight: xiv : 13. 14-XVI : 6 The parenthetic passage from the Ne mogu ("I can't—") that closes xv : 14 to the end of xvi : 6, where it is suggested we return to the lady in question, is a rare variety of interstrophic enjambment. In this specific instance, it also plays the amusing part of a kind of door that opens for the reader but is closed for Onegin, who only notices the lady (whose quality the reader has already appreciated) when she settles down next to Nina Voronskoy.

*74

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5 I have little doubt that the epigram stirring in the poet's mind has to do with a play on ' Vulgar" in connection with Bulgarin, the loathsome critic. Pushkin might have transformed him into "Vulgarin" or he might have given "vulgar" a Russian predicative turn and rhymed Bidgdrin-vulgdren, "Bulgarin-is vulgar." The stanza was written, presumably, in October, 1830, at Boldino. In the Northern Bee, no. 30 (Mar. 12, 1830), Bulgarin's insulting "Anekdot" had appeared (see n. to Eight: xxxv : 9) and, a week later, his adverse critique of Chapter Seven* (see above, pp. 125-26). In a Pushkin MS, among various autobiographical odds and ends, there is the following note {Works 1936, V, 461), dated Mar. 23, 1830: I met [the critic] Nadezhdin at the house of Pogodin [another literary man]. Nadezhdin struck me as most plebeian, vulgar [in English], tedious, bumptious, and devoid of manners. For instance, he picked up the handkerchief I had dropped. 9-10 /Nina Voronskoy, that Cleopatra of the Neva: In Chapter Five, the tricky magician M. Triquet substituted "Tatiana" for "Nina" in his madrigal. Like most of the portents in that chapter (such as the "military husbands" predicted to both Larin girls), this comes true: Tatiana has now eclipsed "belle Nina." Some prototypists have (incorrectly) identified this generalized belle with a historical person, Countess Agrafena Zakrevski (1799-1879). Baratinski, who fell in love with her in the winter of 1824 in Helsingfors (her husband was governor general of Finland), and apparently became her lover in the summer of 1825, confesses •See P. Stolpyanski, "Pushkin i 'Severnaya pchela,' " in P. i ego sow., V, 19-20 (1914), 117-90.

Commentary in a letter to a friend that he imagined her when making the heroine of his tasteless The Ball (February, 1825September, 1828) lose her lover, Arseniy, to an Olenka and commit suicide; but "Nina" was a fashionable literary cognomen, and the fact that Barat'mski's heroine is called Princess Nina does not prove that her glorified model is the same as that of Pushkin's "Nina Voronskoy" ("Volhovskoy" and "Taranskoy" in fair-copy cancellations). Our only reason for thinking that Pushkin may have had a brief affair with Agrafena Zakrevski in August, 1828 (after shedding Anna Kern and while trying to shed Elizaveta Hitrovo, 1783-1839), is that her first name figures in his famous catalogue of platonically and sensually loved, successfully and unsuccessfully courted ladies (a list he wrote down in 1829 in the album of Elizaveta Ushakov, in Moscow). Of Agrafena Zakrevski he writes to Vyazemski (in a letter of Sept. 1, 1828, from St. Petersburg to Penza) thus: I have plunged into the monde because I am shelterless [bespriy uteri]. Were it not for your bronze Venus, I would have pined to death. She is consolingly amusing and charming. I write verse for her; and she has promoted me to the rank of her pimp. Vyazemski, in his answer, punned on bespriyuten, inquiring if Pushkin was no longer being admitted to Priyutino, the Olenins' estate near St. Petersburg; actually, Pushkin was to visit Priyutino at least once again, on Sept. 5, when (as Annette Olenin, to whom he had not yet proposed, noted in her diary) he darkly hinted he had not the force to tear himself away from her. The literary critic should note that "bronze" is not "marble" (xvi: 12), and that the charming woman of Pushkin's letter to Vyazemski is as different from "that Cleopatra of the Neva" (xvi : 10) as a comet is from the moon. Incidentally, I take "cette Cleopatre de la Neva"

176

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to mean hardly more than "cette reine de la Neva," with connotations of glamour and power but with no specific reference to the legend of the three immolated lovers that Pushkin made use of in his unfinished The Egyptian Nights. (Cf. also "Onegin's Album": ix : 13, above, P. 92-) Less reckless prototypists point out that another lady, Countess Elena Zavadovski (1807—74, sister-in-law of the duelist mentioned in my n. to Istomina in One : xx : 5—14), has a better claim to be Nina Voronskoy's model. Her cold, queenly beauty was the talk of society, and, as P. Shchyogolev points out,* Vyazemski, in a (still unpublished?) letter to his wife, explicitly identifies Nina Voronskoy with Countess Zavadovski. We note, finally, that the wonderful, palpitating, pink Nina of Eight : xxviia is obviously a different person from the Nina of Eight: xvi. I have gone at some length into this dreary and fundamentally inept question of the *'model" of a stylized literary character in order to stress once again the difference between the reality of art and the unreality of history. The whole trouble is that memoirists and historians (no matter how honest they are) are either artists who fantastically re-create observed life or mediocrities (the more frequent case) who unconsciously distort the factual by bringing it into contact with their commonplace and simple minds. At best we can form our own judgment of a historical person if we possess what that person wrote himself—especially in the way of letters, a journal, an autobiography, and so forth. At worst we have the kind of sequence on which the prototypical school so blithely relies: poet X, an admirer of woman Z, writes a fictitious piece in which he romanticizes her (as Y) on the lines of the literary generalities of his time; *Lit. nasl, nos. 16-18 (1934), p. 558. I77

Commentary the news is spread that Y is Z; the real Z is seen as a complete edition of Y; Z is referred to as Y; diarists and memoirists, in describing Z, attribute to her not merely the traits of Y but the later, popularized concepts of Y (since fictitious characters grow and change, too); comes the historian, and, from the descriptions of Z (really Z plus Y plus Y1 plus Y2, etc.), deduces that she was the model of Y. In the present case, the Nina of the established text (xvi) is too obviously a casual stylization to warrant the investigations undertaken to find her "prototype." But we shall presently come to the singular Olenin case, in which our materials will be the revealing writings of the people involved, and from which something will be added to our understanding of Pushkin's mind by the examination of an incidental character. VARIANT

7-9 Fair copy: She sat upon a sofa \na sofe\ between dread Lady Barife and . . . One wonders if this has been correctly deciphered (by Gofman). "Barife" looks Italian to me (cf. baruffa, "altercation"); there was an Italian traveler called Giuseppe Filippi Baruffi who left a Voyage en Russie at the beginning of the nineteenth century (according to Camille Koechlin in La Grande Encyclopedic). Or is it a real English name, e.g., Barry-Fey? XVII

3 / [of] steppe villages / stepnih seleniy. In VI : 3, Pushkin had used the same epithet in speaking of his Muse, pre'lesti eyd stepnte, "her country charms," or "her agrestic charms." Basically, stepnie means "of the x78

Eight: XVII

steppe," "of the prairie/' but I notice that Krilov, for instance, in his farce The Fashion Shop [Modnaya lavka; pub. 1807), uses it both in the sense of "provincial" or "rural" and in the direct sense of "hailing from the steppe region [beyond Kursk]." Neither the rather heavily wooded country whence Pushkin's Muse came (province of Pskov) nor Tatiana's home (two hundred miles W of Moscow) can be described as steppeland. Steppes are grasslands with, in the past, a predominance of feather grass (Stipa pennata L.). They extend from the Carpathians to the Altay (Altai), in the blacksoil belt of Russia, south of Oryol (Orel), Tula, and Simbirsk (Ulyanovsk). The steppe proper, which has timber (cottonwoods, etc.) only in river valleys, does not reach north beyond the latitude of Harkov (Kharkov; approximately 500), between which and the latitude of Tula to the north there is a band of lugovaya step* (meadow steppe), characterized by scrub oak, Prunus, etc. This grades insensibly northward into birch woods, where the shade is limpid. Tambov lies within this region. Several passages in our novel certainly suggest that the region where the Larin, Lenski, and Onegin seats were situated was well forested and thus must have been still farther north. I place it midway between Opochka and Moscow. (See nn. to One : I : 1-5 and Seven : xxxv : 14.) Elsewhere Pushkin uses steppe as a mere synonym of champaign, open country, plain; but I suspect that (just as the countryside in Four is a stylized Pskovan one, encroaching here and there upon Arcadia) the kind of country implied by the epithet "steppe" in Eight: VI and xvii is such as he saw at Boldino, where, from the first week of September, 1830, to the end of November, he spent the most fertile autumn in his entire life, owing partly to the consciousness of his impending marriage— a vague vista of financial obligations and humdrum obstacles to creative life. l

79

Commentary The estate of Boldino (province of Nizhni, district of Lukoyanov, on the river Sazanka) comprised about nineteen thousand acres and a thousand male slaves. It belonged to Pushkin's father (Sergey Pushkin, 17701848), who, however, had never visited it and was happy to have his elder son take charge of it. The old master house turned out to have no garden or park, but the environs were not devoid of the kind of bleak, gray grandeur that has inspired many a Russian poet. The region belongs to the prairie belt of the steppe, with scrub oak and small aspen groves. It is here that Pushkin, during those three magic months, worked on Eight and finished EO in its first form (nine cantos); added to this at least two fifths of a tenth canto; composed some thirty short poems, an admirable mock epic in octaves (iambic pentameter), The Cottage in Kolomna, the five prose Tales of Belkin (experimental short stories—the first stories of permanent artistic value in the Russian language), his four small tragedies—Mozart and Salieri, which was probably already drafted; the draft of The Stone Guest, completed, it is supposed, on the morning before his duel (Jan. 27, 1837); The Feast During the Plague, which is a translation from a French literal translation of a scene from John Wilson's The City of the Plague-, and The Covetous Knight, attributed (perhaps by a French translator) to Shenstone, whose name Pushkin wrote, in Russian transliteration, with a Ch, owing to his thinking that Sh was the same kind of Gallic mispronunciation as "Shild-Arold"—and a batch of wonderful, albeit not always truthful, letters to his eighteenyear-old fiancee in Moscow. 8 / Tell me, Prince: Both Onegin and Prince N. are noblemen. Onegin, in talking to his old friend and kinsman (possibly a first cousin), uses the intimate "thou," ti (Fr. tu), and addresses him by his title, knyaz\ which, in this 180

Eight: XVII context and under these circumstances, is on the same level of colloquial familiarity as would be mon cher or a surname (cf. the Onegin-Lenski dialogues in Three and Four). A brief title in this respect was merely a convenient handle. A social inferior would, and a jocose equal might, use "Your Serenity" (cf. Prince Oblonski addressing Count Vronski, in Anna Karenin, pt. I, ch. 17). The American reader should be reminded that a Russian, German, or French nobleman with the title of "Prince" (which roughly corresponds to the English "Duke") is not necessarily related to the reigning family. The introduction of theeings and thouings leads in English to ridiculous associations. 9 / in the framboise beret / v malinovom berete: A soft, brimless headgear; of crimson velvet, in this case. I have used framboise because "raspberry" as a color, both in Russian and in French, seems to convey a richer, more vivid sense of red than does English "raspberry." I see the latter tint as associated rather with the purplish bloom of the fresh fruit than with the bright crimson of the Russian jam, or the French jelly, made of it. An elegant lady of 1824 would use a flat beret of claretcolored or violet velvet for day wear (the rout to which Onegin came is presumably a late-afternoon affair). The beret might be adorned with drooping feathers. According to Cunnington, English FFomen's Clothing, p. 97, English ladies in the 1820's wore "The beret-turban," made of crepe or satin and adorned with plumes; it was probably this variety that Tatiana wore. Other fashionable colors were ponceau (poppy red) and rouge grenat (garnet red). In the September, 1828, issue of the review Moscow Telegraphy p. 140, there is the following description, in French and in Russian, of Parisian fashions: Dans les premiers magasins de modes on pose des fleurs en clinquant sur des berets de crepe bleu, rose ou ponceau. 181

Commentary

Ces berets admettent en outre des plumes de la couleur de l'etoffe ou blanches. According to B. Markevich, * a toque of ponceau velvet was worn by the brilliant Caroline Sobanski (born Countess Rzhevuski, elder sister of Eva, Mme Hanski, whom Balzac was to marry in 1850) at social functions in Kiev, where Pushkin first saw her during a brief visit to that town in February, 1821. Three years later, in Odessa, he courted her, and they read Adolphe together. Still later, he frequented her Moscow salon and wrote her passionate letters and poems (/ Loved You, 1829, and What Is There in My Namefor You, 1830). She was a government spy. The beret, plumed and plain, of the 1820's became extinct by 1835 but has been revived in many other forms in modern times. In a fair-copy variant (Gofman, 1922), Pushkin first had a "red shawl" instead of a "yellow shawl" in Three : xxvm : 3, and a "ponceau shawl" instead of a "green shawl" in the draft (2371, f. 9V) of "Onegin's Album," ix : 12. Finally, he limited the red to Tatiana's beret. According to V. Glinka, f the Hermitage, the Leningrad picture gallery in Million Street (from which that clip-clap of a droshky came in One : XLVIII), possesses a nationalized portrait by (Sir George) Hayter, 1832, of Countess Elizaveta Vorontsov showing her wearing a beret rouge-framboise. I suggest that, when composing Eight, Pushkin visualized not the fashions of 1824 but those of 1829-30 and, possibly, the very beret of eminence color (a pur* Works (St. Petersburg, 1912), XI, 425; quoted by Tsyavlovski, in Kukoyu Pushkina, p. 186. fPushkin i Voennaya galereya Zimnego Dvortsa (Leningrad, 1 949)> P- 133182

Eight: XVII-XVIII plish red) which is prominently illustrated in vol. LXII (no. 2, PI. 2, fig. 1; Jan. 11, 1829) of the Journal des dames et des modes, imported into Russia from Frankfort on the Main. This issue, incidentally, carries the second and last installment of Bulgarin's Le Partage de la succession, a translation of his Oriental tale Razdel nasledstva (Polar Star for 1823). 10 In autumn, 1822, at the Congress of Verona, Austria, Russia, and Prussia agreed upon armed intervention in liberal Spain. A French army entered Spain in spring, 1823, and took Madrid. Despotism, with Ferdinand VII, was restored in 1823. By the winter of 1824-25, diplomatic relations between Russia and Spain (where the French remained till 1827) were, I presume, re-established, but a Spanish ambassador does not seem to have been appointed before 1825. Lerner, in Rukoyu Pushkina, determines that in 1825-35 J. M. Paez de la Cadena was Spanish ambassador to Russia; and Pushkin knew him personally (Aug. 9, 1832, he discussed French politics with him at a dinner); but the incident in Eight : xvil refers to August, 1824, before Paez de la Cadena's time. XVII-XVIII

In the course of these casual notes I have refrained from paying too much attention to the disastrous versions of EO in English doggerel. Here and there, however, a glance at their faults may be of some assistance in convincing readers of translations and publishers of translations that the use of rhyme, while mathematically precluding exactitude, merely helps its user to conceal what plain prose would reveal, namely his inability to render accurately the difficulties of the original. The passage I have selected for display here—end of st. xvn

Commentary (8—14) and beginning of st. XVIII (1—7)—is an especially hard one, and reveals with especial clarity the unintentional insults and injuries that the rhyming paraphrast inflicts on an innocent and unprotected text. Let me first present the text with an interlinear literal translation, then unfold four rhyming versions and comment on their particular features. XVII

8 "Skazhi mne^ Knydz\ ne zndesti tf, "Tell me, prince, you don't know Kto tdm v malinovom berete who there in the framboise beret S poslom Ispdnskim govorit?" with the Spanish envoy is talking?" Knydz1 na Onegina glyadit. The prince at Onegin looks : 12 —" Agd ! davno zh ti ne bil v svete. "Aha! long indeed you've not been in the monde. Postdy, tebyd predstdvlyuyd" Wait, I'll present you." —"Da kto zh ond?"—"Zhend moyd" "But who is she?" "My wife." XVIII

4

—" Tak tt zhendt! ne zndlya rdne! "So you're married! I did not know before! Davno UP^—^dkolo dvuh let." How long?" "About two years." —"Na kom?"—"Na Ldrinoy."—"Tatydner "To whom?" "The Larin girl." "Tatiana!" __« Ti iy znakdm?"—"Ya im sosid." "You to her are known?" "I'm their neighbor." —"O, tak poydyom zhe."—Knydz1 podhodit "Oh, then come on." The prince goes up K svoey zhene, i ey podvddit to his wife and to her leads up Rodnyu i druga svoegd. his kin and friend. 184

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A "literal translation," as I understand it, is a somewhat tautological term, since only a literal rendering of the text is, in the true sense, a translation. However, there are certain shades to the epithet that may be worth while preserving. First of all, "literal translation" implies adherence not only to the direct sense of a word or sentence, but to its implied sense; it is a semantically exact interpretation, and not necessarily a lexical one (pertaining to the meaning of a word out of context) or a constructional one (conforming to the grammatical order of words in the text). In other words, a translation may be, and often, is, both lexical and constructional, but it is only then literal when it is contextually correct, and when the precise nuance and intonation of the text are rendered.* A lexical and constructional translation of ne znaesti ti (xvn : 8) would be, of course, "not knowest thou," but this does not render the idiomatic simplicity of the Russian construction (in which the pronoun may be placed without change of meaning either before ne znaesh' or after it), while the archaic, sectarian, and poetical implications of the second person singular in English are absent from its plain, colloquial counterpart. "The Larin girl" is the best I can do for Na Larinoy (xvni : 3), the noun here being the locative of Larina, the feminine form of Larin. The difficulty of rendering this exactly and rapidly is augmented by the absence of the articles "a" and "the" in the Russian language, so that to say "a Larin" (or "a Larina") would be much too offhand, and to say "the Larin" (or, even worse, "the Larina") would convey an impossible ring of notoriety. This does not mean that I am absolutely satisfied with "the Larin girl" (which is a jot more familiar than the text); I toyed with "Mile Larin" and "Miss Larin," and rejected them. The Larins were a good family, and al*See also Foreword.

i85

Commentary though Onegin had not circulated in society for some time, the prince might automatically assume that the fact of there having been a marriageable girl in that family was known to him. Lexically Ti ey znakom? (xvm : 4) is 'Thou [art] to her known?" which is, or rather was, more courteous (to the lady involved) than Tisney znakom?, "Thou art with her acquainted?" This is a case in which the lexical grades into the literal. Lexically Ya im sosed (xvm : 4) is "I [am] to them neighbor," but again this would not be a literal translation, especially as the word "neighbor" itself is not as simple as it looks. The phrase means "our estates adjoin." Let us now turn to the four versions. Spalding(i88i): 8 "Inform me, prince, pray dost thou know The lady in the crimson cap Who with the Spanish envoy speaks?"— The prince's eye Oneguine seeks: 12 "Ah! long the world hath missed thy shape! But stop! I will present thee, if You choose."—"But who is she?"—"My wife." "So thou art wed! I did not know. Long ago?"—" 'Tis the second year." "To ?"—"Larina."—"Tattiana?"—"So. 4 And dost thou know her?"—"We live near." "Then come with me." The prince proceeds, His wife approaches, with him leads His relative and friend as well. The attempts to remain faithful to the text while dallying with the rhyme are truly heroic, seeing that Spalding could not write poetry. The passage is a good example of his manner throughout the poem. It should be noted that the rhyme scheme is reduced to masculine terminals and that some of them are very weak (the lame "shape" in xvn : 12, for example, makes the reader 186

Eight: XVII-XVIII wonder if the cap Tatiana is made to wear should not be a "cape"). The dialogue is that of two Quakers. The "so" closing xvili : 3 is dreadful. "We live near" is meaningless. The last two lines are ludicrous. The phrase "His wife approaches" is supposed to mean "the prince proceeds to approach his wife." Elton (1938): 8 "—Prince, wilt thou tell me—dost thou know Who, in the raspberry beret yonder Talks with the Spanish Envoy there?" And the Prince answers, with a stare, 12 "So long a stranger? ha! no wonder . . . But see, I will present thee; stay!" "But who, but who?"—"My wife, I say!" "So, married? till to-day, I knew not! Married . . . some while?"—"Two years or so." — "To whom?"—"A Larina."—"You do not 4 Mean, to Tatyana?"—"Her you know?" —''Their neighbour, I!" —"Then, come!'' Preceding, The prince unto his wife is leading His friend and kinsman. . . . The two Quakers are still with us. Again, the passage is characteristic of the translator. The alternations of the rhyme scheme are scrupulously and miserably reproduced. The "stare," the "ha!," and the idiotic ejaculation "stay!" are impossibly vulgar. The "But who, but who?" is a preposterous reiteration. The end of XVII ("I say!") sounds as if the prince actually stamps his foot. A characteristic feature of Elton's notion of versification and syntax is the little exchange: "Her you know?" "Their neighbour, I!" No less horrible are the "Preceding" (whom?) and "is leading" of 11. 5 and 6. Radin (1937): 8 "Who is the lady yonder, Prince, The one in crimson over there With the Ambassador from Spain?"

Commentary The prince looked at Eugene again— 12 "You must be introduced to her, You've lived too long outside our life." — "But tell me who she is?"—"My wife."— "You're married, then! I didn't know it. And how long since?"—"Two years."—"To whom?"— "Her name was Larin."—"Not Tatyana?"— 4 "You know her?"—"I lived near their home."— "Then come!" In such an unforeseen Encounter Tanya met Eugene, Her husband's relative and friend. 8 She saw him come and slowly bend Before her. . . . Despite their impossible English, Spalding and Elton are, after a fashion, faithful to their text, or at least to their notion of the text. With Miss Radin and Miss Deutsch, the wild paraphrase triumphs. Miss Radin clothes the entire Tatiana in crimson. The "outside our life" (xvn : I 3) is a very clumsy euphemism. The phrases "in such an unforeseen | Encounter Tanya met Eugene" (xvin : 5-6) and "She saw him come and slowly bend | Before her" are not in the original. It should be noticed that the first quatrains of the stanza are not rhymed in the odd lines (feminine terminals), and that all the rhymes are masculine. Deutsch (1936): 8 "Forgive me, Prince, but can you not Say who it is that now the Spanish Ambassador is speaking to? She's wearing raspberry." "Yes, you 12 Have been away! Before you vanish Again, you'll meet her, 'pon my life!" "But tell me who she is." "My wife." "Well, that is news—couldn't be better! You're married long?" "Two years." "To whom?" "A Larina." "Tanya?" "You've met her?"

188

Eight: XVIII

4 "I am their neighbor." "Come, resume Your friendship." At this invitation The prince's comrade and relation Now met his spouse. . . . The rhyme scheme is reproduced, but the subject matter has little to do with EO. Why must the prince "Forgive" Onegin (xvn : 8)? What is the "raspberry" (11) the lady is wearing: gown? slippers and purse? Why does the prince think Onegin will "vanish" (12)? Why does he swear (13)? Why does Onegin think that nothing could be "better" (xvill: 1) than the news of his "comrade's" (6) marriage? Why does the prince assume that there had been a "friendship" between Onegin and Tatiana (5)? Is it because Onegin calls her "Tanya" (3)? None of these questions are answered in Pushkin's text. In the college library copy of this "translation" that I consulted, a poor, misguided, foolish, endearing, anonymous college student has dutifully written in pencil the word "Irony" against the "better" of xvm : 1. Irony, indeed. XVIII

13 / ton: Pushkin was fond of this French word, which the English sometimes did not italicize in those days. It was used in the sense of social style in Russian drawing rooms as well as in the English ones. A Russian of today would be apt to confuse with ton its homonym meaning "tone," individual manner of speaking, assumed attitude, and so on. Ton, in the early nineteenth-century sense, was the "bon ton." This reminds me incidentally of perhaps the most cacophonic line ever penned by a French rhymester, Casimir Delavigne's "Ce bon ton dont Moncade emporta le modele" (my italics), Discours cCouverture du Second Thedtre Francais (1819), 1. 154. Cf. Rousseau's Julie (Saint-Preux to Lord Bomston, pt. iv, letter vi); Julie's former lover sees her, married to 189

Commentary another, after he had traveled for some four years: "Elle conserva le meme maintien e t . . . continua de me parler sur le meme ton." XIX

11 I I ne iz ih li uzh stordn: A string of six monosyllabics, oddly revealing (through the very rarity of such a rhythm in Russian verse) a certain constraint, the mere ghost of a stutter, distinguished by Pushkin's reader, but not by his hero, in Tatiana's speech. LI. 10, 11, 13, and 14 turn on the same rhyme (6n, stordn, vdn, 6n)—an unusual monotone in the novel. xx 7-8 / he keeps a letter: Pushkin also preserved that letter ("religiously," according to Three : xxxi : 2). We must assume that when Onegin got together with his pal in Odessa in the winter of 1823, he not only showed Pushkin Tatiana's letter, but allowed him to transcribe it. It is that copy which Pushkin has before him when translating it from the French into Russian verse in 1824. XXII 7—14:

. . . neskoVko

minut

8 Oni sidy at. Slovd neydut Iz ust Onegina. Ugryumoy, Nelovkiy, on edvdy edvd Ky otvechdet. Golovd 12 Ego polnd uprydmoy dumoy. Uprydmo smotrit on: ond Sidit pokoyna i voVnd.

My purpose was to render the deliberately stumbling enjambments of the Russian text (echoed further on by the staccato intonations of Tatiana's speech in XLIII and 190

Eight: XIX-XXIII XLVII) ; hence the somewhat rugged meter, which had to be made to follow both sense and scansion. The run-ons of the text are all reproduced here, but are more tuneful in Russian, filling up as they do with perfect saturation of rhythm the en-escalier sections of these tetrameters. The end of 1. 10, edva, edvd, is an idiomatic repetition, which "hardly, barely'' renders rather clumsily. In the next run-on (11—12) the order of noun and pronoun (Golovd I Eg6, "head his") and their remarkable separation could not be preserved by English syntax, and I was not tempted by the artifice of "That head | of his . . ." XXIII

5-4 Initially (fair-copy variants and cancellations) Pushkin had Tatiana's husband and Onegin recall "the stunts [zatei], opinions . . . friends, belles of former years," which confirms the fact that Prince N. could not have been more than half a dozen years older than his kinsman Onegin, thus in his middle thirties. In the published text of a famous but essentially claptrap politico-patriotic speech, pronounced on June 8, 1880, at a public meeting of the Society of Amateurs of Russian Letters before a hysterically enthusiastic audience, Fyodor Dostoevski, a much overrated, sentimental, and Gothic novelist of the time, while ranting at length on Pushkin's Tatiana as a type of the "positive Russian woman," labors under the singular delusion that her husband is a "venerable old man." He also thinks that Onegin had "wandered in foreign countries" (repeating Prosper Merimee's error in Portraits historiques et litteraires [Paris, 1874], ch. 14: "Onieghine doit quitter la Russie pour plusieurs annees") and that he is "infinitely inferior socially to Prince N.'s brilliant set," all of which goes to show that Dostoevski had not really read EO. 191

Commentary Dostoevski the publicist is one of those megaphones of elephantine platitudes (still heard today), the roar of which so ridiculously demotes Shakespeare and Pushkin to the vague level of all the plaster idols of academic tradition, from Cervantes to George Eliot (not to speak of the crumbling Manns and Faulkners of our times). 12 / [without] pedantry / bez peddntstva: See n. to One : v:7. VARIANT

15-14 The fair copy reads: nor did the talk contain one word about the rain or bonnets. xxilia, b The fair copy gives the following rejected stanzas: XXUla

In the salon authentically noble one shunned the elegance of speech and bourgeois prudishness 4 of priggish judges in the journals. 406^407,412,415,421 Annettes (EO var.), 2g2 & n, 427 Annibal, A. P., see Gannibal, A Rabel, see Malherbe A. P. Aragva River, 13a6, 328i Annibal, I. A., see Gannibal, Aragva Valley, 328i I. A. Arakcheev, Count Aleksey A11"Annibal," Pierre Robert, 3433 dreevich, 277, 78, 3257 Antalo, 3404 Arapov, P. N., 27g; Letopis' Anthes, Ekaterina Nikolaevna russkogo teatra (Annals of the Russian Theater), 279n, 86 / Catherine d', Baroness de Heeckeren (b. Goncharov), "Arap Petra Velikogo," see P., 3 WORKS 4 7 , 48, 49, 51 3 2O3 Anthes, Georges Charles d', "Arap Pushkin," Baron de Heeckeren, 345, 46- Arcadia, 17, 28,47, 49, 50, 2 i86, 199, 210, 219, 275, 276, 277, 322, 408, 416, 461,333,34,61, Anthes, Jean Henri, 347 76, 152, 179, 223, 290 Anthes, Joseph Maurice Georges d', see Heeckeren Archaic School / Archaists, see Anthologie de la poe'sie russe, Slavonizers U, see David Archiac, Laurent, Viscount d', 3 Anthologie francaise, U, 2528, 5o 2 59 Archives, Moscow, see Moscow 2 Antiaris toxicaria, i36, 192; Areopagus, 220 see also P., WORKS: Anchar Ares, 324 Anti-Giton, L\ see Arouet Argelander, F. W. A.: UnterAntonia, see Monlyon, Antonia suchungen uber die Bahn des de grossen Cometen vom Jahre 2 Antonolini, Ferdinando, 86, 87 I«I/, "73 2 Arhiv brat'ev Turgenevih (ArAntrop (EO var.), 336

Index Arseniy, 3 i76; see also Baratinski: Bal Art d'aimer, L\ see Chenier; Gentil-Bemard Art de s'amuser a la ville, L\ see Parim: Mezzogiorno, II Artemidorus: Oneirocritica, 266 Artemis, see Diana Arion, see P., WORKS Ariosto, Lodovico, *7i, 2 i58, Arthur, see Guttinguer 3 5-6; Orlando furioso, 2 i99~ Art of Poetry, see Horace Arzamas (Arzamasskoe ob200, 411, 3 5-6, 244 shchestvo bezvestnih lyudey), Armaingaud, A., 2466 2 2i, 83, 146, 22911, 501, 507, Armbruster, C. H.: Initia Am3 171-3 harica, '442 Arzamasists, see Westernizers Armenia, 133O, 2go, 358, 3 4i2 Armes et le duel, Les, see Grisier Ashukin, Nikolay Sergeevich, 1 2 3 116; see also P., PUSHKINIANA : Armida(s), n o , i32, 140-1, Moscow in Pushkin's Life 182; see also Tasso: GerusaAsia, 24o6, 3 i2, 114 lemme Asinus aureus, see Apuleius: Arndt, Walter, 24 Arnold, Matthew, 35og, 512; Metamorphoses 3 Asmara, 34O4, 41011 Resignation, 462, 511-12 Arondel, Sire Christophe, 2 i52; "Asmodeus," (i.e., Vyazemsee also Arouet: Pucelle Ski, P.), 3 1 ? 2 Arouet, Francois Marie ("Vol- As Others See It, see Dmitriev, taire"), 171, 26, 12,53,61,80, I.: Chuzhoy tolk Ass and Boor, see Krilov: Osyol 82, 85> 9°> H7- 8 > 22 7> 2 3 6 > 317, 320, 341, 378, 416, 495, i rnuzhik 3 Astrahan / Astrakhan, ^ 2 5 , 3°> 37> 9 6 > 2 1 7 > 2 2 1 > 2 3 1 > 3 i67, 263, 279, 280 309, 361, 430; A Mme de 3 Pompadour, 2O5; Anti-Giton, As You Like It, see Shakespeare Atala, see Chateaubriand U, 284; Begeule, La, 22O3; Atbara, 34Oi Candide, 226o—1, 3 7, 30, 136; 2 3 Epitres, 34i, 26; Fanatisme, Ateney2 (Athenaeum, ed. Pavlov), 4 63, 472, 484 ou Mahomet, Le, 22g3; Guerre civile de Geneve, La, 26, 104, Athanasius, 34O7 3 2 Athenaeum, see Ateney ^ J 7; Henriade, 5i7, 542, 3 4; Melanges de litterature, Athens, 2 i63 2 2 6i; Mondain, Le, g8, 147- Atridae, 3287 8, 480; Pauvre Diable, Le, Aubry, C , see Schmettau, \S; Precis de VEccle'siaste, Count F. W. C. von 2 140; Pucelle d*Orleans, La, Au Comte de Vence, see Piron ^ 1 , 2152, 260, 538, 336; Ro- Auf alien Gipfeln, see Goethe mans et contes, 34O3, 440; Sur Auf. . . IJI8 geschlossen FrieVusage de la vie, 2 i48; Tanden, see Giinther crede, 2 i82; Voyages et aven- Augustus (Gaius Octavianus), tures d'une princesse babylonRoman emperor, 261 ienne, 344O Augustus II, king of Poland, ^24 chives of the Turgenev Brothers), 2332, 488, 8355; see also Turgenev, A. I.; Turgenev, N.I. Arina Rodionovna, 2362, 452— 3>454 Arion, 8350

Index Aumer, J. P.: Cleopdtre, 27g-8o A une fernme, see Bertin Aureng-Zebe, see Dry den Aurora, ^ g , 215, 215, 314, 318, 2522

Ausonia, 1334, 3 23, 300 Austen, Charles, 2368 Austen, Jane: Mansfield Park, 2 222, 368, 393-4; Pride and Prejudice, Sensibility,

2

2

3

424; Sense 393~4

and

Austerlitz, 32o Australia, 2357 Austria, 24o6, 3 i83, 299, 330, 41611, 418, 487 Automedon, ^ 6 7 , 3 m Automne / Autonne / Russ. Oton, Cesar, 1 333, 32g8

Autumn, see P., WORKS: Osen1 Autumn Morning, see P., WORKS: Osennee utro

Avdotia, ^ 4 5 Aventures de Telemaque, Les, see Fenelon Aveux au tombeau, see Lafontaine: Bekenntniss am Grabe, Das Awakening, see Kyuhel'beker: Probuzhdenie Ay / Ai, ^ 9 6 , 317, 333, 2 H7, 148, 480-1, 483, 3 3 3 i Ay an, 2 2i2 Azov, 3 4i8, 422 Azov, Sea of, 3285, 288

Bagshot Heath, 342 Bahafa, king of Abyssinia, ^ 0 7 Bahchisaray / Bakhchisarai ("Garden Palace"), ^ 2 9 2 i25, 212, 3 286-7, 302 Bahchisarayskiy fontan, see P., WORKS

Bahrey / Bahri: History of the Galla, 3442 Bai'f, Jean Antoine: Passetemps, 3

2

2

B., Marquise de, 65; see also Louvet de Couvrai Bacchante, see Batyushkov: Vakhanka Bacchus, 3 3i7, 369 Bacchus (character), 3 i34-5; see also Maykov, V.: Elisey Bachaumont, Francois le Coigneux de, 3274 Bagneres, 3284 bagryaniy ("porphyrous," "crimson"), 2 52o-i

39, 162

Bailey, John, 239 Bailey, L. H.: Manual of Cultivated Plants, 375 Bailey, Margery, ^ 4 8 Bakunin, Ekaterina Pavlovna, 2 544, 3 i38 Bal, see Baratinski Balaklava Road, 3286 Baldy, Mt., see Lisaya Ball, The, see Baratinski: Bal Ballad, see Polezhaev: Romans Ballantyne's Novelist's Library, Ballet, Auguste, 3 3 3 5 Ballet, Hippolyte, 3335 Baltaji, Mohammed, 3 4i8 Baltic Region / Sea, 1 io5, 324, 2 99? 221 > 398» 479) 3l66 > 3°75 434 Balzac, Honore de, 2354, 8 i82, 335> Femme de trente ans, La, 2 277~8; Scenes de la vie privee, 2

B

7O

Bailey / Baillie (governess),

278; see also Sanson:

Memoires Bant'ish-Kamenski, D. N., 8394; Slovar* dostopamyatnih lyudey Russkoy zemli (Dictionary of Distinguished People of the Russian Land), 8442 Barataria (in Cervantes), 342 5 Baratieri, Oreste, '404; Memoires d'Afrique, 3442 Baratinski, Evgeniy Abramovich, 14, 35, 39, 42, 189, 249, 316, 22o, 26, 27, 29, 376, 3802, 383, 445, 447, 450, 475,

Index 481-2, 493-4, 524, 3 2 3 , 1756, 221, 224, 246-7, 436, 495n; Bal (The Ball), 2 n o , 173, 3 i76, 208-9, 211 > 214> 2 3 8 ; BiV (A True Story), 3 2 7 3 & n; Eda, X 3i7, 2277, 381-2, 4934, 3i07—8; Finlyandiya (Finland), 2 383; Gnedichu, kotoriy sovetoval sochinitelyu pisat* satiri (To Gnedich, Who Advised the Author to Write Satires), 3376; imitation of Millevoye, see Padenie; Mara, 3 246~7; Nalozhnitsa (The Concubine), 23O4, 422, 3 i48; Opravdanie (Justification), 2544; Padenie list'ev (Fall of the Leaves), 82g, 61; Piri (The Feasts), 1 i64, 2g, 26, 380-1, 414, 480, 481-2, 3 68; Stansi (Stanzas), 8246-7; Tsiganka (The Gypsy Girl), ^ 0 4 ; Vesna (Spring), 37O Barbauld, Anna Laetitia: Life,

3 3 > 3 3 > 4 4 > > 4 > 3 4 4 ;

Lapisnaya knizhka (Notebook), 2 3 3 i ; see also P., PUSH-

KINIANA: Stories about Pushkin Barthe, NicolasThomas: Fausses infidelites, Les, 2228 Barton, 8277; see also Stael: Delphine Barton,-Bernard, 3 i4 Baruffi, G. F.: Voyage en Russie, 8178 Baryatinski, Prince Aleksandr Petrovich, 8248 Baryatinski, Prince Vladimir Vladimirovich, 8237; see also P., PUSHKINIANA: Pushkin

Collection Basargin, Nikolay, 8248 Basel University Library, 2515 Bashmachkin, Akakiy Akakievich, 2 7i, 8383; see also Gogol: ShineV

Basni, see Dmitriev, I.; Izmaylov, A.; Kri'lov 3 25 Basset, Rene, 8407, 409, 410, 411, 441, 442 Barbier de Meynard, A. C , Basset-Table, see Centlivre; 3250 Barbier de Seville^ .Le, see Beau- Pope marchais Batovo, 2432, 433-4 Barclay de Tolly, Prince MiBatyushkov, Konstantin Nikohail, General, '315, 320—1, laevich, 2 i6n, 23, 26, 29, 137, 228-9, 4l6> S13-14, 74, 139, 373 Bard, The, see Zhukovski: 142, 144, 323, 489, 525; BePevets sedka Muz (Bower of Muses), 3 Barife / Barifey, Lady (EO 13; # druz'yam (To Friends), 2 var.), 3 i78 26; letter to Dashkov, 8323; Barishnya-Krest^yanka, see P., Mechta (Fancy), zi^; Moy WORKS geniy (My Guardian Spirit), 2 Barouche Driver, see Sedley 277; Opiti v stihah i proze Bardzai, see La Monnoye (Essays in Verse and Prose), 2 Barrington, Sir Jonah: Personal 26, 271, 813, 14, 31; Poslanie Sketches of His Own Times, J. Muravyovu Apostolu (Epis2 i5o tle to I. Muravyov-Apostol), Barry, Jeanne Becu, Countess 831; Poslednyaya vesna (Last du, 3334 Spring), 86!^ 74; Sovet epicheskomu poetu (Advice to an Barry-Fey, 8178 Epic Poet), V 7 ; TipomnisK1 Barsukov, N. P., 8437 2 (Do you recall), 814; VakhanBartenev, P. I., 68, 191, 265,

Index ka (Bacchante), 3 i5o; Vizdorovlenie (Convalescence), 2271 Batyuslikov, notes on, see P., WORKS: Batyushkov, notes on Baudelaire, Charles, 2354 Baudouin d'Aubigny / Daubigny, J. M. T.; Pie voleuse, La, 2 2 4 7 , 555 Bayle, Pierre, 1 30i, 3225; Dictionnaire, 3223 Bazarov, 2344; sec also Turgenev, I.: Ottsi i deti Bealby, J. T., 3 6 9 Beattie, James, 225~6; Minstrel, The, 225, 334; Ode to Hope, 3 25; Retirement, 2242 Beaumarchais, Pierre Augustin Caron de, 3 2i7, 222; Barbier de Seville, Le, 3222; Mariage de Figaro, Le, 2542, 3223 Beauvoir, Roger de, 2 i5o Beckingham, C. F., and Huntingford, G. W. B., 34O3, 409, 410; Some Records of Ethiopia, 3 442 Becq de Fouquieres, L., 2 i83 Becquet, Etienne, 2447-8 Bednaya Liza, see Karamzin Begeule, La, see Arouet Begin, Emile Auguste, ^ 2 9 ; Histoire . . . de la civilisation dans le pays Messin, 3442 Beiden Freunde, Die, see Lafontaine Being of My Heart, The, see Dolgoruki, I. M.: Bitiyo serdtsa moego Bekenntniss am Grabe, Das, see Lafontaine Belaya Tserkov, 297, 129, 134 Belessa River, 34Oi, 402 Belidor, Bernard Forest de, 3 429; Sommaire d*un cours d'architecture militaire, '429 Belikov, Father Aleksandr (P.'s teacher), 239 Belinski, Vissarion Grigorievich, 2 i37, 151, 324i 10

Beliy, Andrey, see Bugaev Belkin, Ivan, 3322; see also P., WORKS: Povesti

Bell, Richard, 389 Belle Dame Sans Merci, La, see Keats Belle Dormeuse, La, see Riviere-Dufresny Bellegarde, fort of, 3433 Bellona, 3 i4i, 328, 334 Belmont, L., see Evgeniy Onegin, TRANSLATIONS, POLISH

Belot (French translator), 24O3n Beltenebros, see Amadis de Gaul Belus, King, 344o; see also Arouet: Voyages u Belvetrille, Princess," 2 i9i Beneath the Blue Sky, see P., WORKS: Pod nebom golubim Benckendorff / Benkendorf, Count Aleksandr Hristoforovich, General, 2435, 3 i61, 225, 243 Benedetta sia la madre (Venetian song), x3O2, 2230 Benkendorf, General, see Benckendorff Bennet, Elizabeth, 2424; see also Austen: Pride and Prejudice Bent, J. Theodore, 34Oi, 438, 439; Sacred City of the Ethiopians, The, 3442 Bentham, Jeremy, 1 i i 3 , 2164 Beppo, see Byron Beranger, Pierre Jean "de," 2 27> l57> 3321> 353; Souvenirs du peuple, Les, a 329; Vilain, Le, s 3 4 Berberov, Nina Aleksandrovna, 3 478n Berchoux, Joseph: Gastronomie, La, 274 Bergami, Bartolommeo, 250, 51 Berger et son troupeau, Le, see La Fontaine: Fables Berichte aus dem Irrenhause in Brief en, see La Motte Fouque: Pique-Dame

Index PUSHKINIANA: Pushkin's Berlin, 2384, 3 2io, 472; Opera Library House, 279 Bibliotheque universelle de Bernard, Pierre, see GentilGeneve, 2159 Bernard Marie Francois Xavier, Bernis, Francois de: Epitre sur Bichat, 1 2 301, 3 221-2; Recherchesphysla paresse, 2o6 iologiques, 322i Bernovo, 2534 Bievre, F. G. Marechal, MarBerry, Charles, Duke of, 3335 quis de, 28o, 217, 218, 3 2i7 Bertin, Antoine: Amours, Les, 2 3 2 46i, 3 64; A unefemme, 2322; Bievriana, 2ij—18, 94 2 3 see Barat'inski BiV, Elegies, iig, 64 Berton, General Jean Baptiste, Bila pora, see P., WORKS 3 l6 Biografiya A. P. Gannibala 3 > 333^334, 335,373 (anon.), see Gannibal, Abram, Beseda (Beseda lyubiteley rosGerman biography of siyskogo slova), 22O, 21, 3 171, Biographic universelle, see *73 Michaud Besedists, see Slavonizers Bion, 259 Besedka Muz, see Batyushkov Besh, Mt. (Besh Tau / Beshtu), Biron / Biihren, Ernst Johann, 2 479> 339° & n 2 1326, 3 2 8 3 - 4 Bessarabia, *6o, 62, 313, 2 3 7 , Birton, Mistriss, 5i6; see also Cottin: Malvina 38, 60, 8151, 155, 194, 302, Biryukov, Aleksandr Stepano303, 484 vich, X69, 3 i73 Bestuzhev, Aleksandr Aleksan2 3 drovich ("Marlinski"), 16g, 71, Bitaube, P. J., 55, 3 i 2 6 6 Bitiyo serdtsa moego, see Dol72, 3 5> 3 7,377-8,431,432, 3 goruki, I. M. 224; Vzglyad na russkuyu slovesnost* v techenii 182 $ goda Bizan / Bizen, see Debra 3 (Glance at Russian Literature Bizet, Georges: Carmen, i56 "Blackamoor of Peter the During 1823), 2377 Great," see P., WORKS: "Arap Bestuzhev, Vladimir, see Petra Velikogo" Gippius Black Beard, 2274 Bestuzhev-Ryumin, Mihail 2 Pavlovich, 8336, 347, 359, 362 Blacklock, Thomas, 25 3 Black River, see St. Petersburg: 223 Beuchot, A. J. Q., Chyornaya Rechka Bevillon, 344O Black Sea / Chyornoe More / Be vis, see Bova Pontus Euxinus, 1 n o , 117, Beyle, Henri ("Stendhal"): 334, 2 i25, i85,3io, 3 i53, 167, Chartreuse de Parme, La, 2 265, 281, 287, 300, 38 7 n 338; Journal, *$6, 154, 217, 317-18; Rouge et le noir, Le, Black Shawl, The, see P., 2 3 WORKS: Chyornaya shaV 7 6, 90-1, 217, i i 5 Blagatski(y) Mine (Rudnik), "Beyron," 2 5 o - i , 479, 3268n; 3 123 see also Byron 2 Blagonamerenniy (The WellBible, 499; New Testament, 3 Meaner, ed. A. Izmaylov), 432: Matthew, 2378; Old x i62, 316, 2 2i2n, 375-6 Testament: Isaiah, 365 Blagorodnoe Sobranie, see MosBiblioteka Pushkina, see P.,

Index Petit Chaperon rouge, Le, 2 93 Boileau-Despreaux, Nicolas, 1 1 5 ^ 2 l 0 1 > 448> 449, 8 H> 36>

cow: Sobranie Blagoslovi, poet!, see P., WORKS

Blagoy, D. D., 225611, 431; Istoriya russkoy literaturi, XVIII veka (History of Russian Literature in the 18th Century), 3 73; see also P.,

486, 490; Epistres, 2^i^ "41; Ode sur la prise de Namur, 2 449, 3 4 8 7 -8 &n Bokhara, 1269, 3 i i 4 PUSHKINIANA: Works Boldino, *6i, 65, 66, 67, 88, 2 Blake, William, 3523 4O, 205, 462, 463, 3 8i, 169, 2 Blavet, Abbe J. L., 5 7 *7S* J79» 180, 194, 251, 257, Bleak House, see Dickens 289, 307, 310, 312, 314, 326, Blizzard, The, see P., WORKS: 376, 3 8 4 n Boletus edulis / Russ. beliy grib, MeteV 2 Blok, Aleksandr Aleksandro*94 vich, 2 2io, 3495n, 523, 525, Bolivar, Sim6n, ^1^ 268 526; Neznakomka (The In- Bolshevism, 2 i64 cognita), 353Q Bol'shoy Kamenniy Teatr, see "bloom-doom" theme (EO), St. Petersburg Bomston, Edward, Lord, 224g, 43 277, 287, 341, 516, 3 i89, 216; Bludov, Count Dmitri Nikolae3 see also Rousseau, J. J.: Julie vich, i 7 i , 172 Bon, Mme E. de, 2 i55 Bobrov, Semyon Sergeevich: Tavrida; Hi, Moy letniy den! Bonaparte, see Napoleon Bonaparte, Louis (brother of v Tavricheskom Hersonese Napoleon), 8344 (Tauris, or My Summer Day Bonaparte, Marie Pauline (sisin the Tauric Chersonese), 3 ter of Napoleon), see Leclerc 123 Charles Bodenstedt, Friedrich, see Ev- Bonaparte, Napoleon (son of Louis), 3^44 geniy Onegin, TRANSLATIONS, Bondi, S. M., 2 i24, 3378; GERMAN see also P., PUSHKINIANA: Boeotia, a483 Works Bogdanovich, Ippolit Fyodoro2 3 Dusson, vich, ^ 6 3 , 2i 3 , 378, i 3 9 ; Bonnac, Jean Louis Marquis de, 8 4i7n; Memoire Dushen'ka (Little Psyche) ^3 5, historique sur Vambassade de 72, 2136-7, 378; Dushen'kini France a Constantinople, 3 443 pohozhdeniya (Little Psyche's 2 Bonnay, de (French translator), Adventures), i37 2 35 Bogine Nevi, see Muravyov, M. Bonne Chatelaine, La (French Bog: Oda, see Derzhavin print), 2 393 Bogoslovski, M. M.: Pyotr I, 3 Borch / Borh, Countess Lyubov, 3 48 Borch, Count Yosif, 848 Bordeaux, 2 356, 465 Bordeaux (wine), ^ 9 6 , 2 226, 483-4 Boris Godunov, see Godunov Boris Godunov, see P., WORKS

4 22-3

Bohemia, 3 i54 Bohemia, Duke of, 2385; see also Weber: Freischiitz, Der Bohemiens, Les, see Merimee; see also P., WORKS: Tsigani Bohn, Henry G/, 236g Boieldieu / Boi'eldieu, F. A.: 12

Index Borodino, Anniversary of, see P., WORKS: Borodinskaya

Borodinshaya godovshchina, see P . , WORKS

Borowski, Felix, 2385 Borrow, George Henry: Targum, *i$6 Bosch, Hieronymus, 2 5ii Bosnia, 8 42i Bosom Friend of Magic Ancientry, see P., WORKS:

Napersnitsa Bossuet, Jacques Benigne, 8 431; Discours sur Vhistoire universelle, 8 433; "Surlamort," 23o6 Bos well, James: Hypochondriack, The, 2 i53, 248 Bottarelli, G. G., 279 Boucle de cheveux enlevee, La, see Pope: Rape of the Lock, The

Boudry / Budri, see Marat Bougeant, Father, 872 Bouquet, Le, see Leonard

Bourbons, ^ 2 5 Bourdic-Viot, Mme: Epitre a la campagne, 22\2 bourgeois literature, '170 Boustan, see Sadi: Bustan

Bouton, Charles, 8378 Bouvard, Alexis, 273 Bouvard, Dr., 822o Bouverie, Jack, 2264 Bova Korolevich, son of Gvidon / Sir Be vis / Buova d'Antona, *3i7, 2 2 7 4 , 453; see also Skazka o Bove Koroleviche Bovary, Emma, 8 3 i i ; see also Flaubert: Mme Bovary Bovary pere, 25o; see also Flaubert: Mme Bovary Bower of Muses, see Batyushkov: Besedka Muz Bo wring, John, 8 i4; Specimens of the Russian Poets, 8 i4 Boyan, 2 i86 Boyer, Philoxene, a528; Petits

Poetes francais, Les, 2528 Boyse, Samuel, 273~4 Bradi, Pauline de, 8 i53 Brahe, Tycho, 2 5i5 Brand, John: Observations on the Popular Antiquities of Great Britain, 25O2 Branitski, Countess Elizaveta, see Vorontsov Brantdme, Pierre de Bourdeilles, Seigneur de, 2 i 15; Recueil des dames, 2 418

Bratslav, 335g

Break, Break, Break, see

Tennyson Breguet, ^ 4 , 101, 102, 221, 2 69, 81, 106, 537 Breguet, Abraham Louis, 26g Brenta, see Hodasevich Brenta River, 1 n 6 , 2 i8i, 184, 185-6, 8 2 3 o Bretagne, ^ 5 8 Bride of Abydos, The, see Byron Bridegroom, The, see P., WORKS: Zhenih

Bridges, Robert: Milton's Prosody, ^65 Brigadir, see Fonvizin Brillat-Savarin, Jean Anthelme, 274; Physiologie du gout, La, 88 British, x 153; see also England / English British Review, The, 2352 Brockhaus / Russ. Brokgauz, and Efron, 272, 3447; see also P., PUSHKINIANA: Works (ed.

Vengerov) Brodin, Prince (EO var.), 8 ig7 Brodski, N. L., see Evgeniy Onegin,

COMMENTARIES, RUSSIAN

Broglie, Duke de, 28 jBronze/fmistranslated Copper] Horseman, The, see P., WORKS : Medniy vsadnik

Brotherston,8146; see also Scott: Eve of St. John, The

Index Brower, R.: On Translation, 1 xii Browning, Robert, 3 5 n , 513, 538; After, 3 5 3 ; One Word More, ^ 2 3 ; Porphyries Lover, 8454, 462, 511 Bruce, James (Russian General) , see Bryus Bruce, James (traveler), 34oo, 404, 408, 414, 439; Travels, V 1 - 1 2 , 443 Bruce's Calendar, see Bryusov kalendar1 Brummell, George Bryan ("Beau"), 244> 74> 101-2,478, 3 87, 198; see also Jesse Brutus, Marcus Junius, 355, 56 Bryus, Count Yakov Vilimovich, 2 315-16, 516 Bryusov kalendar"1, 2223, 31516 Bucolics, see Virgil Bucoliques grecs, see Theocritus Budge, Sir E. A. Wallis, 3 4io, 411; History of Ethiopia, A, 3 443 Budris and His Sons, see Mickiewicz: Budris; P.,

Vizhigin, 322$; "Literaturnie duhi" (Literary Ghosts), 2 37i; Razdel nasledstva (Partage de la succession), 3 i83 Bulletin of the Public Museum of Milwaukee, 339n Bulwer-Lytton, Edward, 2 74; Pelham, 274, 3 i68 Buonaparte, see Hugo Buovo d'Antona, 2274; see also Reali di Francia, I Burger, Gottfried August, 3 i 5 2 - 4 ; Lenore, ^ 8 3 , "253, 330; 500, 3 i52-4 Biirgschaft, Die, see Schiller Burgundy, 3353 Burke, Edmund, 27~8, 9; Letter to a Member of the National Assembly, 2 7; Reflections on the Revolution in France, 2rj; Thoughts on Scarcity, 28 Burmin, 3 3i2; see also P., WORKS: MeteV

Burton, Sir Richard F.: First Footsteps in East Africa, 3443 Burtsev, Vladimir Lvovich, 2 1O 3 > 5 2 5, 3243> 244> 3°4 Bustan, see Sadi 8 Butler, Samuel, 5O3; HudiWORKS: Budris bras, 171, 2 5 3 , 56, 98, 3 4 62, Budris i ego sinov'ya, see Mickiewicz; P., WORKS 495> 498> 502, 508 Bug River, 3 3i8, 4i7n Butt, John, 37 Bugaev, Boris Nikolaevich Buttadeus, Joannes, 2355~6 ("Andrey Beliy"), 3459 & n, Butterweek, M42, 2298~9, 375 Journal de la Re460, 487, 49311; Simvolizm, Buvat, Jean: 3 gence, 3443 459 n Biihren, see Biron Buyanov, ^ 3 , 216, 221, 223, 228, 265, 318, 2 2i, 524-6, Bulaq, 34 Bulgar, 527> 54X5 545? 3 i5 ? 19l see olso Bulgarin, Fadey / Faddey VeV.: Opasniy sosed Pushkin, nediktovich, 155, 74, 77, 234, Byron / Russ. Bayron, George Gordon, Baron, ^viii, 4, 26, 84, 88, 229, 230, 261-2, 371, 427, 467-8, 3 i8, 81, 82, 125- 53>34>75> 120> 153>214»259> 2 6, 12711,175, 224, 225-7, 247, 79 J 3 l 6 » 2 5 J 8 , 11 &n, 12, 15 436; "Anekdot," 3 i 7 5 , 225, &n, 26, 33, 39, 50-1, 52,85, 226-7; "Byron's lordship," 136, 152, 156-63, 167, 171, 3 436; Dmitriy Samozvanets 181, 186, 210, 215, 216, 227, 3 (False Demetrius), 22 5; Ivan 228, 236, 248, 256, 263, 287,

Index 335, 345, 35 2 , 35^, 35 8 , 359, 381, 410, 411, 447, 456, 457, 477-9, 478, 494, 521, 545, 546, 3 8, 30, 53, 85, 89, 98, 102, 163, 164, 194, 218, 226, 231, 261, 271, 286, 290, 306, 3 1 1 , 3 1 2 , 557, 43 6 , 5°9, 53 8 ; Age of Bronze, The, 3 3 i 9 ; Beppo, 2 n & n, 32, 43, 142, 160, 187, 216, 368; Bride of Abydos, The, 2 ioo, 158, 160, 392; Childe Harold's Pilgrimage, lfjo, 25, 11 & n, 26, 104, 136, 142, 156-8, 159, 160, 161, 175—6, 182, 185, 210, 356, 39 1 , 477, 337, 60, 127, 160,254,257—8; Corsair, The, 1 i55» 340, 2*59, 160, 357-8, 359, 39°, 456; Don Juan, 1 5i, 69, 70, 72, 261, 2 i in, i5n, 52, 34, 35, 4 0 " 1 , 44, 45, 6 3 , 7 2 ~3, 98-9, 116, 148, 155, 160, 161, 182, 215, 399, 426, 434, 457, 477-9, 480, 521, 538, 543, 342, 54, 65, 94-5, 128, 194-5, 270-1, 312, 319, 324, 337; English Bards and Scotch Reviewers, 2160; Fare Thee Weil, 2 160, 3 i29; Giaour, The, *5i, 261, 2 i59, 160, 162, 352, 394; Heaven and Earth, 2 i36; Isles of Greece, The, 3 5i2; Lara, 2 160, 3 i i 7 ; Manfred, 2 i59, 160, 3 95; Marino Faliero, 2 160; Mazeppa, 2 i6o, 3509; CEuvres, see Pichot, Amedee; Parisina, 2 i6o; Prisoner of Chillon, The, 2 5o-i, 159, 160; Siege of Corinth, The, 2 i6o, 3 245; To lanthe, 2163, 3258; Vampire, see Polidori; see also French, Byron in; Lamartine: Vie de Byron; Medwin: Journal; Moore: Life of Byron Byron, Miss, 3 2i5~i6; see also Richardson: History of. . . Grandison Byron et le Romantisme fran-

cais, see Esteve "Byron's lordship," see Bulgarin Byzantium, 369

C.,L. (EOvar.), 3 9i C, R. (EO var.), 39O, 91, 92 Cabanes, Augustin: Marat inconnu, 3 i36 Cabinet de toilette, Le, see Parny Cadiz, 2 n 6 , 333O Caen, 2 ioi, 478, 3 i98 Caesar, Gaius Julius, ^xiv, 355, 112,433 Caigniez / Caignez, Louis Charles, 2247; Juif errant, Le, 2 355 Cain, ^ 5 5 Cairo, 3 4i2, 413,414 Calais, 244, 101 Caliban, 2526; see also Kyuhel'beker: Shekspirovi duhi Caligula (Gaius Caesar), Roman emperor, 334O Caliph of Bagdad, see Didelot Calluna sp., 2 Q25

Calvary, 2355 Camelias, 2g2 Camenae, ^323, 3255 Campbell, Thomas, 334; Lord Ullin's Daughter, 22$5 Campenon, Vincent, 2393, 3g6 Campion, Thomas: Fourth Book of Airs, 2 4i2 Canada, ^ 2 5 , 374 Candide, see Arouet Cantata, see Rousseau, J. B. Canterbury Tales, The, see Chaucer Capricieuse, La, see D mi trie v, I.: Prichudnitsa Captain "Bold," see Pushkin, V.: Kapitan Hrabrov Captain's Daughter, The, sec P., WORKS: Kapitanskaya

dochka

Index Caracteres, Les, see La Bruyere Caragana arborescens, 3i2—13 Carbonari, 2 49, 50, 8330 Carlyle, Thomas: French Revolution, The, S343 Carmen, see Bizet; Merimee Caroline, queen of Great Britain, 2 5i Carpathians, '179 Car rick / [mistranslated] Overcoat, The, see Gogol: ShineV Carroll, Lewis, see Dodgson, Charles Lutwidge Carthage, 3 8, 432 Carthon, 2255 Caryae, 378 Caryll, John, 325 Casanova ("de Seingalt"), Giovanni Jacopo, 2 i15 Casca, Publius Servilius, 355 Cashaat, 34O2 Caspian Sea, 8263, 279, 280, 281 "Cassandra" (i.e., Bludov), 3 i72 Cassius Longinus, Gaius, 855, 56 Castaing, Edme Samuel, 8334-5 Castalia(n) Fountain, 8485 Castanhoso, Miguel de, 8443, 447 Catalonia, 8429 Cathedral-Walk, The, see Crabbe Catherine I, empress, 839011,

4!9> 434 Catherine II, empress, ^ 2 0 , 2 7 9 , 82, 98, 107, 290, 291, 451,478,8121, 137, 139,271,

*74> 39° & n> 39 1 Catherine Canal, see St. Petersburg: Ekaterininskiy Kanal Cato, Marcus Porcius, 1 n , 8199, 304 Catkin Week, 3 ig8 Catullus, Gaius Valerius, 2 i2, 53, 54; Ad Manlium, 22j

Caucasian Captive, The, see P., WORKS: Kavkazskiy plennik

Caucasian race, 8396, 397, 437 Caucasus / -ian, *6, 54, 55, 283, 325> 253> 88> 121, 122, 193, 428,504,812,52,89,90, 149, 151, 166, 167, 194, 249, 257, 263, 264, 280-4, 285, 287, 301,302, 303,312 Cavos, C , 286, 87, 247 Caylus, Countess Marthe de, 2

1O1

Celimene (EO var.), 3go Censorship, Administration of, 3

200

Centlivre, Susanna: BassetTable, The, 226o Central Archives (MA), see Moscow: TsentraVniy Arhiv Central Chain (CaucasianMts.), 8280, 281, 284 Cerceau, Jean Antoine du: Epitre a M. Etienne, 2315 Cercopithecus sp., 25o6 Cervantes Saavedra, Miguel de, 8 ig2 Chaadaev, Pyotr Yakovlevich, 106, 2 46, 56, 104-5, 231, 427, 429n, 8207, 224; Lettresphilosophiques, 2 io5 Chaadaevu, see P., WORKS Chabanon, M. P. G. de, 256 Chad, Lake, 8436 "Chaignet," see Caigniez Chaldea, ^ 1 4 Chamfort, Sebastien Roch Nicolas, ^ o i , 8220; Maximes et pensees, 2 i72, 368-9, 3220 Champagne, 3 22i Champ des (or de) Roses, 8137 Champfleury, see Fleury Champiere Island, 8429 Champion, The (London), 3 i2g Champion of Enlightenment, see SorevnovateV Chansonnier des Grdces, 2S29 Chansons populaires, see Tiersot Chansons russes, see P., WORKS

16

Index Chapelle, see Lhuillier Character of the Russians, The, see Lyall Chardin, Jean, 8 43i Charis / Charites / Russ. Hariti, 8

209, 211

Chariton, St., ^ 6 9 , 3 i 15-16 Charles II, king of England, '99 Charles X, king of France, 847 Charles XII, king of Sweden,

V9

Charlotte (Lotte, Lottchen), 2 2 34 > 345» 8235» 2 3 8 ; see also Goethe: Werther Charpentier, Jean Pierre, a53 Chartreuse de Parme, La, see Beyle Chasseur Regiment, '45 Chastopalli (Pichot and Salle), 2 i59-60, 358, 8 94; see also Pichot; Salle Chateaubriand, Viscount Francois Rene de, ^8, 187, 316, a 6, 62, 157, 183, 344, 440, 8 55, 71, 98-100, 102, 170, 341, 431; Atala, 898, 102; Genie du Christianisme, Le, 9g8, 341; JVIemoires d'outre-tombe, *6, ^ J *S5i 183, 241, 346-7, 8 7i, 98, 165; Paradis perdu, Le, 35 276-7, 293, 345, 896, 98-100, 165; Tombeaux champitres, Les, »83 Chateaugiron, H. de, 8 i 10 Chatham, see Pitt Chdtiments, Les, see Hugo Chatski, ^ 8 7 , «ga, ^17, 39, 69, 166, 258-9; see also Griboedov: Gore ot uma Chatski, Vera ( £ 0 var.), 8276, 277 Chaucer, Geoffrey, *502, 527; Canterbury Tales, The, '477; Hous of Fame, The, ^96-7 Chaulieu, Guillaume Amfrye de, 8 214; Des Louanges de la vie champetre, '209, 244, 468;

Sur la premiere attaque de goutte, 825 Chaykovski / Tchaikovsky, Pyotr Ilyich; Evgeniy Onegin (opera), 2 333-4, 53°> 34°> 4*> 241

Chedel (P.'s tutor), *39 Chehov / Chekhov, Anton Pavlovich, a i43n, 280 Chemin du Pendu, Le, '434 Chenier, Andre, s i i 8 , 183, 462, 463-4, 465, 482, 8 3 7 , 341-2; Amours, Les, a 39i; Art d1 aimer, L\ ^ 6 5 ; Elegies, a 209, 463-4, 826, 70; Epitres, 2 2O9, 444, 464, 465; Jeu de paume, Le, 8 34i; Jeune Captive, La, a i i 7 , 8 25i, 341; Jeune Tarantine, La, 8 34i; Pres des bords oil Venise, a 183; Republique des lettres, La, 3 i 6 i ; Retraite, La, a i99 Chennevieres, P. de, 8443 Cherkes / Circassian, a87, 212; see also P., WORKS : Kavkazskiy

plennik Chernets, Kievskaya povest\ see Kozlov, I. Chernigov, a398, 83O7 Cherni'shevski, Nikolay Gavrilovich, 858, 355 Chern'ishevski Institute, see Moscow Chernomor, 32O7; see also P., WORKS: Ruslan Chersonese, see Korsun Cherubin, a 542; see also Beaumarchais: Mariage de Figaro, Le Chevalier Guards, 847 Chichikov, ^ 2 6 ; see also Gogol: Myortvie dushi Chigas'i, see Moscow Chigrin, 8359 Childe Harold, 1 i i 2 , 195, 262, 285, 313; a i56-8, 399, 538; see also Byron: Childe Harold's Pilgrimage

Index patra, 2 7 g Childe IlarolcVs Pilgrimage, see Circassian / Cherkes, ^ 2 6 , 287, Byron 212, 3 282, 312 Chimborazo, Mt., 3578 China / -ese, 1 i70, 3 i62, 247, Circes, ^ 6 3 , 2 i 2 8, 131, 132, 2 37 423> 434 Cisteaux, 311 o Chita, 2123, 3349 Chizhevski / Cizevsky, Dmitri Citations francaises, Les, see Guerlac Ivanovich, see Evgeniy OneCitoyen du Monde, Le, see gin, COMMENTARIES, ENGLISH Fougeret de Monbron Chloe, 3 i6g; see also Steele: City of the Plague, see Wilson, J. Spectator, The Clairon, see La Tude Choiseul, Duchess de, 2341 Claras / Klari, 2g2 Christian/ -ity / -ize, 2 igi, 301, Clare, Allan, 226g; see also 356, 34O7-8, 411, 412, 414, Lamb: Rosamund Gray 418, 422, 424 2 Christina Eberhardina, queen Clarens, i36; see also Byrorf: 8 Childe Harold of Poland, 424 Christmas,1184,270,24g6,3i 16 Clarissa, 266; see also Lessing Christos, Cella / Krestos, Ras Clarisse, see Colle Clarisse Harlowe, see RichardCe'ela, 34O3, 441 son: Clarissa Christos, Haouarya, 3442 Clarissa, see Richardson Christos, Keba, 3 4ion Chronique ethiopienne (Krestos Clark, Sereno D., 8444 Clark, T.: Wandering Jew, and Za-Ouald), 8442 The, 2355 Chronological Picture of the Clarke, Edward Daniel: Breaking Up and Forming of Travels, 2478, 328o Ice in the River Neva, 2 i74 Chto v imeni tebe moyom, sec classicism, X288, 2 83, 832, 33, 34, 36, 171, 2go: see also P . , WORKS pseudoclassicism Chto zhe suho v chashe dno, see Clef des chansonniers, La, 2528 P . , WORKS Chulkov, N. P., 3447; see also Cleopatra, queen of Egypt, ^02, 28g, 279-80, 480, 3 i 7 5 , P., PUSHKINIANA: Pushkin's 176-7 Moscow Cleopatra e Cesare, see Graun Church Slavonic, 3 i44 Cleopdtre, see Aumer; CimarChuryuk / Churuk River, 2212 osa; Marmontel; Piron: Au Chute des feuilles, La, see Comte de Vence Millevoye Chuzhoy tolk, see Dmitriev, I. Cleopdtre captive, see Jodelle Chyornaya Rechka, see St. Clicquot, Veuve, 1 ig6, 3 3i8, Petersburg 363 Chyornaya shal\ see P., WORKS Clio, 8340, 344 Cicero, Marcus Tullius, ^ I , Clonmel Code, 2 i5o, 8 43; see 227, 228, 3g6, 97, 132, 265, also dueling 304, 305, 433; De divinatione, Clough, Arthur Hugh, 3 5i2 3 Coblentz, 36o 3°4 Cohen, Gustave, 2268, 448 Cidy Le, see Corneille Cohen, Jean, 235, 353, 354, 3g8, Cideville, 253 168 Cimarosa, Domenico: Cleo-

18

Index Colardeau, Charles Pierre, 3 2i7; Lettre cwnoureu.se de Helofse a Abailard^ 234O— 1; Vers pour rnettre au bas d\ine statue, 2242 Coldinghame, Sir Richard, 3 146; see also Scott: Eve of St. John, The Coleridge, E. H., 23411, 477, 3 312 Coleridge, Samuel Taylor, 2 i68, 365, 470, 502, 523; How Seldom, Friend, 3 65; Kubla Khan, 3 441; Lines Composed in a Concert-Room, 2 i i 4 ; Pains of Sleep, The, 3 4 5 4 , 462, 508-9 Colle, Charles: Clarisse, 2^6 Collins, William, 245o; Ode to Evening, 3 io, 82 Collop, John: Spirit, Flesh, 825 Colman the Younger, George: Law of Java, The, 2io,2 Colmar, 346 Colonne Vend6me, see Paris Columbus, Christopher, 2 5i7 Comatas, 2 55; see also Theocritus: Idyls Commandant's Villa, see St. Petersburg: Komendantskaya 'Dacha Comme un qui prend une coupe, see Ronsard: Odes Compain de Saint-Martin, Abbe, 3 i 3 i Company Commander / rotniy komandir (EO), ^ 2 3 Comte de Carmagnola, Le, see Manzoni: Conte di Carmagnola, II Comte de Gabalis, Le, see Montfaucon de Villars Conclusive Evidence, see Nabokov, V. Concubine, The, see Barati'nski: Nalozhnitsa Confessio amantis, see Gower Confessions, see Rousseau, J. J.

Confucius, 258 Confucius, Pense'es morales, sec Levesque Congreve, William, 3 i42, 143 Conioselinum, 23OO

Conrad, 2357; see also Byron: Corsair, The Considerations sur . . . la Revolution francaise, see Stael Constant de Rebecque, Henri Benjamin, V , 50, 51, 253, 3 100-2, 214; Adolphe, «n, 390, 500, 3 i 7 , 96, 100-2, 182, 215 Constantine, Grand Duke, 2 239, 446, 3 3 4 6 Constantinople,2100, io2, 3 38o, 3 8 9, 595) 596, 397> 39 8 , 41417, 420, 421 & n, 422, 427, 428 Conte di Carmagnola, II, see Manzoni Contemporary, The, see Sovi'em enn ik Contemporary Song, A, see Davidov, D.: Sovrernennaya pesnya Contes, see Arouet: Romans et contes; La Fontaine Contes moraux, see Marmontel Conti, Clelia, 2338; see also Beyle: Chartreuse de Parme, La Contrat social, Du, see Rousseau, J. J. Convalescence, see Batyushkov: Vizdorovlenie Convallaria majalis (lily-ofthe-valley), 227O—1

Convent Threshold, The, see Rossetti Conversation, see Cowper Conversation Between the Editor and the Classicist, see Vyazemski: Razgovor mezhdu izdatelem Conversation of Bookseller with Poet, see P., WORKS: Razgovor

Index 8 Conversation with Mr, Bul54 garin, see Kyuhel'beker: Count, 2 117; see also Goethe: Razgovor Wahlverwandtschaften Conversations de Lord Byron, Countess / -ov (EO var.), 388 Les, see Medwin: Journal of Country, The, see P., WORKS: the Conversations Derevnya Cooke, William: Memoirs of Country Churchyard, see

Samuel Foote, 2 73

Cooper, James Fenimore: Red Rover, The, 3202 Copenhagen, 2343, 428 Coptic, 34o8 Corcellet (liver-pie maker), 274 Corday, Charlotte, a334 Corinna (in Ovid), 2 i6 & n Corinne, see Stael Cork, Lady, 211 o Corneille, Pierre, x i 02,283,336, 218, 431; Cid, Le, 283; Mort de Pompee, La, 2?Q; Rodogune, 2jg Corneliano, see Pasero Cornell University Library, * i , 3 3 88, 447 Cornwall, Barry, see Procter Corps-des-Pages, see St. Petersburg: Pazheskiy Korpus Correggio (Antonio Allegri), a 543 Corsair, The, see Byron Cortes, 3297 Cosmopolite, see Aiguillon Cosmopolite, Le, see Fougeret de Monbron Cossacks, ^69, a5og, 534, ^85 Coste, P., 396 Costello, D. F., 3 i20 Cottage in Kolomna, The, see P., WORKS: Domik v Kolomne

Cottin, Mme, see Sykes Cottin, Sophie, ^ 43, 316, 3 287, 342, 516; Malvina, *43> 214, 2 5i6; Mathilde, ^ 3 , a 2 34 ~3> 348> 5 l 6 Cotton, Charles, x i2, 35O3, 504; Entertainment to Phillis, The, 8504; New Year, The, 8504; Retirement, The, a 46i; Retreat, The, 8504; Valedictory, 20

Zhukovski: SeVskoe country life, see Arcadia Coup d'ceil sur Cythere, see

Parny Coupigny, Andre Francois de: Werther a Charlotte, 36o Couplets, see Lattaignant Courcillon, Marquis de, 284 Cours de langue anglaise, see Pollock Cours de litterature, see La Harpe, J. F.: Lycee Cours de litter ature dramatique, see Schlegel, A.: Vber dramatische Kunst Court, see Dvor Court Calendar, see Pridvorniy kalendar' Courtisone amoureuse, La, see La Fontaine Covetous Knight, The, see P., WORKS: Skupoy ritsar1

Cowley, Abraham, 2449 Cowper, William, 8507; Conversation, 3 ig j 124; Olney Hymns, 8507; Pineapple and the Bee, The, 275; Written after Leaving Her at New Burns, 8462, 507 Coxwell, C. F., 249i Crabbe, George: CathedralWalk, The, 3 8 3 Craonne, 856 Crawford, Mary, 2 368, 393; se£

also Austen: Mansfield Park "Cricket," see "Sverchok" Crimea, *6, 54, 55, 61, 2 i2i, 122, 124, 125, 129, 130, 135, 166, 193, 212, 343, 398, 428, 434, 8 1 5 1 ) 167, 265, 285-6, 288, 291, 302, 303, 306, 331 Crimean Sonnets, see

Index Mickiewicz: Sonety Krymskie Croly, George, '128; Salathiel, a 354-5 Crumbly Sand, see Tyutchev: Pesok sipuchiy Crusades, '36 Cunnington, C. Willett: English Women's Clothing, 8 n 8 19, 181 Cupid, 2 137-8, 248 Cupid and Ganymede, see Prior Curiosites littiraires, see Lalanne Curiosities of Literature, see D'Israeli Curiosities of Popular Customs, see Walsh Cyclopes / Russ. tsiklopi, ^67 Cypris (astronomy), ^ 3 8 Cypris (myth), 2 i87, 326, 328, a 88, 125, 165, 265, 539, 8284; see also Venus Cyrano de Bergerac, Savinien, '431 Cyrillic, 8399n Cythera / -ea, 2 i6, 471, 868, 338> 34° D D., Count (EO var.), S2o6 D., Countess Lenore de, '430; see also P., WORKS: "Arap Petra Velikogo" Da Costa, Mendez, S426n Daedalus, Stephen (in Joyce), •311 Dagestan, 328i Daguerre, Louis Jacques Mande, "378 Dahl, Vladimir: Tolkoviy slovar1 (Dictionary), "284, 300, 8

Daltaban the Serbian, 8 4i7~i8 Dames galantes, Les, see Brant6me: Recueil des dames Damis, ^39; see also Piron: Nletromanie Damon, *233 Damskiy zhurnal (Ladies' Journal, ed. Shalikov), 2 i6n dandies / exquisites / fashionables, V7> 3J3> 243~4> 1 1 0 ~ 11,

113-14

Dangeau, Philippe de Courcillon, Marquis de, a84; Journal, "443 Dangerous Neighbor, The, see Pushkin, V.: Opasniy sosed Daniel, William, 8443 Danilov, Kirsha: Drevnie rossiyskie stihotvoreniya (Ancient Russian Poems), 2 3i7 Dante Alighieri, 1xviii, 2369; Inferno, ^lG, 2 3i8, 368, 414 Dantes / D'Anthes, see Anthes Danton, Georges Jacques, 8334 Danube River, 26o, 61, 246, *55*, 3 6 ° Danzas, aK. K., 85o 8 Danzig, 448, 515, 488n Daphne / Dafna / Daphne, a 4i5, 416, 530; see also Leonard: Bouquet, Le Darcy, 2424; see also Austen: Pride and Prejudice Dardanelles, 2457 Dark Ages, 836 Dar naprasniy, dor sluchayniy, see P., WORKS

12

Daisy, The, see Tennyson daV ("remoteness," Fr. le lointain), ^56, 2 i66, 241 Dallas, R. C, *5, 167 Dalmatia, "358, 8 i5, 299 21

Darski, D., M34 Darthula, see Macpherson Daryal Canyon, 828o Dash, Duke of, 3 i95; see also Byron: Don Juan Dashkevich, N. P., 8 2i5n Dashkov, D. V., 8323 Daubigny, see Baudouin d'Aubigny Dauzat, Albert: Dictionnaire e'tymologique, a68

Index 482, 495, 3 58, 90, 138, 154, 247-9, 256, 312, 325, 326, 336, 345-64 Decisive Evening, see Davidov, D.: ReshiteVniy vecher Decline and Fall of the Roman Empire, see Gibbon De divinatione, see Cicero Deep in Siberian Mines, see P., WORKS: VO glubine sibirskih rud Defauconpret, A. J. B., 2 476 Deffand de La Lande, Marquise Marie Anne du, 8 i 3 6 Definition of Love, The, see Marvell De'guisements de Venus, Les, see Parny Dejeuner, Le, see Millevoye Dekabristki, see Nekrasov: Russkie zhenshchini Dekker, Thomas: Honest Whore, The, 2 285 Dekosta, Yan, see Acosta De la litterature, see Stael De V Allemagne, see Stael De la poesie latine, see Tissot, P. P. De la recherche de la verite, see Malebranche De la sante des gens de lettres, see Tissot, S. A. Delavigne, Casimir, 252O, 3 59~ 60; A Napoleon, ^ 2 7 ; Discours d'ouverture, 3 i 8 g ; Wiesse'niennes, Les, 2 i 8 3 , 543, 3 6o, 326—7; Voyageur, Le, 2 i 8 3 De la ville, see La Bruyere: Caracteres, Les Delia, 8 61; see also Batyushkov: Poslednyaya vesna Delille, Jacques, '209, 8 2 i 7 ; Epitre sur la ressource, 2 42; Homme des champs, L\ 22O4, 366 Delorme, Joseph, see SainteBeuve Delphi,

David, Jacques: Anthologie de la poesie russe, L\ 2 386; see also Evgeniy One gin, TRANSLATIONS, FRENCH Davi'dov, Aglae / Aglaya (b. Duchesse de Grammont, wife of Aleksandr), 3 33i Davi'dov, General Aleksandr Lvovich (brother of Vasiliy; husband of Aglae), 3 248, 249, 33*> 3 3 2 Davi'dov, Denis Vasilievich, 2 483, 8 i 7 4 ; Pesnya starogo gusara (Song of an Old Hussar), 2 i 12-13; ReshiteVniy vecher (Decisive Evening), 8 8 ; Sovremennaya pesnya (Contemporary Song), 2 i04~5 Davi'dov, Ekaterina (mother of Aleksandr and Vasiliy; mother of Gen. N. Raevski), 2332 Davidov, Lev Vasilievich (father of Aleksandr and Vasiliy), 8 332 Davidov, Stepan Ivanovich, 2 247 Davidov, Vasiliy Lvovich (brother of Aleksandr), 3 248, 2 49> 33 1 * 332> 359 Davidov family, 22O5 Dawe, George, '204—5 Day Dream, The, see Tennyson Dead Souls, see Gogol: Myortvie dushi Debarwa, 8 4Oi, 403, 408, 409, 4 i o n , 412, 413, 432, 4 3 8 - 9 , 441 Debra Bizan/ Monastery of Bizen, 3 4 i o n Debra Damo, 34O2 Decade philosophique, La, 3 2 5 i , 341 "December 14th," see P., WORKS: Andrey Shen'e; see also Decembrists Decembrists, 2 82, 122-3, 124, 227, 3 0 m , 312, 413, 446, 481, 22

Index obedu (Invitation to Dinner), 2 3o8; VeVmozha (The Grandee), 3 i39, 337; Vodopad (The Waterfall), 8 i39, 140 Desbordes-Valmore, Marceline, 2 392; Romance, 322 Dcs Conquetes faites en Abyssinie, see Abbadie Description de VOpera, see Panard 101, 131, 140, 224, 225, 226, 8 286; Fani, Ode to, 2 4i6; Push- Desdemona, 38i kinu: Kto kak lebed' tsvetush- "Des livres," see Montaigne: Essais chey Avzonii (To Pushkin: He —a swan born in blooming Des louanges, see Chaulieu Desmarets de Saint-Sorlin, Ausonia), 323~4 Jean: Promenades de RicheDelvig, Baroness Maria Antolieu, Les, 2272 novna, 236 Des Moulins, Alexandre, 2 ioi Demon, see Lermontov; P., "Des noms," see Montaigne: WORKS Essais Demuth / Demouth, Philip Jacob, 3269; see also St. Peters- De soy mesme, see Marot burg: Demut's Hotel Desportes, Philippe: Priere an sommeil, 2 i98 Denham, Sir John, 3 i3 Denmark, ^ 2 9 Despres, J. B. D., 896 Dennitsa (Sunrise, ed. Maksi- Destiny of Russian Poets, see movich), 8 io9 KyuhePbeker: Uchast1 russkih poetov De otio, see Seneca Destouches, Philippe Nericaiilt: Depping, G. B., "404 Irresolu, L\ 2 i44 Derbent, 328i Deutsch, Babette, see Evgeniy derevnya ("countryside," Onegin, TRANSLATIONS, ENG"country seat," "village"), 1 2 LISH 6 6 Derevnya, see P., WORKS Deux Amis, Lies, see LafonDeribasovskaya Street, see taine: Beiden Freunde, Die Odessa Deville, Alberic, 2 2i7 Derzhavin, Gavrila Romano- devushka / devitsa / deva / devich, J 54, 282, 2 5 io, 445, 450, vochka / devchonka(u maiden," 451, 3 i4, 23, 42, 139-41, 147, "girl," "little girl"), 2 3 o 7 , 469 148, 171, 328, 337, 485, 488, 489, 525; Bog: Oda (God: an Devushki krasotochki, see 8 Evgeniy Onegin: Song of the Ode), 2310, 450, i39; "Exegi Girls monumentum," 231 o; Felitsa, 2 180, 310, '139; Gimn liro- Deyaniya Petra Velikogo, sec Golikov epicheskiy na prognanie frantsuzov iz otechestva (Lyrico- Dialogue de deux Comperes, see La Monnoye Epic Hymn on the Expulsion of the French from the Father- Dialogue des morts, see Fonland), 8 i4i; Priglashenie k tenelle

Delphine, see Stae'l Delvig, Baron Andrey Ivanovich, *i8i, '269; Polveka russkoy zhizni (Half a Century of Russian Life), 2181 Delvig, Baron Anton Antonovich, ^ 9 , 73, 74, 75, 76, 78, 236, 22o, 53, 181, 233, 314, 365> 376,432> 433> 482> 8 23-4,

Index Diana (astronomy), 1 i i 5 , 228, 2 i75> 176 Diana (myth), 1 i o g , 3 286, 287

Dianthus caryophyllus, 23OO Diary, see Greville; Olenin,

Anna: Dnevnik; P., PUSHKINI-

ANA: diary (Dnevnik); Vulf, Aleksey; Vyazemski Diary of an Austrian, see Korb Dickens, Charles: Bleak House, 2 33?> * 2 94 Dictionary, see Dahl; Slovak Akademii Rossiyskoy Dictionary of Distinguished People, see Banfish-Kamenski: Slovar' Dictionary of Islam, A, see Hughes Dictionary of Slang, A, see Partridge Dictionary of the English Language, A, see Johnson Dictionnaire de musique, see Rousseau, J. J. Dictionnaire etymologique, see Dauzat Dictionnaire historique et critique, see Bayle Didelot, Charles Louis, 1 io2, 104,313,284-5,86-7,88,93, 94; Ads et Galathee, 286, 93; Caliph of Bagdad, *86*; Caucasian Captive, The, "87; HenZi and Tao, *87; Ruslan and Lyudmila, *88; Sea Victory, *86 Diderot, Denis, 8g6, 97, 220-1; Eleutheromanes, 822i Dido, *53; see also Virgil: Aeneid Dietz, Ferdinand, '385 Diocletian (Gaius Aurelius Valerianus Diocletianus), Roman emperor, '15, 115 Dioper, Andrey, "434 Dioper, Eudoxia / Evdokia, see Gannibal, Eudoxia Disabled Soldier, The, see

Russkiy invalid Discours a madame de la Sabliere, see La Fontaine: Fables Discours de la patience, see Fontenelle Discours d'ouverture, see Delavigne Discours sur Vhistoire universelle, see Bossuet Discours veritable d'un Juif errant (anon.), *^6 D'Israeli, Isaac: Curiosities of Literature, a 184-5 Dissertation on the Old and New Style ofthe Russian Language, see Shishkov: Rassuzhdenie Dixan,

8

401,411

Dix Ans d'exil, see Stael Dix-huitieme Siecle, Le, see Gilbert Djemschid, '250; see also Sadi: Bustan Dmitri / Dmitriy, xxxiii Dmitriev, Ivan Ivanovich, *4, 1 1,39, 2 49> a 58,174, 240,450, 490, 522, 3 3i, 114, 139, 1413, 145, 148, 170; Basni (Fables), 8 i09, 141; Chuzhoytolk (As Others See It / A Foreign Doctrine), ^90, 2 45o-i, 8 i 4 i ; Ermak, x 11, 8 31; I moi bezdelki (And My Trifles), ^144; K Volge (To the Volga), 8 3 i , 278-9; Modnaya zhena (The Fashionable Woman), *H4, 443; Nadpisi k portretam (Legends to Portraits), '239; Osvobozhdenie Moskvi (The Liberation of Moscow), 868; Prichudnitsa (The Freakish Belle, La Capricieuse), ^324, 511; Prohodyashchiy (The Passer-by), s i09-10; Puteshestvie NN v Parizh i London (Journey of [Vasiliy Pushkin] to Paris and London), 8 2i8; Stonet siziy golubochek (Moans

Index the Gray-Blue Little Dove), * 3 85,»i 4 i Dmitriev, Mihail Aleksandrovich, 2 4 6 3 , 472, 484, '114, 120, 227; Moskovskie elegii

Dolores, see Swinburne Domik v Kolomne, see P.,

Dobriy chelovek, see P., WORKS

Doride, see P., WORKS

WORKS

Domostroy (Householdry), S 2 3 5 (Moscow E l e g i e s ) , 8 i i 4 Donauweibchen, see Kauer Dmitriy Donskoy, see Ozerov Dongola, 8 4i2 Dmitriy Samozvanets, see Bul- Don Juan, see Byron garin Donne, John, 35Oi; Extasie, Dnepr / Dnieper River, *i2i, The, 8 4 61,462, 494, 501 '283, 317; see also Krasnopol- Do Not Listen If You Do Not ski: Dneprovskaya Rusalka Like It, see Shahovskoy: Ne Dnepropetrovsk, see Ekaterinolyubo, ne slushay slav Don River, ^27, 2 3io, 534 Dneprovskaya Rusalka, see Donskoy, Dmitri, 8 32i, 323; Krasnopolski see also Ozerov: Dmitriy Dnestr / Dniester River, "37 Donskoy Dnevnik, see Olenin, Anna; P., Dorat, Claude Joseph, 8 2i7, PUSHKINIANA: diary; Vulf, 298; A Monsieur Hume, '251; Aleksey; Vyazemski Pierre le. Grand, 25i7J Potpourri, Le, 2466 Dobarwa, see Debarwa Dodgson, Charles Lutwidge: Alice's Adventures in Wonderland, ^507 Dodington, George Bubb, Baron Melcombe, *25 Dodsley,Robert: Collection, 8 io Dolgoruki, Prince, '51 Dolgoruki, Prince Ilya Andreevich, s 3 i 3 , 317, 349, 351 Dolgoruki, Prince, Ivan Mihaylovich, '324—5; Bitiyo serdtsa moego (The Being of My Heart), '324; Kamin v Moskve (Fireplace in Moscow), 8468n; Sumerki moey zhizni (The Dusk of My Life), '324 Dolgoruki, Princess Natalia Borisovna (b. Countess Sheremetev), 8 8 3 , 84 Dolgoruki, Prince Pyotr Vladimirovich, 8 48, 49 Dolgoruki, Prince Vladimir Lukich, 843O Dolgorukov, see Dolgoruki Doligny, Mile, 875 Dolivo-Dobrovolski, F.,

Dorofey Varlafovich, 838o; see also P., WORKS: Rodoslovnaya moego geroya Dorpat / Derpt University, 2 229, 444, 83o8, 310 Dostoevski / Dostoyevski, Fyodor Mihaylovich, a357, 8 19i2, 241, 258 Douglas, 8 i46, see also Scott: Eve of St. John, The Doyer de Gastels, Gerard, Marquis du, 875 Do You Recall, see Batyushkov: Ti pomnish* Dream, A, see P., WORKS: Son; Shev'iryov: Son Dresden, 8289, 330 Drevnie rossiyskie stihotvoreniya, see Danilov Drevniy i noviy . . . orakul naydenniy posle smerti odnogo sto-shestiletnego startsa Martina Zadeka, 2 5i5-i6 Drury, Henry, "457 Dryden, John: Aureng-Zebe, 8 62; Imitation of Juvenal,

Index 8 150; Ovid's Epistles, 3 i3 Dusk of My Life, The, see DolDubious, Dick, 8 i95; see also goruki, Ivan: Sumerki moey Byron: Don Juan zhizni 2 Dublin, 35 Dussieux, L. E., 3443 Dussueil, Rey, 8 2i9 dubrava / dubrova ("wood," "park," "grove"), 1357, '198 Dutch, 2366, 737 Ducis, J. F.: A Mme Georgette Dva soseda, see Hemnitser W. C , 2 483-4; Epistle to the Dvina River, Western, 3112 Cure of Rocquencourt, 2 2io; Dvor ("Court," "courtyard," Epitre a Gerard, 22o6; Epitre "out-of-doors," "stead"), a Vamide, 2 i 19; Mon Produit ^ i 243> 2 98, 404-5, 406, 2 net, 57; Vers d'un homine, 466, 489, '238 2 2o6 Dyer, John, 2 i43, 8506; Grongar Hill, 35o6 Du contrat social, see Rousseau, J. J.: Contrat social, Du dueling, 2 88-9, 128, 149, 150, 428-9, 431-4, 446, 535, *1617, 18-19, 22> 23> 40-56, 61 Easter, 3 i98 Duel of Onegin and Lenski, see eccentric {chudak, merveill'eux), 2 Repin 110—11 Echo, 2 3i7 Dufresny, see RiviereEcole d'Artillerie, see La Fere; Dufresny Dulcissa, 3 i69; see also Steele: Metz 2 Spectator, The Eda, 277, 382; see also Bara2 Dumas, Alexandre, 6g finski: Eda Dumi, see Rileev Eden, ^94, 8 i64 Dunkerque, 3428 Edgeworth, Maria: Ennui, 2 3 Dunya (EO), ^ I , 2245, 409 7 6, 155, 274, i6o, 165 2 Dupin, Baron Pierre Charles Edinburgh, ixxii, 327, 355 3 Francois, io8—9; Forces pro- Edinburgh Review, The, 2 58, ductives et commerdales de i36» 494> 3 l 0 2 la France, 3 io8; Observations Edinburgh Weekly Journal, sur la puissance d'Angleterre, The, 2 i6i 3 108; Petit Producteur fran- Edip v Afinah, see Ozerov qais, Le, 8 i09 Edmund, Sir, 2 5i6; see also Dupont, H., see Evgeniy OneCottin: Malvina gin, TRANSLATIONS, FRENCH Edwards, A. Hart, 825o 2 Efros, Abram Markovich, 2499, Duport, Louis, 54O-i 3 Du printemps, see Ba'if 347n; Risunki poeta (Poet's Durin, Mme ( £ 0 var.), 2457, Drawings), 297, 105, 111, 168, 198, 213, 214, 238, 292, 459 396, 460 Dusaulx, Jean Joseph, 2$2 Egan, Pierce: Life in London, Dushen'ka, see Bogdanovich 2 43"4> 6 3 , 3 i i 3 DusherCha's Adventures, see Egipetskie nochi, see P., WORKS Bogdanovich: Dushen'kini Egolin, Aleksandr Mihaylopohozhdeniya vich, r 82, 2 i26n; see also P., Dushen'kini pohozhdeniya, see PUSHKINIANA: Pushkin Bogdanovich

Index 2 i94 Egypt / Egyptian, ^ o , 3 3 7 8, Elnbogen, 3 1 Elodia, 2O3n; see also P., 397. 4 3> 437 Egyptian Nights, see P., WORKS: WORKS: Eyo glaza Eloges de la solitude, see Villiers Egipetskie nochi Eloisa to Abelard, see Pope Eichenberg, Fritz, 3353 Elton, Oliver, see Evgeniy OneEitzen, Paulus von, 2356 gin, TRANSLATIONS, ENGLISH Ekaterinoslav / Dnepro1 2 petrovsk, 2 i 2 i , 193, 428, 433, Elvina (£0), i09, i2o, 140 Elvina, pretresse de Vesta, see 8282, 283, 301, 302 Ekenhead, Mr., 2457; see also R., Philidor 2 Elvira / Elvire, i4O Byron: Don Juan Emerson, Ralph Waldo: Ekunin, Pavel, 2o,o 3 Threnody, 2 ioo Elbruz / Elborus, Mt., 284, En apprenant la mort de Lord 285 Byron, see Lebrun, Pierre Ele'gie(s), see Bertin: Chenier; Enchanted Labyrinth, The, see Millevoye Lyovshin: Ocharovannfy Elegies, see Propertius "Elegy (1829)," see P., WORKS: labirint "Elegy (1829)": Poedem, ya Encounter, *xii Encyclopaedia Britannica, The, gotov 2 Elegy to the Unforgettable One, 57> 36 9) 33° see Yakovlev, M.: Nezabven- Encyclopaedia of Islam, 3443 noy Encyclopedic, 2262 Elegy Wrote in a Country Endorta (Tigre-Endorta), 3 Church Yard, see Gray 4 o 4 n , 409, 410, 411 Ele'mens de la grammaire fran- Endymion, see Keats caise, see Lhomond Engels, Friedrich, 2 io6 Elena, Knyazhna (EO), ^ 7 4 , Enghien, Duke of, 3 i65 3

England / English/ -man, x i 12, 2 7 , 8, 99, 107, 109, 148, 151, i 5 2 / !53> 155. 158, 165, 181, 274> 283, 298, 300, 324, 336, 357, 495> 502, 3 33, 43, 45, 74, 98, 160, 193, 194, 226, 231, 281, 330, 426n English Bards and Scotch Reviewers, see Byron

i 17

Eleonore, 2379; see also Parny: Sennents, Les Eleutheromanes, see Diderot Elijah / Russ. llya, xxxii Eliot, George, see Evans Eliot, T. S., 8498; Mr. Eliot's Sunday Morning Service, Elisey, 3 134-5; see also Maykov, V.: Elisey Elizabethans, 329O—1 Elizabeth of Bohemia, 2521 Elizaveta Petrovna, empress, 3 i i 2 , 390 &n, 392, 395,426n, 434-5 Elizavetgrad, 2398, 33o6 Ellenore, 3 ioo; see also Constant: Adolphe Elmina, 2i4O

English Club, see Moscow; St. Petersburg English prosody, 3448~9, 451, 453. 454> 455-67. 47°. 472-7, 48811, 490, 491, 492, 493, 494-513, 521-35,538-9, 540, 54i English Will, 3 i 4 6 ; see also Scott: Eve of St. John, The English Women's Clothing in the Nineteenth Century, see Cunnington 2

7

Index enjambment (run-on), see versification Enjoyment, see P., WORKS: Naslazhdenie ennui (spleen, handra, skuka, hyp, melancholy madness), 8 150-6, 248 Ennui, see Edgeworth Entertainment to Phillis, The, see Cotton Entretiens sur la pluralite des mondes, see Fontenelle Entsiklopedicheskiy slovar' (Brockhaus & Efron Encyclopedia), 8 447 Eol /Aeolus, 1 i o 5 "Eol's Harp" (i.e., Turgenev, Aleksandr), '172 Epernay, 2 48o, 481 Epic Hymn, see Derzhavin:

Gimn

Epicurus, 2 46 epigram on Bulgarin, see P., WORKS

epigram on Life, see Karamzin epigram on Pushkin, see Tolstoy, F. I.: Satiri nravstvennoy epigrams on Notbek's illustrations, see P., WORKS Epiphany, ^496 Epistles, see Arouet; Horace; Pope; Seneca Epistle to an Inhabitant of Petersburg, see Tolstoy, Yakov: Poslanie k Peterburgskomu Epistle to Dr. Arbuthnot, see Pope Epistle to Lev Pushkin, see P., WORKS: Poslanie k L. P. Epistle to Muravyov-Apostol, see Batyushkov: Poslanie L Muravyovu Apostolu Epistle to V., see P., WORKS: Poslanie k V[elikopoVskomu] Epistle to Yudin, see P., WORKS: Poslanie k Yudinu Epistolary Novel, An, see P.,

WORKS: Roman v pis'mah Epistres, see Boileau Epitaph, An, see Marvell; Prior Epitre a Abel de Fondant, see Chenier Epitre a Gerard, see Ducis Epitre a la campagne, see Bourdic-Viot Epitre a la Duchesse de Choiseul, see Arouet Epitre a Vamitie see Ducis Epitre a Monsieur Etienne, see Cerceau Epitre au cure de Rocquencourt, see Ducis Epitre au Pere Bougeant, see Gresset Epitres, see Arouet Epitres a Ecouchard Lebrun, see Chenier Epitre sur la paresse, see Bernis Epitre sur la ressource, see

Delille Epitre sur ses ouvrages, see Chenier Epodes, see Horace Erast, '143; see also Karamzin: Bednaya Liza Erlkonig, see Goethe Ermak, see Dmitriev, I. Ermitazh, see St. Petersburg Ermolov, General A. P., '205 Erzdhlungen, see Hoffmann Erzerum / Arzrum, a oo, "283; see also P., WORKS: Puteshestvie v Arzrum Essais, see Montaigne Essai sur le bonheur, see Marmontel Essay Concerning Human Understanding, see Locke Essay on Criticism, see Pope Essay on Man, see Pope Essay on . . . the Profits of Stock, see Ricardo Essays in Verse and Prose, see Batyushkov: Opiti v stihah i proze

[Evgeniy Onegin]

Index

Essays on Men and Manners, see Shenstone Essen, Matvey, '432 Esteve, Edmond: Byron et le Romantisme frangais, a 16 o Estrees, Francois Annibal, Duke d', 3433 Etange, Baron d', 3338, 822, 240; see also Rousseau, J. J.: Julie Ethiopia, see Abyssinia Ethiopia, see Mathew Etna, Mt., '486 Eton, a 29i Etonian, The, 243 Etrepigny, 3 22i Etudes sur Vhistoire d'Ethiopie, see Basset Etyudi o Pushkine, see P.,

213, 218, 219, 220; [Six] 231, 2 2 2 3 > 35> 238> 239> 24!> 243J [Seven] 253, 261; [Eight] 284, 289, 296, 304, 307; see also Onegin Eugene Onegin, see Evgeniy Onegin Eugenia owariensis, '404 Eugenius, 23O5; see also Sterne:

Tristram Shandy

Euphrates River, 844O Euphraxia / Evpraksia, 2 535, s i 8 ; see also Vulf, Euphraxia (Zizi) Europe apres le congres d'Aixla-Chapelle, see Pradt Euxine Sea, see Black Sea Eva, *xx Evans, Mary Ann ("George PUSHKINIANA: Studies on Eliot"), 8192 Pushkin Eve (myth), ^ 9 4 , '479 Eugene / Russ. Evgeniy (EO), Eve of St. Agnes, The, see Keats x [One] 96, 97, 99, 106, 111, Eve of St. John, The, see Scott; 113, 116, 117, 118; [Two] see also Zhukovski: Zamok 125, 127, 130, 132, 133, 134; Eve of St. Mark, The, see Keats [Three] 159, 171, 173; [Four] Evgeniy, 8 383; see also P., 178, 182, 195; [Five] 212, WORKS: Medniy vsadnik

Evgeniy Onegin (Headings: COMMENTARIES; EDITIONS; TRANSLATIONS; CONTENTS.) COMMENTARIES:

EDITIONS:

first (1825-32), ^ 4 - 9 , 315, 318; second (1833), 18o— 1; third (1837), x4-6, 81-2; ed. 8 Tomashevski (1937), X6o, 83, 7> *5> 5 9 ~ 6 o » 6 l > 1 1 0 84, 85, 86, *8, 9, 37, 38, 49, RUSSIAN : B r o d s k i , N . L . : Evgeniy 241, 261, 274, 303, Onegin: Posobie dlya uchiteley 133, 141, 3°9> 32O> 336> 370, 394, 417, sredney shkoli (EO: Manual 431,418, 821,64,78, 81, 103, for High-School Teachers), 197, 268, 271, 293; ed. id. ^o,*^, 65,80, 114, 151, 164, (1949), »6o, 84, 22on, 126, 180, 224, 246, 250, 252-3, 244, 261, 271, 417, 469, 304, 476, 492, 516, 517, »26, 66-7, 70-1, 113, 123, 160, 484, 82O4, 271, 276, 376n;

ENGLISH: Chizhevski, D. I.: Evgenij Onegin, 16o, 28o, 221, 288, 306, 314, 348, 355, 517,

2

79> 32O> 363> 3 6 6 J Lozinski,

G. L.: Evgeniy Onegin, 2 i37, 306, 516

2 ed. id. (i957)> ^ *V> 349» 483> 3l 94> 20 9» *7*> 281; ed. Tsyavlovski (1938),

[Evgeniy Onegin]

Index 2

CONTENTS :

72; see also P., PUSHKINIANA:

Works TRANSLATIONS: ENGLISH: Deutsch, Babette:

Eugene Onegin, 2 93, 103, 112,

116, 138-9, 186, 190, 285, 286-7, 3 26 > 424> 44O» 442> 464, 490, 491, 497, 526, 32O, 82, 95, 162, 188-9, 234> 2 3 6 > 242, 243, 3 5 3 ; Elton, Oliver:

Evgeny Onegin, 293, 103, 116,

i39> 1901 2 8 5 , 3 2 6 > 3 6 4> 44> 4 3 9 - 4 ° , 464> 49°> 49 J ~ 2 > 497>

526, 34, 8, 20, 187, 188, 231, 2347 236> 242> 243~4 & n ; Radin, Dorothea P.: Eugene Onegin, 294, 103, 116, 139, 190-1, 285, 326, 440, 464, 49°> 492> 497, 526> z*o, 1878, 234, 236, 242; Spalding, Henry: Eugene Oneguine, 2 93, 103, 116, 139, 186, 189, 268, 79> 2 8 5 , 3 26 > 354, 364, 3^5, 439> 442> 464> 4 8o > 49> 49*> 497? 5 2 6 , 531-2, 3 8 , 20, 111, 186-7, l 8 8 > 234> 2 3 6 > 2 4 2 5 see also Arndt; Cox well; Kay den; Morfill; Phillipps-Wolley; see also translation, problem of FRENCH: David, Jacques: Oneguine (fragments), 2386—9; 2

introductions, 2 10-19; Lenski's Last Elegy, ^ 2 , 46, 236-7, 2 2 3 7 , 242, 243, 367, 384, 3 2 4 31, 107; mottoes, X4, 75-81, 8 9> 93> 123» H7 ? i75» 2 0 1 J 22

5> 249» 2 79J

2

5-10J

2

7~9>

217-18, 317-18, 413-14, 488~9>X 33> 68~9» 1 2 9 J 151; notes, 58, 80, 81-2, 313-20, ^52; "Onegin's Album" (EO var.), J 5, 64, 87, 2 2i8, 370, 374-5, 3 87-94, 104, 182, 203; "Onegin's day" (One: xv-xvn, xx-xxv, xxvii-xxviii, xxxvXXXVl),

1

101-2, IO3-6, 107,

111; Onegin's Journey, see Onegin's Journey, "Onegin's Letter to Tatiana," \ , 53, 56-7, 80, 87, 297-9, 2 3 8 4 , 3 i 9 4 , 213-17, 469, 516, 521; "pedal digression" (One : xxxxxxiv), X24, 2 i 15-42; Prefatory Piece, 13, 6, 91, 2 i9~26, 380-1, 4i4,. 3 35, 59, 244, 521; "pursuit, the," (One : XVIII—

xxxvi), 2 io8; Song of the Girls, ^ n , 4, 76, 80, 172, •407-9; "Tatiana's Letter to Onegin," 2 3> 3 1 * 32» 34» 35. 6a3> 75» Dupont, H.: Eugene Oneguine, 2 76, 79, 80, 165-7, 383- 4 , 69, 243, 386-9; Lirondelle, 385-96, 401, 403, 422-5, Andre: Eugene Onie'guine 529, 3 i9, 24, 190, 213, 521; (fragments), 8386-9; Turge"Tatiana's soliloquy," ^ 6 4 , nev, Ivan, and Viardot, Louis: Oneguine, 2 3i, 243, 291, 325, 5 364, 386-9, 426, 442, 460, variant stanzas (dropped / alter8 480, 4i, 233, 235; see also nate: complete or practically Baryatinski complete), 184~8, 262 [One : GERMAN: Bodenstedt, Friedix], 66 [xni], 67 [xiv], rich: Eugen Onagin, 2 i02, 237 [Two : ixa], 238 [ixb, c], 103, 329; Lippert, Robert: 240 [ixd], 250-1 [xivb], 257 2 Eugen Onagin, i02, 103; [xvna], 257-8 [xvnb], 258 Lupus, A.: Eugen Onegin, 265, [xvnc, d], 271 [xxia], 273 68, 102-3, 145 [xxib], 296-7 [XXXIII], 313 POLISH: Belmont, L.: Eugenjusz [XLl], 2 Oniegin, i03; see also Tuwim 335 [Three : va], 349 [xa], 367 [xxia], 370 [xxma], 372-3

3°

[ILvgeniy OneginJ [xxva], 373 [xxvb], 374-5 [xxviab], 394 [xxxn], 402 [xxxva], 409 [Song of the Girls), 415-18 [Four : i-vi], 424-5 [xvna], 437 [xxivc], 438 [xxive], 439 [xxivf], 455 [xxxvi], 457-8 [xxxvin], 539-40 [Five : xxxvn, xxxvm], 545 [XLIII], 3

2i-2

[Six: xv, xvi], 55

Evgeniy Onegin (opera), see Chaykovski Evgeniy VeVskiy (anon.), 3 i26 &n Ewige Jude, Der, see Schubart Excursion, The, see Wordsworth "Exegi moiiumenlum," see Derzhavin "Exegi monumentum," sec P.,

Index [xxxiva], 56 [xxxivb], 58 [xxxVIII], 66 [XLVII],

78-9 [Seven : vm, ix], 86-7 [xxn], 103-4 [xxv], 132-4 [Eight : ia-f], 192-3 [xxma, b], 195 [xxiva, xxva], 198-9 [xxvia], 208 [xxviia], 209 [xxvub], 211-12 [xxxaj, 259-66 [OJ], 276 [undated stanza]; see also, above, "Onegin's Album"

Faber, H., 2352 Fables, see Fenelon; La Fontaine; see also Dmitriev, I.: Basni; Izmaylov, A.: Basni; Kr'ilov: Basni Fadeevna (EO var.), 2273-4, 399 Fadey (Thaddeus), 2273 WORKS "Fairhill," see Krasnogorie Ex Ponto, see Ovid Fairy Tales, a Noel, see P., Extasie, The, see Donne WORKS: Skazki, NoeV Extinguished Is the Orb of Day, Fall, The, see Sedley see P., WORKS: Pogaslo Fall of the Leaves, see Barati'ndnevnoe svetilo ski: Padenie list^ev, Milonov: Extract from a Letter to Delvig, Padenie lisfev see P., WORKS: Otrfvok False Demetrius, The, see Bul3 Eylau, 32o garin: Dmitriy Samozvanets Eyo glaza, see P., WORKS Familie von Maiden, Die, sec "Ezerski," see P., WORKS Lafontaine, A. Ezerski, Ilya Ondreevich, 338o; Familie de Halden, La, see see also P., WORKS: RodoslovLafontaine, A.: Familie naya nioego geroya Famusov, Pavel, 2509, 3 i66; 3 Ezerski, Ivan, 232, 379, 380; see also Griboedov: Gore ot see also P., WORKS: Rodoslov- uma naya moego geroya Fanatisme, ou Mahomet, Le\ Ezerski, Ivan (s. of Ondrey), see Arouet 3 3o8; sec also P., WORKS: Fancies, see Zhukovski: Kodoslovnaya moego geroya Mechti Ezerski, Ondrey Dorofeevich, Fancy, see Batyushkov : 3 3^o; see also P., WORKS: Mechta Kodoslovnaya moego geroya Fancy, see Keats 8 Ezerski family, 382 Fani, Ode to, see Delvig, A. A.

Index Fanni, '305; see also P., WORKS: Shcherbininu Fanshawe, Sir Richard, '13 Fares, Ras, 84O7, 410, 411 Fare Thee Well, see Byron Farewell, Ye Faithful Coppices,

Ferdinand VII, king of Spain, 8 i83> 330 Fersen, Count Hans Axel von, a 344 Fet, A. A., see Shenshin Feuerbach, Ludwig Andreas, see P., WORKS: Prostite "236 Farmer, J. S., and Henley, W. Fevroniya / Havron'ya, *28o E.: Slang and Its Analogues, Fialkin, 283; see also Shahov*85-6 skoy: Lipetskie vodi Farmer's Almanack, f 223, 315 Fiances, Les, see Manzoni: Faro Table, The, see Sedley Promessi sposi, I Fashionable Woman, The, see Figaro, Le, *68 Dmitriev, I.: Modnaya zhena Figlyarin ( = Bulgarin), 8226, Fashion Shop, The, see Krilov: 435, 436; see also Bulgarin Modnaya lavka Filat (Philetus), 2273, 280, 8 Fasilidas (s. of Jesus I), 44i 399 Fasilidas (s. of Susneyos), '408 Filatievna {EG), *i68, ^273, Fathers and Children / [mis36 lt 399 > see also Nurse translated] Sons, see Turge(Tatiana's) nev, Ivan: Ottsii deti Filimonov, Vladimir Sergeex 2 8 Faublas, 1 o 1, 64~5,417, 217; vich, 8245 see also Louvet de Couvrai Filipievna (EO var.), *273} 399 Faulkner, William, 8io,2 Fillida / Fillis, see Phyllis Fauriel, Claude, 82io, Finemouche, Monsieur (EO 8 Fausses infidelites, Les, see var.), 274, n 8 Barthe Fingal, 2255, 882; see also MacFaust, see Goethe pherson: Fingal Faust, Scene from, see P., Fingal, see Macpherson; Ozerov WORKS: Stsena iz Fausta Finland / Finn, ^64, 204, 317, a Fayolle, 834i 3n>38o, 382, 383, 493, 857, Feast at the Time of the Plague, 175, 462n The, see P., WORKS: Pir vo Finlyandiya, see Baratinski vremya chumi Finn, see Shahovskoy Feasts, The, see Barat'inski: Piri Finn Mac Cumhial, 2255 2 Fedora (Theodora), 28o Fin the Hermit, a255; see also Feigned Infidelity, see GriboeP., WORKS : Ruslan i Lyudmila dov: Pritvomaya Fireplace in Moscow, see DolFelitsa, see Derzhavin goruki, I. M.: Kamin v Moskve Femme de trente ans, La, see First Footsteps in East Africa, Balzac see Burton Fenelon, Francois de Salignac First Snow, see Vyazemskiy: de la Mothe-, '170, 337, 343, Perviy sneg 487; Aventures de Telemaque, Fishermen, The, see Gnedich: 8 8 Ribaki Les, 343; Fables, 343 Feodosiya / Feodosia, f i24, Flaubert, Gustave, 88o, 99; 8 Mme Bovary, ^50, 8 3i 1 286; Olginskaya / Ol'ginFlaugergues, Honore, '73 skaya Street, 8286

Index Flemish painting, ^ 2 9 , 3 29o-i Fletcher, John: Nice Valour, The, 2 2 7 5 Fletcher, Thomas, 825 Fleury, Jules: Imagerie populaire, L', 2336n Flora, ^ 0 9 , 2323 Florence, 2 i07 Florida, 333O Flyanov (EO), 2 2i6, 228, 2524 Fomin, A. A., *82 Fonsalbe, 3 34; see also Senancour: Oberman Fonsegrive, G., 2155-6 Fontainebleau, 2 i63 Fontan Bahchisaraya, see P., WORKS: Bahchisarayskiy fontan Fontanes, Louis, Marquis de: Foret de Navarre, La, 2 22i; Ode, 22o6; Pyrenees, Les, Fontanka Canal / Quay, see St. Petersburg Fontenelle, Bernard le Bovier de, 1301, 3g6, 97, 223, 431; Dialogues des morts, 3223; Discours de la patience, 3223; Entretiens sur la pluralite des mondes, 922$; Poesies pastorales, 8223 Fonvizin, Denis Ivanovich, ^02, 2 4 6, 48, 81-2, 524, 3 122, 141; Brigadir, 2539; Lisitsa koznodey (Reynard the Schemer), 282; NedorosV (The Minor), 2 8i, 524; Pis'ma iz Frantsii (Letters from France), 2 82; Vseobshchaya pridvornaya grammatika (Universal Court Grammar), 282 Fonvizin's Shade, see P., WORKS: Ten' Fonvizina

Foote, Samuel: Memoirs, see Cooke Forbes, C, 266 Forbes, James: Letters from France, 274

Forbes, Sir William: Account of the Life and Writings of James Beattie, An, 226 Forces productives et commerciales de la France, see Dupin Forest King, see Zhukovski: Lesnoy tsar' Foret de Navarre, La, see Fontanes Formosante, 344o; see also Arouet: Voyages Fortuna, 1114 Foster, Sir William: Red Sea, The, 3443 Fouche, Joseph, 8 2i8; Memoires, 3 2i8, 322-3 Fouchecour (French translator), 24O3n Fougeret de Monbron, Louis Charles: Cosmopolite, Le, 25 Fountain of Bahchisaray, see P., WORKS: Bahchisarayskiy fontan Fournier, Victor Andre, 2 i2i Fourth Book of Airs, see Campion Fox, George, 3 i6o Fragment d'Alcee, see Parny Fragments of Antient Poetry, see Macpherson France / French, 27, 40, 82, 99, 148, 149, 152, 153, 181, 199, 2 74> 324> 376, 379> 5*5, *2^ 45, 47, 5> 56> 100, 136, 160, 166, 226, 320, 321, 322, 330, 335> 337, 340, 390, 412> 4^3) 414, 428-31, 432, 433, 435, 479; see also French (language) Franco, Matteo, 2 3i8 Frankfort on the Main, 3 i83 Franks, 8 4ii Franquetot de Coigny, Aimee, Duchesse de Fleury, 8251 Frantsuz / Frenchman, 8 i33, Freakish Belle, The, see

Dmitriev, I.: Prichudnitsa Frederick II the Great, king of Prussia, "231

Index Frederick William III, king of Prussia, 3 2io Freemason / Mason, *62, 127, 2

226,

26l

Freiburg, 3485 Freischiitz, Der, see Weber Frenais, J. P., 23O4, 305 French (language): Byron in, 2 156-63; see also Pichot in EO, X97, 141, 162, 229, 238, 283, 313 P. on, 2378 parallel passages in: (works of) Ariosto-Tressan, 2 4 i i , 3 5, 244; Baif, 37O; Beranger, 3 329; Bertin, 3 64; Boileau, "41; Bossuet, 2 3o6; Byron-Pichot, i5> 32> 4*> !76> l87> 399> 426, 434, 3 42, 54, 194-5, 324; Campenon, 2 393; Chateaubriand, 214n, 277, 3 165; Chaulieu, 2 468; Chenier, 2 i99, 444, 463, 465, 37O, 161, 251; Constant, 239O, 3 2i5; Delavigne, 3 326-7; Delille, 22O4; Desbordes-Valmore, 2392, 3 22; Desportes, 2 i 9 8 ; Dorat, 2 25i, 3 298; Ducis, 2 2o6; Fenelon, 3 343; Fontanes, 3 284; Gilbert, 2 68; Goethe, 24O3~4; GoetheStael, 2 5o6; Gresset, 3 72; Hugo, 3 329;LaBruyere, 2 i48; Laclos, 3 2i4; La Fontaine, 2 135; Lebrun, Pierre, 2 i88, 286, 3 23o; Lebrun, Ecouchard, ^ 4 3 ; Legouve, 3 i57; Millevoye, 3 29, 60; Nodier, 2 5 i i ; Parny, 2 7 3 , 148, 268, 270, 371-2; Piron, 2 278; Racine, 276, 392; Rousseau,

French Cook, The, see Ude French dueling code, 343 Frenchman (EO), ^ 6 , 216, 330 French prosody, "71, 3 45o-i, 479. 4 8 5, 486> 487> 4 8 8 n ? 497» 522, 528, 529, 530, 531 French Revolution, 3 99, 170, 3 1 2

French Revolution, The, see Carlyle French translation, 327—8 Freres Zernganno, Les, see Goncourt Frumentius, 34O7 Fyodorov, Boris Mihaylovich, !3i8, 2 468, 511 Fyokla, 228o

2

J- J'i 2389> 392> 394> *213> 216, 234, 240; Senancour, 2 422; Stael, 3 i74, 237; Villiers, 222o; Voltaire, 2 6, 48, 84, 147, 203, 538, 37 French Academy, 2 H 5 , 424,

G., Ernest de, 2 343; see also Kriidener: Valerie G., N., 3 3 3 2 Gabriel / Gavriil, Archangel, 3 2O5, 206; see also P., WORKS: Gavriliada Gabussi, Vincenzo: Idol mio. x 3 ^2, 59, 230-1 Gaevski, V. P., ^ 3 2 Gagarin, Prince Ivan Sergeevich ("Jean Xavier Gagarine"), 2 io5 Gail, J. B., 256 Galatea, 2 93; see also Didelot: Ads et Galathec Galiani's Restaurant, see Tver Gall, see Gaul Galla (tribe), 3 4io, 438 Gallereya Petra Velikogo (Gallery of Peter the Great), 3443 Gallicisms, X35, 163, 2 i6n, 25, 28, 36, 42, 48, 49, 69, 73, 85, 91, 98, 106, 107, 113, 117, 118, 138, 148, 149, 163, 168, 169, 186, 207, 208, 213, 216, 243, 251, 260, 268, 270, 272, 275, 285, 296, 297, 306, 308, 320, 321, 334. 35i» 373. 3 7 7 -

Index 8,384>591>393>401>4l8>421> 424, 3426, 435, 444, 484, 537, 544, 4, 6, 7, 15, 16, 25, 30,

Garden, The, see Marvell Garden of Sadi, see Sadi: Bustan 10 Gardens, see Lyovshin 5i>75,79, 3> l 6 5 > *7°, l 7 l , 3 209, 214, 217, 237, 322, 336, Gardiner,s Cornelius, i 18 4O5 Gargara, 563 Gamier, Germain, 257 Gal way, 343 Garrick, David, 27i gaming, 2257~67, »275n 3 Gaming Table, The, see Stein- Gastaldi, Jacopo,3 4oo 443 Gastfreynd, N., metz Gastronomie, La, see Berchoux Ganges River, s5O3 3 Gannibal, (General) Abram / Gaul / Russ. Gall, 3 3 8 , 339, Avram Petrov / Abram Petro34i vich / Pyotr Petrov (P.'s "Gaurekos" / Gyorgis / Guirgreat-grandfather), *62, a40, g^is, 3399, 409-10 & n 207, 452, 3 387-447; German Gautier, Theophile: Souvenirs biography of (ed. Zenger, in de theatre, 328 Rukoyu Pushkina), 8389, 392- Gavriliada / Gavriiliada, see 9, 405-6, 407, 414-16, 419P., WORKS 20, 424, 425, 427, 429, 431, Gay, John, 2 i43; Rural Sports, 3 2 7 o; Trivia, i 4 3 ; Wine, ^ 8 3 432> 437, 446 Gannibal, Anna Semyonovna, Gazza ladra, La, see Rossini 3 Gdansk, see Danzig 443 Gannibal, Christina (Abram's Gde ni gulyayu, 3see Sumarokov 2nd wife; P.'s great-grand- Geez language, 4io, 432 Geisterseher, Der, see Schiller mother), 8391, 393,434 Gelliehausen, 3 i52 Gannibal, Eudoxia (daughter Geneva, Lake, 234O of Andrey Dioper; Abram's Genie du Christianisme, Le, sec wife), 8434, 445 Chateaubriand Gannibal, Isaak Abramovich, S 2 Genoa, 8299, 484 39 > 437 Gentil-Bernard, Pierre: Art Gannibal, Lt. Gen. Ivan d''aimer, L\ 263, 542, 3 2i6 Abramovich, S 39o-i Gannibal, Maria (daughter of Gentle Shepherd, The, see Ramsay Aleksey Pushkin, m. Osip king of Great Gannibal; P.'s grandmother), George IV, 2 Britain, 25i 2O5, 3 n 6 , 391, 392 2 Gannibal, Nadezhda (daughter Georgia / Gruziya, 9o, 8246, 263, 281, 282, 302 of Osip), see Pushkin, Georgics, see Virgil Nadezhda 2 Gannibal, Osip (son of Abram; Georgievski, G. P., 456 P.'s grandfather), 22O7, 452, Georgiques de Virgile, Les, see 8 Pinchesne 39i-2, 434 3 Gannibal, Pyotr Abramovich Geotrupes sp., 82 (P.'s granduncle), 2295, 8391, Gergeti, 8283 German / Germany, *i 11, 128, 393 & n> 397 2 i07, 144, 145, 149, 158,228Gannibal, Yakov Abramovich, 8 2 32, 235-6, 253-4, 295, 298, 39 Ganymede, 3497

35

Index fields; "backwoods") / gluhoy ("deaf";"toneless,"uhollow,n "muffled"; "dense and deep," 219—20, 259, 270, 310 & n, "deep-tangled," "matted"; 321,437,479 "forsaken"), 1358, 2 61-2, 244, Germanisms, a i46, 3 i44 3 8o German prosody, 3453, 479, 486-7, 503, 522, 525 glyadet' ("to look"), 2498 Geroy, see P., WORKS Glycera, 3 i69; see also Steele: Geroy nashego vremeni, see Spectator, The Lermontov Gnacsitares, 343i 2 Gershenzon, M. 0., 5i3 Gnedich, Nikolay Ivanovich, Gertsen, Aleksandr Ivanovich, ^14, a 20, 52, 144, 8207; see Herzen Ribaki (The Fishermen), l Gerusalemme liberata, see 3H7*5> 8l 75 Tasso Gnedichu, kotoriy sovetoval soGeschichte des osmanischen chinitelyu pisat' satiri, see Reiches, see HammerBaratinski Purgstall Gobat, Samuel, 34O3; Journal, 3 Gherardini, D. G., ^47, 355 444 Giaour, The, see Byron God (Bog), 2 378-9; Russian, 1 2 a Gibbon, Edward, 30i, 7, 3i5» 321> 323» 373 3 i 12, 219; Decline and Fall of God: an Ode, see Derzhavin: the Roman Empire, The, Bog '219; Memoirs, S 2i9 Godailh, 2404 3 Gieta, 5O9; see also Byron: Goddam !, see Parny Mazeppa Godunov, Boris, tsar, 358, 69, Gilbert, N. J. Laurent: Dix224 huitieme Siecle, Le, 2 2i6, 288, Goethe, Johann Wolfgang von, X 33, 72, 129, 2 i 17, 158, 235-6, 518; Poete malheureux, Le, 3 28 26; Satires, *68 7> 34i, 345, 354, 44^, 3i52> Gimn liro-epicheskiy, see 309; Erkldnig, ^35; Faust, 2 Derzhavin i26, 236, 253, 506; Reineke Ginguine, P. L., 2 i72 Fuchs, X71; Ober alien Gipfeln, 2 Ginisty, Paul: Melodrame, Le, 2 3 5; fVahlverwandtschaften, 2 356n Die, 2 ii7, 403-4; Weriher, Giovanni Sbogarro, see Sbogar; ^ i57> 2344-6> 34 8 , 391, see also Nodier: Jean Sbogar 446, 500, 3 i57, 234-5, 238; Gippius / Hippius, Vladimir Wilhelm Meister, 256; WiU Vasilievich ("Bestuzhev"), helm Meisters Lehrjahre, 393; Willkommen und Abschied, 2 2 Giroflee, 37; see also Arouet: 39 Candide Gofman, M. L., 28o, 331, 416, 2 Girondists, 476 482> 357J 9 2 , !78> l 8 2 » 2 6 9 Glazunov, Ilya Ivanovich, *5,6, & n, 293, 366, 378, 444; 82, 346 see also P., PUSHKINIANA: a 3 Glinka, S., 263n, i93n Pushkin Glinka, V., 3 i82 Gogol / Gogol', Nikolay Vasiglush* ("depth" of woods or lievich, ^xiii, 2262, 314, 426, 524; Myortvie dushi (Dead 3 2 4> 359> 3 7 6 , 4 7 9 , 537* s * 8 , 34"5» 74> 1OO > 1 1 5 , 1 6 6 , 1 7 1 ,

Index Souls), 2326; Revizor, 2426; ShineV (The Carrick, The Greatcoat), V , 314, 3 ? , 383 Gojan, 3403 Golden Ass, The, see Apuleius: Metamorphoses Goldoni, Carlo, 2 i84 Goldsmith, Oliver: Vicar of Wakefield, The, 84O2n Golikov, I. I., '425; Anekdoti . . . Petra Velikogo (Anecdotes . . . [about] Peter the Great), 8444; Deyaniya Petra Velikogo (Acts of Peter the Great), 8444 Golits'in, Prince Aleksandr Nikolaevich, 17O, '200, 325 Goiits'in, Prince Dmitri Mihaylovich, '417 Golitsin, Prince Nikolay Borisovich, *6i Golits'in, Princess Sofia, see Saint-Priest, Countess de Gollerbah, E. F., 2 i 7 6 Golovin, Count Fyodor Alekseevich, 8422 Golubovo, 8309 Goncharov, Aleksandra Nikolaevna, 847 Goncharov, Ekaterina Nikolaevna, see Anthes, Baroness d' Goncharov, Natalia Nikolaevna, see Pushkin, Natalia Goncourt, Edmond de: Freres Zemganno, Les, 8156; Journal (with Jules), 22O7 Gondar, 8409, 412 Good Man, A, see P., WORKS: Dobriy chelovek Good-Night to the Season, see Praed Gorenko, Anna Andreevna (aAnna Ahmatov"), 3 2i5n Gore ot uma, see Griboedov Gorkiy, see Nizhni Novgorod Gornie vershini, see Lermontov Gorodok, see P., WORKS Gorod Opochka, see Sofiyski

Gorstkin, I. N., 8349 Gospel, 8380, 407; see also Bible Gothic, 2357, 393, 410, 8 i 9 i Gottingen, 228, 29, 128, 272, 228-30, 231-2, 307,8i 7 ) 152 Gottland Island, 3 4 7 Goulistan ou VEmpire des roses, see Sadi: Gulistan Gower, John: Confessio amantis, 8476 Goy (friend of Nodier), 2 i53 Graf Nulin, see P., WORKS

"Gragne" / Gran' / Gran / Gaurane, see Muhammad Ahmed Grand Dictionnaire universel du XIXe siecle, see Larousse Grandee, The, see Derzhavin: VeVmozha Grande Encyclopedic, La, 2 i55-6> 54°» 3l 78 Grandison, Sir Charles, ^ 3 , 53> 5 4 ^ 7 ? 3 , 9, 290, 297, 342, 348, 3 ii6, 117, 537; see also Richardson: History of. . . Grandison Granville, Augustus Bozzi: St. Petersburgh, 3z^o Graphic Survey, see Zhivopisnoe obozrenie Graun, Karl Heinrich: Cleopatra e Cesare, 279 Gray, Rosamund, 2269, 282, 390; see also Lamb: Rosamund Gray Gray, Thomas, 2 i58; Elegy Wrote in a Country Church Yard, 882, 83 Great Britain, xxxiv, 845, 358; see also England Greatcoat, The, see Gogol: ShineV Grech, Nikolay Ivanovich, a231; Zapiski moey zhizni (Memoirs of My Life), 8436; see also Severnaya pchela Grechanke, see P., WORKS Greece/Greek, 1315, 330, 2 2 7 9,

37

Index 499: 538> 333> 99. 271, 287, 312, 330-3, 360, 433, 450 Greek Catholic / -ism / Russ. Pravoslavniy, 24O, 100, 339, 3 2 3 1,408 Green Lamp (club), 277, 146, 3 i62, 345, 352 Gregory I the Great, Pope, *xxiv Gremin, Princess, 3 24i; see also Chaykovski: Evgeniy Onegin Gresset, J. B. L., * 7 i , 2416, 3 i4, 217; Epitre, 3 72; Vert-vert, *7i, 2 n g , 215 Greville, Charles Cavendish Fulke: Diary, 3353 Griboedov, Aleksandr Sergeevich,» 4 , 249, 318, 288, 89-90, itf* 272> 3 7 ^ 426> 447, 45°, 3 i 7 - i 8 , 122, 131, 144, 204 & n, 283; Gore ot uma (Woe from Wit), 284, 88-9, 92, 272, 509, 3 i 7 - i 8 , 39, 69, 117, 120, 165, 166, 167, 233, 258, 277; Pritvornaya nevernost1 (Feigned Infidelity; with Zhandr), 3228 Grigoriy, *xxii Grigoriy, 2 45i; see also P., WORKS: Boris Godunov Grigoriy, Prince, 288—9; see also Griboedov: Gore ot uma Grillet-Desprades, Abbe Joseph: Art de s'amuser a la ville, L\ 3 i25 Grimm, Frederic Melchior, ^ 0 5 , 314, *iO3, 104 Grinyov, Pyotr Andreevich, 2 29O, 3 47i; see also P., WORKS: Kapitanskaya dochka Grisier, Augustin, 2 i5o; Armes et le duel, Les, 2 i5o Grob Potocki, see Mickiewicz Grodno, 3423 Gromval, see Kamenev Grongar Hill, see Dyer Gronow, R. H.: Reminiscences, 2264-5,291

Grossman, L. P., 3 48; see also P., PUSHKINIANA: Pushkin; i36n, 137^ 170 Grove's Dictionary of Music and Musicians, 279 Gruzino, 34 Gruzintsev, Aleksandr Nikolaevich, 2517 Guerlac, 0 . : Citations frangaises, Les, 3220—1 Guerney, Bernard, 2258 Guerre civile de Geneve, La, see Arouet Guerre des dieux,La, see Parny Guiccioli, Teresa, 2152 Guillaumet, 3 39; see also Griboedov: Gore ot uma Guillot ( £ 0 ) , ^ S , 239, 240, 3 8 3 ~9> 4* Guillot, B. F., 339 Guirguis, Asma, 3 4ion Guirguis, Bahr-negus, see "Gaurekos" Guizot, F., 2304 Gukovski, G. A.: Hrestomatiya po russkoy literature XVIII veka (Anthology of Eighteenth-Century Russian Literature), 2 i8on, 389 Gulistan, see Sadi Gulnare, ^ 9 2 , 2357, 456; see also Byron: Corsair, The Giinther, Johann Christian: Auf den zwischen Ihre Rom. Kaiserl. Majestdt, 3486'~7 Guriev, K., 2346 Gurzuf, 2 i 2 i , 122, 124, 125, 129, 166, 193, 3286 Guttinguer, Ulric: Arthur, 246 Guyot-Desfontaines, P. F., 2 ioi Gvidon (father of Prince Bova), 2274 Gvozdin ( £ 0 ) , 1 2i6, 228, 2524 Gyorgis, 3 4io, 441 Gypsies, The, see P., WORKS: Tsigani Gypsy Girl, The, see Barati'nski: Tsiganka

Index Harold Harriet, 2347; see also RichardHades, 3 4 86 son: History of. . . Grandison Hadrian, Roman emperor, 266; Harris, W. Cornwallis: High3 Animula vagula blandula, 2$ lands of Aeihiopia, 2i8o—1, 3 Haji-Murad, see Tolstoy, L. 444 Harrow, *g8 Halevy, Ludovic, 3 i56 Half a Century of Russian Harvard University: Hough ton Library, ^iin, 222, 3388 Life, see Delvig, A. I.: Polveka Halski, Miss (EO var.), 3 2 7 6 Hasan Pasha, 3 4i8 Hamalmal, 3432 Hawaiian Islands, 34O4n Hamasen / Hamazen, 3399, Hays, Mary: Memoirs of Emma 400, 407, 438 Courtney, 2338 Hamburg, 2356, 42611 Hayter, Sir George, 3 i82 Hamites, S438 Hazaran / Khazar, 2255 Hamito-Semitic, 3396, 437 Hazlitt, William: Round Table, Hamlet, ^26, 3 3ii; see also The, 2 4 7 , 56, 543; Table Talk, 2 Shakespeare: Hamlet 56 Hammer- Purgstall, Joseph Heaven and Earth, see Byron 3 von, 4i7n; Histoire de Hebe, 2 5 4 4 3 Vempire ottoman, L\ 444 Heeckeren / Russ. Gekern, Hampton Roberts, R. P., Jacob Theodore, Baron van 2 (adoptive father of Georges 495 2 d'Anthes), 846, 47, 48, 49, 50 Hanikov / Khanikov, 38o Hannibal / Fr. Annibal / Russ. Heeckeren, Joseph Maurice Charles Georges, Baron de Gannibal, 3397, 432, 433 (son of Georges d'Anthes), 851 Hannibal, Awraam PetroHegel, Georg Wilhelm Friedwitsch, see Gannibal, Abram rich, 2 2 5 6, 275 Hannibal's Highway, 3433 2 Heidegger, William, 3202; see Hannover, 228 also Cooper: Red Rover Hanski, Eva / Eveline (b. Countess Rzhevuski), 2 i82, Heilbronn, 2343 3 Heimkehr, Die, see Heine 3°° Heine, Heinrich, 84o6, 525; Haraque ( = Gargara?), 34O5 2 Heimkehr, Die, 2435 Hargrave, Sir, 347; see also Helbig, H. von, 3394, 436; Richardson: History of . . . Russische Gunstlinge, 8444 Grandison 2 3 Helen of Troy, 288, 539, 540 Hariton / Haritoniy, 499, i 15 2 i6, 375, 483 Helicon, Haritonievski Lane, see MosHellas, see Greece cow Hellert, J. J., 3 4 4 4 Har'kov / Kharkov, 3 i79 1 Hellespont, i92, 2 2oi, 457 Harlikov, Miss (EO), *22i 2 Heloi'se, 28o, 8223 Harlikov, Panfil {EO), *2i6, 2 2 57 Helsingfors / Helsinki, 2357, Harlowe, Clarissa, ^ 5 , 154, '175. 2 288, 289, 342, 346; see also Helvetius, Claude Adrien, 396, Richardson: Clarissa 97 Harmonies, see Lamartine Hemnitser / Chemnitzer, Ivan Harold, see Byron: Childe Ivanovich: Dva soseda (The

H

39

Index Two Neighbors), ^508 Henley, W. E., see Farmer, J. S. Henri IV, king of France, 8 i 10 Henriade, La, see Arouet Hensler, K. F., ^246 Hen-Zi and Tao, see Didelot Heraskov / Kheraskov, Mihail Matveevich: Rossiada / Rossiyada, ^228; Vladimir, 2io,i Herball, see Turner Herder, Johann Gottfried von, x 3Oi, 3219-20; Ideen zur Philosophie, 8219-20 Herdsman (EO), ^72, 201, 255, 264 Here, After Crossing Bridge Kokushkin, see P., WORKS: Vot, pereshed chrez most Kokushkin

Highlands of Aethiopia, see Harris Hindu, ^25 Hippocrates, 846 Hippocrene, M96, 2 i85 Histoire . . . de la civilisation dans le pays Messin, L\ see Begin Histoire de la decadence et de la chute de Vempire romain, L\ see Gibbon: Decline and Fall Histoire de la Regence, L\ see Leclercq Histoire de Vempire ottoman, L\ see Hammer-Purgstall Histoire de NLorgant le giant, L\ see Pulci: Nlorgante Her Eyes, see P., WORKS: Eyo Histoire de Russie, L\ see Levesque glaza He'ritiers, Les, see Lattaignant Histoire du Juif-errant, L\ sea Herman / Russ. German, ^259; Pasero de Corneliano see also P., WORKS: Pikovaya Histoire philosophique, L1, see Raynal dama Historia aethiopica, see Ludolf Hermann, see Klopstock Hermes, *9i— 2, '135; see also Historiettes, Les, see Tallemant Maykov, V.: Elisey de Reaux Herminie / Erminie, a i83; see History of Abyssinia, see Jones also Chenier: Pres des bords & Monroe oil Venise History of Aleksandr, Russian Nobleman, '389 Hermitage, see St. Petersburg: History of England, see Hume Ermitazh Hero, The, see P., WORKS: History of English Prosody, see Geroy Saintsbury Hero of Our Time, A, see Ler- History of Ethiopia, see Budge montov: Geroy History of Firearms, see Pollard Herson / Kherson, a78, 83o6 Hervez, Jean: Regence galante, History of High Ethiopia or La, 8444 Abassia, see Beckingham & Huntingford Herzegovina, 842i Herzen / Russ. Gertsen, Aleks- History of Russian Literature a 8 andr Ivanovich, i5i, 344 in the 1 Sth Century, see Hesperus, 838 Blagoy: Istoriya Hetaeria, 833O, 332 History of Scotland, see Heure du berger, U, see Parny Robertson Heytesbury, Lady, "264 of the Reign of Peter History Hezekiah, King, 865 the Great, see Ustryalov: Highlands, see Scotland Istoriya

40

Index History of the Russian State, Homme, JL\ see Lamartine Homme des champs, U, see see Karamzin: Istoriya Delille History of Yesterday, see Honest Whore, The, see Dekker Tolstoy, L.: Istoriya Hitrovo / Khitrovo, Elizaveta Hood, Thomas: Ode: Autumn, Mihaylovna, 2 33i, 8 i76 *536 Hlestakov / Khlestakov, a426; Horace (Quintus Horatius see also Gogol: Kevizor Flaccus), l 4, 36, 80, 123, 230 2 Hlipkov, Mrs. (EO var.), 2526 47> *99> 310> 8l5> 96> 971 Art Hlyostov, Mrs., '117; see also of Poetry, 2454~5; Epistles, 2 Griboedov: Gore ot uma 2O9, 215, 315, 827o; Epodes, 2 Hmelnitski / Khmelnitski, Nik2i3; Odes, *2ig, 8 i5, 30; olay Ivanovich, 2 i^4; NereSatires, 2217, 252, 464, 8 i5 shiteVniy; Hi, sera? pyatnits na Hdtel de Londres, see St. nedele (The Waverer; or, Petersburg Seven Fridays in the Week), Hotin / Khotin, a37, 8478, 484 Hotinian Ode, see Lomonosov: *H4 Oda blazhenniya pamyati Hobhouse, John, 2 2io de la Motte, Antoine, Hodasevich / Khodasevich Vla- Houdar 2 2 4i6, 397; Reflexions sur la dislav Felitsianovich, i86, 3 critique, 2449 47&*n, 495n; Brenta, 2 i86; Iz pamyati izgrizligodi (Years Houghton Library, see Harvard University have from memory eroded), 3 478; Literaturnie stat'i i vos~ Hous of Fame, see Chaucer pominaniya (Literary Articles Houtsma, M. Th., ^43 and Reminiscences), '72; O How Seldom, Friend, see Coleridge Pushkine (On Pushkin), S4o; Hrestomatiya po russkoy literaSobranie stihov (Collected 8 ture XVIII veka, see Verses), 478n Gukovski Hodgson, Francis, *$2 Hronologicheskoe izobrazhenie Hoffman, F. B., *7g . . . Nevi, see Chronological Hoffmann, E. T. A., 828n Picture Hogarth, William, '347, 524, 121 Hrushchov (EO var.), 82O7 Holbach, Baron Paul Henri Hrushchyov / [incorrectly] Thiry d\ 8 9 6, 97 Khrushchev, Nikita SergeeHolland, 8426 & n, 428, 436 vich, a i43n 8 Holmgard, 27i Hryumin, Countess, 292; see Holmskoy, Vladimir (EO var.), also Griboedov: Gore ot uma Hudibras, see Butler *231 DicHoly Family with the Par- Hughes, Thomas Patrick: tionary of Islam, A, 25oo tridges, see Vandyke 2 Hugo, Victor, i 16, "35; BuonaHomais, 25o, 8 3i 1; see also parte, 2329; Chdtiments, Les, Flaubert: Mme Bovary •50; Odes et Ballades, 8329; Homer / Gomer / Omir / 2 Tristesse d'Olympio, La, ^ivfi Homere, 144, 98, 221, 54~5, 2 56, 59, 88, 520, 537-8, 3332; Hulda, 246; see also Kauer: 3 a Donauweibchen Iliad, *55, i 11; Odyssey, 55 8

41

Index Humber Estuary, '503 Hume, David, 8g6, 218; History of England, 3g6 Hungary, 8 4i7n Hunt, Leigh: Table Talk, 2 i8o, 3 39 Huntingford, G. W. B., see Beckingham Hurrah!, see P., WORKS:

Skazki, NoeV Hutchinson, William, 33o6 "Hydriad," see P., WORKS:

"Rusalka" Hymen / Russ. Gimen, 1 i 8 i , 198, 2 4 86, 8331

Hypochondriack, see Boswell Hypocrate, see Hippocrates

lbragim, 8394, 421, 435, 438; see also P., WORKS: "Arap

Petra Velikogo" ideal, ^sg, ^ 4 4 , 337, 59 Ideale, Die, see Schiller Ideen zur Philosophic der Geschichte der Menschheit, see Herder Idees sur la philosophic de Vhistoire de Vhumanite, see Herder: Ideen Idol mio, see Gabussi Idyl, Gnedich's, see Gnedich: Ribaki Idyl, Trediakovski's, see Trediakovski: Strofi pohvaVnfe Idyls, see Theocritus Iglouf, a 355; see also Caigniez: Juif errant, Le Igor Svyatoslavovich, Prince, see Slovo Igrok Lombera, see Maykov, V. ... I've Revisited, see P., WORKS: . . . Vnov* ya posetil Iliad, see Homer Illichevski, Aleksey Dem'yanovich, 2 i45, 543, 3 i37

Illyria, 342i Illyustrirovannaya Rossiya (Illustrated Russia), S57 I Loved You, see P., WORKS: Ya

vas lyubil Ilya, see Dolgoruki, Ilya Ilyushka (EO var.), 2329 Imagerie populaire, L\ see Fleury Imaginary Conversation with Alexander I, see P., WORKS: Voobrazhaemiy Imitations of Horace, see Pope I moi bezdelki, see Dmitriev, I. Incognita, The, see Blok: JVeznakomka India, 2 i o i , ' 2 1 1 , 412

Inferno, see Dante Initia Amharica, see Armbruster In Memoriam, see Tennyson Inspiration poetique, L\ see Lebrun, Pierre International Messenger, see Vsemirniy vestnik In the Woods, see Melnikov: V lesah In vita di Laura, see Petrarch Invitation, The, see Ramsay Invitation to Dinner, see Derzhavin: Priglashenie Inzhenerni'y Castle, see St. Petersburg: Mihaylovskiy Dvorets Inzov, General I. N., 2 i 2 i , 354 Ioganson (publisher), X82 Ionia, 334O Iphigenia, ^287 Ipsilanti, see Ypsilanti / Recollect a Wondrous Moment, see P., WORKS: Ya

pomnyu Ireland / Irish, 2 i5o, 3 43, 45 Iron, Mt., see Zheleznaya irony, 3 i89

Index Irresolu, L\ see Destouches Islam, 2 ioo Isles of Greece, The, see Byron Isouard, Niccol6: Joconde, 3322 &n Istanbul, 2 ioo Istomina, Avdotiya / Evdokiya Ilyinichna, ^ 3 , 103, 286-90, 93> 1J5> 159y 539> 3l77> 2 2 4 Istoriya gosudarstva rossiyskogo, see Karamzin Istoriya russkoy literaturi XVIII veka, see Blagoy Istoriya tsarstvovaniya Petra, see Ustryalov Istoriya vcherashnego dnya, see Tolstoy, L. Istria, 2358 Istrin, V. M., 3 3i3 Italy / Italian, ^vii, xx, 116, 330, a i07, 152, 158,275,341, 443> 5i5» 54 6 , 893> l6o > 198, 271, 290, 293, 299, 300, 312, 33>547>419> 4 2 ^ , 4 3 3 , 438 Ithaca (N. Y.), *xi, 3 38 4 Ivan (EO var.), 2 i96 Ivan III, tsar, '261, 271 Ivan IV the Terrible, tsar, 22a8,

Izmaylov, Vladimir Vasilievich, 3 i3° Iz neizdannih bumag Pushkina, see P., PUSHKINIANA: From

Pushkin's Unpublished Manuscripts Iz pamyati izgrizli godi, sec Hodasevich

Jackson, Miss, 24o; see also P., WORKS: Barishnya-Krest'yanka Jacques, xxviii Janizaries / Janizeries / Russ. Yanichari, 3 34i, 344, 414 Jardin d'Ete, see St.Petersburg: Letniy Sad Jauffret, A., 8 i45 Jean Sbogar, see Nodier Jersey, 3 7i Jerusalem de'livree, see Tasso: Gerusalemme liberata Jesse, William: Life of Brummell, 244, 97,1 o 1-2,478,88, 87 Jesuits, 239-40 Jesus I the Great/ Ady am Sagad a I, emperor of Abyssinia, 84O9, 26i, 271 410-11, 412, 440, 442, 446 Ivan V (brother of and coruler Jesus Christ, ^ 5 5 , 496, 8323, with Peter I), 339on Ivanhoe, ou le Ketour du croise, 352, 353 Jeu de paume, Le, see Chenier see Scott: Ivanhoe Jeune Captive, La, see Chenier Ivanov, Avtonom, 3425 Ivanov, Pavel (P.'s illegitimate Jeune Seigneur, Le, see P., WORKS: Chansons russes son), 2462—3 Jeune Tarentine, La, see Ivanov, Yakov, 2462 Chenier Ivan Petrovich (EO), ^74, 3 i 18 Jew / Jewish, 8299; see also next Ivan Velikiy Cathedral, see entry Moscow Jew, Wandering, ^ 5 5 , 2354-7 Ivan Vizhigin, see Bulgarin 3 Ivask, Yuriy Pavlovich, 245n Jidda, 8 4i3, 418 Izbrannie . . . proizvedeniya Joachim (jester of Peter I), 8426 Joconde, see Isouard dekabristov, see Shchipanov Jodelle, Etienne: Cleopdtre Izmail, 237, 477, 3 i55 captive, 28o Izmaylov, Aleksandr Efimo2 John I, emperor of Abyssinia, vich, »3i6, 375, 376, 458; 3 4o8, 409 Basni (Fables), 2375

43

Index John, Sir, 3 512; see also Morris:

Journey to Erzerum, see P.,

Old Love Johnson, Samuel,

8

WORKS : Puteshestvie v Arzrum

44O, 506;

Dictionary of the English Language, '33; On the Death of Dr. Robert Levet, '506; Rasselas, '402-3 & n, 440, 444 Joli-pied, see Restif de la Bretonne Jombert (publisher), 2g8 Jomini, Baron Henri, "49—50, 113; Traite des grandes operations militaires, "49, 50 Jones, A. H. M.: History of Abyssinia, A, '444 Jonson (son of a Livonian architect), '427 & n Jonson, Ben: Poetaster, The, •135 Journal, see Beyle; Dangeau; Delvig, Andrey: Polveka russkoy zhizni; Peter I: Zhurnal; P., PUSHKINIANA (SUBJECTS):

Jove, a i92, 8 i35; see also Zeus Joyce, James: Ulysses, '311 Juan, Don, 8 27O-i, 311, 324; see also Byron: Don Juan Judas, 2353 Jugashvili / Dzhugashvili, Iosef Vissarionovich ("Stalin"), 2 476 Juif errant, Le, see Caigniez Julia (daughter of Augustus), 2 6i, 135 Julia, X72, 2399, 327O; see also Byron: Don Juan Julian Calendar, 8389n Julie, ou la Nouvelle Heloise, see Rousseau, J. J. July Revolution, 847 "June 3" (EO), 3 2 7 o Juno, 2 3i8 Justification, see Baratinski: Opravdanie Juvenal (Decimus Junius Juvenalis), l 24, 98, 2 i2, 51-2, 430; Satires, 252, 3 i5o Jyasu I, see Jesus I

diary (Dnevnik); Raikes; Scott; Turgenev, Sergey Journal asiatique, S442 Journal de la Regence, see Buvat K Journal de Paris, see Marais K. (Potyomkin's courier), 132O Journal des dames et des modes, 2 K., i42; see also P., WORKS: 8183 Roman v pis'mah Journal des debats, 2447 K., Eliza (EOvar.), 888 Journal des Goncourt, see K., [Mr.] E. (EO var.), 888 Goncourt 8 Journal of a Modern Lady, see K., [Mrs.] V. (EO var.), 8 88 K., [Mrs.] Z. {EO var.), 88 Swift Kaffa, see Feodosiya Journal of. . . Residence in Kafka, xxviii Abyssinia, see Gobat 8 137 Journal of the Conversations of Kagul River, i33, Kahovski, P. G., 8 3 4 6, 347 Lord Byron, see Medwin 8 Joumees de Tancarville, Les, Kalailikoz Pasha, 4i8 Kalashnikov, Mihail, "462 see Lebrun, Pierre Olga Mihaylovna, Journey from St. Petersburg to Kalashnikov, 8 Moscow, see Radishchev: 462-3 Kalaushin, Matvey MatveePuteshestvie vich, 824on Journey ofN. N., see Dmitriev, Kalinin, see Tver I.: Puteshestvie NN

44

Index Kalininskiy Region, 3 m Kalmuck / Kalmuck / Russ. Kalmik, 1 22g, 269, 326, 2 3 i i Kaluga, a 42g, *47, 283 Kamenev, Gavrila Petrovich, 2 5o8; Gromval, a5o8 Kamenka, a i40, 161, 205, '64, 248, 249, 317, 331, 332, 349, 359, 372 Kamenniy gost\ see P., WORKS Kamenniy Ostrov, see St. Petersburg Kamin v Moskve, see Dolgoruki,

I. M. Kammerer, Albert, 84oo, 440, 445; Mer Rouge, V Abyssinie, La, 8444 Kant, Immanuel, *i28, 230—1, 2236 Kapitan Hrabrov, see Pushkin, Vasiliy Kapitanskaya dochka, see P., WORKS

Kapnist, Count Vasiliy Vasilievich: Na rabstvo (On Slavery), 8337 Karamzin, Nikolay Mihaylovich, i n , a27, 58, 106 & n,

*37> l65> 174, 427> 49°, 3l3> 62, 138, 139, 143-5, 169-70, 171, 172, 207, 213, 225, 278,

323>

3545

Bednaya

Liza

(Poor Liza), 8 143-4; epigram on Life, 8 i45; Istoriya gosudarstva rossiyskogo (History of the Russian State), 8 144-5, 224; letter from Paris, 8 323; Moi bezdelki (My Trifles), 3 144; Natalia, boyarskaya dochy (Natalia, the Boyar's Daughter), a 28o; Pis'ma russkogo puteshestvennika (Letters

of a Russian Traveler), a i 5 i , 8 143; see also AVmanah Aonid Karasu-bazar, a343 Karazin, Vasiliy Nazarovich, 2193

Karenin, Anna, ^xiii, 26, 8 3i 1;

see also Tolstoy, L.: Anna Karenina Karlowitz Treaty, 3 416n-17 Karlsbad, a ig4 Kars, 8 28i Kaspar,^384; see also Weber: Freischiitz, Der Kassala, 84Oi Katenin, Pavel Aleksandrovich, !8i, 102, 323-4, a 82, 83, 427, 428> 479) 8224> 2 5 6 ~7; Andromaha (Andromache); Olga, 8 153; Vospominaniya o Pushkine, see P.', PUSHKINIANA: Recollections of Pushkin Kauer, Ferdinand, 2 247;

Donauweibchen, 32^,Q Kaushani / Kaushany, 3 i55 Kaverin, Pyotr Pavlovich,x 1 o 1, 2 71-2, 89, 229, 429, 3 i2o, 224 Kavkazskiy plennik, see P., WORKS

Kay den, Eugene M., a4 Kazan / Kazan', 8279, 426n, 434 Kazbek, Mt., 8264, 280, 284 Kazdugli, Mustafa Kiaya, 8 4i4 Kaznacheev, A. I., a 2i4, 377, 8l 94

K drugu stihotvortsu, see P., WORKS

K druz'yam, see Batyushkov Keats, John, a45o, 8 53, 502, 510; Addressed to Hay don, 2 235; Belle Dame Sans Merci, La, 23O2, 8 5io; Endymion, 2

144, 270, 3 25; Eve of St. Agnes, The, ^ 6 5 ; Eve of St.

Mark, The, 3 4 5 4 , 509-10; Fancy, a476 K Erastu, see Velikopolski Kerch, 3286, 288 Kerch Strait, 8285, 287 Kern, Anna Petrovna, 23O, 161, 196, 456, 478, 536, 8 i76, 201, 210, 230

Kern, Ermolay Fyodorovich, 2 536 Kh . . . , see H . . . Khan, a 4io

Index Khrushchev, see Hrushchyov Kiev, 1 82, 236, 121, 129, 161, 186, 205, 3 6 4 , 153, 182,248, 27 1 . 3O2> 332> 349> 359> 382> 423 Kilgour, Jr., Bayard L., 222 K Imperatoru Aleksandru, sec Zhukovski King Lear, see Shakespeare Kiprenski, Orest Adamovich, frontispiece Kipriyanov, Vasiliy Anofrievich / Onufrievich, 2316 kipyashchiy ("boiling," "ebullient") jkipet* (verb), 242, 140 Kirpotin, V. Ya, ^ 5 6 Kishinev / Kishinyov, 1 6o, 61, 62, 65, 66, 86, 2 ion, 23, 29, 37, 87, 126, 131, 140, 144, 161, 193, 214, 231, 267, 303, 305, 419, 431, 433, 454, 458, 495, 5 2 6, 545, 345, 151, 155, 248, 271, 282, 285, 287, 292, 302, 316, 331, 332, 360, 373 Kit I Russ. Koshurka (EO), 1 ao7, 317, 2497 Klevetnikam Rossii, see P.,

Kochubey, Vasiliy Leontievich, 2293; see also P., WORKS:

Poltava Kochubey, Prince Viktor Pavlovich, 32oo Koechlin, Camille, 3 i78 Kokushkin Bridge, see St. Petersburg: Kokushkin Most Kolomna, see St. Petersburg Kolomyaki, see St. Petersburg Kolosova, A. M., 28o, 377 Kolovratno kur'oznaya stsena, see Zhukovski Komendantskaya Dacha, see St. Petersburg Konstantin, see Constantine Koran, 389, 333 Korasoff, Prince, 276, 91; see also Beyle: Rouge et le noir, Le Korb, Johann Georg: Diary of an Austrian . . . at the Court of Czar Peter the Great, 3 444-5 Korff, Baroness Maria von (m. Nabokov), 2 4 3 3 Korovin, Stepan, 3429 Korsun / Korsun', 3287 Kosciusko / Kostyushko, Thaddeus / Tadeush, 8226 Koshanski, N. F., 2455 Kostroma, 2301 Kostrov, Ermil Ivanovich, 8 i3i K—ov, Princess / [Mrs.] / Countess (EO var.), 388 Kozlov, Ivan Ivanovich, 22g, 184, 216, 3224, 230, 288; Chernets, Kievskaya povest^ (The Monk, a Kievan Tale), 2 216; Knyaginya Natalia Dolgorukaya (Princess Na8 talia Dolgoruki), 69, 83-4, 106, 107; To Countess Fiequelmont, 2 i84; Venetsianskaya noch? (Venetian Night), 2184,

WORKS

Klopstock, Friedrich Gottlieb, 2230, 8139: Hermann, 2253; Messias, 3 i39 Klyuchnikov / Klyucharyov, P.S.,^463 Knyaginya Ligovskaya, see Lermontov Knyaginya Natalia Dolgorukaya, see Kozlov Knyazhna Meri, see Lermontov Knyazhnin, Yakov Borisovich, 1 io2, 2 8i, 82; Vadim Novgorodskiy, 282 Kobrino, 2452 Kochubey, Maria (Vasiliy's wife), 2 i24, 293; see also P., WORKS: Poltava

3

Kochubey, Matryona (Vasiliy's daughter), 2293; see also P.,

23O

Kozlov, Nikita Timofeevich (P.'s valet), 2432, 3 3 o 7

WORKS: Poltava 46

Index K portretu Zhukovskogo, see P., WORKS

K P[ushchinu]. 4 Maya, see P., WORKS

K Pushkinu, see Venevitinov Krasnaya Gorka, 36 Krasnaya niva (Red Grain field), 348 Krasnaya Ploshchad', see Moscow krasniy ("red," "beautiful"), '360, *33 a -3 Krasnogorie ("Fairhill"), ^ 7 , 49> 229> V J 200 > 202 > 207> 468, 36, 537 Krasnopolski, N. S.: Dneprovskaya Rusalka (Russalkaof the Dnepr), 1315, 2 2 4 6-7, 508, 5*9 Kratkoe rukovodstvo k ritorike, see Lomonosov krehtet* / kryahtet' (to emit a sound of effort or fatigue, half grunt, half groan), 8 i03 Kremenchug, 23O,8, 33O7 Kremlin, see Moscow: Kreml' Krestos, Haouarya, 3442; sec also Christos Krestoviy Pereval, see Pass of the Cross Krestovskiy Ostrov, see St. Petersburg Kreutzer, Rodolphe, 28o Krilov, Ivan Andreevich, ^ 2 , 2 29-31, 84, 256, 319, 450, 3 144, 171,201; Basni (Fables), 2 3°> 5°5; •£ schastiyu (To Luck), 2266; Nlodnaya lavka (The Fashion Shop), 253O, 3 179; WLot i lastochka (Spendthrift and Swallow), 255; Osyol i muzhik (Ass and Boor), 2

3O, 3 2O1

Krilova, Maria, 277 Kri'm, see Crimea Kronstadt, 32O4, 436 Kropotkin, Prince Pyotr Alekseevich, 369

Kriidener, Baron von, 2343 Kriidener, Baroness Barbara Juliana, ^ I G , 2287, 343; Valerie, 133, 2 i 5 4 , 185, 3434» 389» 3 2 1 5 , 2 34 Krusenstern / Kruzenshtern, Adam Johann von / Ivan Fyodorovich, 2428 K schastiyu, see Krilov K sestre, sec P., WORKS

Kto znaet kray, see P., WTORKS Kuban / Kuban' River, 3265, 280, 285 Kubla Khan, see Coleridge Kiichelbecker, Wilhelm von, see Kyuhel'beker Kuindzhi Society, 343 Kunitsin, A. P., 2 5 7 , 3 3 4 2 Kuprovich, Olga, 357, 64 Kuprulu, Hussein, 3 4i7 41) H3> a*48, 294-5, 29&, 303-4, 305, 8 n 8 Larin, Ilya, 2303 Larin, Olga Dmitrievna, see Olga Larin, Praskovia / Pachette / Pauline / Dame (EO), ^ o , 32, 34) 55> 15*1 215> 267, 270, a 29i, 296, 298, 321, 325, 328, 3*9>534>539> 8ll 7-i8 Larin, Sava (?) (EO var.), 23O3, 321 Larin, Tatiana, a526; see also Pushkin, Vasiliy: Kapitan Hrabrov Larin, Tatiana Dmitrievna, see Tatiana "Larino," a 3i, 200-1, 390, 490, 504, a i 11-12, 179 Larins / Russ. Larini', ^ 4 9 , 152, 256, a 3i, 3 m , 112-13, 115, 117, 185

Larousse: Grand Dictionnaire universel du XIXe siecle, a68, 69 La Scala, see Milan hast hove, see Tyutchev: Poslednyaya lyubov* hast Spring, see Batyushkov: Poslednyaya vesna Latin, ^ 8 , "51*, 140, 8 i32, 450 Latinisms, a i86, 8 i44 Latouche, Henri de, a i83, 463, 8

342

Lattaignant, Gabriel Charles de, ^23; Couplets, ^23; Re-

flexions serieuses, ^23 La Tude, Claire Josephe Hippolyte Leris de ("Clairon"), 28o Lavater, Johann Kaspar, a 5i5 Lavaud, Jacques, a449 Law, John, 843O haw of Java, see Colman the Younger Layahan, 84O7 Lays, Francois, 8323 Lazarev brothers, a4o8 Laiorkin, Widow (EO var.), a 53° Leander, a457 Lebensei, Mme de, a348; see also Stael: Delphine Lebrun, Prince Charles Francois: Jerusalem delivree, ha, Lebrun, Pierre Antoine: En apprenant la mort de hord Byron, 385; Inspiration poetique, h\ 823o; Joumees de Tancarville, hes, ag8; Promenade matinale, ha, a286; Voyage de Grece, he, a 188-9 Lebrun, Ponce Denis (Ecouchard), 2444, 464, *34i; Ode aux francais, 3343; Odes, 2 543» Sermon inutile, he, ^76 Leclerc, Dermide (Marie Pauline's son), 8344 Leclerc, Marie Pauline (b. Bonaparte), 8344 Leclerc de Sept-Chenes, 3 2i9 Leclercq, Henri: Histoire de la Regence, 8 445

Le Cleri, N. G.: Yu le Grand et Confucius, a58 hecon du malheur, ha, see Marmontel Lecouvreur, Adrienne, a84 Lednicki, Waclaw, a i03 Lefebvre, Theophile, 8 4oo-i, 40411; Voyage en Abyssinie, S 445 .Le Franc de Pompignan, J. J., '59

49

Index Legende du Juif-errant, La, see Schoebel Legends to Portraits, see Dmitriev, I.: Nadpisi Leghorn, 2344 Legote, see Logote Legouve, Gabriel M. J. B.: Melancolie, La, 3 i57 Le Grand, Joachim, 3 4i3, 414; Voyage historique, 34O3, 404, 445 Legrand, P. E., 255 Lehr, Paul, 3 i53 Leibnitz, Baron Gottfried Wilhelm von, 33o Leiden des jungen Werthers, Die, see Goethe: Weriher Leipzig, 2525, 8357 Lei' /Lelo /Lelum, ^08,2501, 3

231, 233, 254, 235, 237, 239, 241, 243, 246, 254, 255, 259, 298; see also Vladimir; also Evgeniy Onegin: Lenski's Last Elegy Lenski, 2228; see also Griboedov: Pritvornaya Lenski, 2228; see also Heraskov: Kossiada Lenski, Miss ( £ 0 var. ?), 3276 & n-7 Lent, 2298 Leonard, Nicolas Germain: Bouquet, Le, 253O

Leonce, see Mondoville Leonora, see Burger: Lenore Leopoldov, Andrey, 2482 Le Page / Lepage, ^ 3 8 , 318, 2 8 9 , 339, 4 2 Lepanto, 3 4i8 Le Perthus, 3433 Lermontov, Mihail Yurievich, 2 2io, 3 5i, 495, 523; Demon, 3 164, 495; Geroy nashego vremeni (A Hero of Our Time), 2154^ 352> 2 8 l > 284> 287; Gornie vershini (Mountain Summits), 2^35; Knyaginya Ligovskaya (Princess Ligovski), 267; Knyazhna Meri (Princess Mary), 352, 304; Taman\ 3285, 287 Lerner, N. 0., 2 3 8, 72, 84, 296, 300, 3O3n, 351, 357, 3 7 , 183, 1 9^^ !97> 21 5 n > 2 45 ? 247n> 357^ 3 6 6 Leschenault de La Tour, 2136 Lesnoy tsar"*, see Zhukovski Lessing, Gotthold Ephraim, 265-6 Lesta, 2246; see also Krasnopolski: Dneprovskaya Rusalka Lestocq, Count Jean Armand de, 3426 & n—7 & n Lestok, Ivan / Hermann, see Lestocq Lethe, 1 i45, 237, 255 Letniy Sad, see St. Petersburg

2O3

Lemaire, cure of Rocquencourt, 2 2io Lemierre, Antoine: Peinture, La, 2543 Lemoyne, J. B.: Phedre, 278—9 Lendernain, Le, see Parny Lenin, see Ulyanov Leningrad, 279; see also St. Petersburg Leningradskaya Publichnaya Biblioteka (PB), see St. Petersburg: Publichnaya Biblioteka (PB) Leninskaya Biblioteka (MB), see Moscow: Publichnaya Biblioteka (MB) Lenita / Lenta, 3423—4 Lenora, see Zhukovski Lenore, 3 i49, 154; see also Burger: Lenore Lenore, see Burger: Lenore Lenore, Countess de D., 343o; see also P., WORKS: "Arap Petra Velikogo" Le Ndtre, Andre, 3 i44 Lenski (EO), x i28, 131, 132, H3> 15°> 1 5 1 i 152> 17°» l87> 189, 195, i98> 213> 2 1 7 , 2 l 8 > 221,

222,

223,

224,

227,

229.

s°

Index Letopis1 russkogo teatra, see Arapov Letopis"1 zhizni Pushkina, see P., PUSHKINIANA: Annals of

Pushkin's Life Letourneur, Pierre Prime Felicien, 2236, 254, 304-5, 346,521,339 Letter about the Rules of Russian Versification, see Lomonosov: Pis1 mo o pravilah letter from Paris, see Karamzin Letters from France, see Fonvizin: Pis''ma iz Frantsii Letters from France, see Forbes Letters of a Russian Traveler, see Karamzin: Pis1 ma Letter to a Member of the National Assembly, see Burke letter to Dashkov, see Batyushkov Letter to S. P., see Polevoy: Pis'mo Lettre amoureuse d'Heloise a Abailard, see Colardeau Lettres angloises, ou Histoire de Miss Clarisse Harlove, see Richardson: Clarissa Lettres philosophiques, see Chaadaev letuchiy ("volatile," "flying"), 2 44i Leutholf, see Ludolf Levaillant, Maurice, 2 i35, 155, rtfr 347> ' 7 1 * 98> l 6 5

Levesque, Pierre Charles: Confucius, 258; Histoire de Russie, •518 Levet, Robert, 35o6 Levinson, N. R.; Miller, P. N.; Chulkov, N. P., see P., PUSHKINIANA: Pushkin's Moscow

Levisticum qfficinale, 23OO Lewis, Matthew, 2353; Monk The, 2i6j, 216, 256-7 Lexique e'tymologique, see Reiff Lezgians, 328i L'Heritier de l'Ain, Louis

Francois, 3335 Lhomond, Charles Francois: Elemens de la grammaire francaise, 2 5i8 Lhuillier, Claude Emmanuel ("Chapelle"): Voyage de Chapelle, Le, 8274 Liaisons dangereuses, Les, see Laclos Liberation of Moscow, see Dmitriev, I.: Osvobozhdcnie Liberty, see P., WORKS: VoVnost* Lidin / Lida, Miss ( £ 0 var. ?), 3 276 & n Lido, 2 i83 Life, see Barbauld Life in London, see Egan Lignolle, Count de, 265; see also Louvet de Couvrai: Faublas Lihutina, A. A., 286, 93 Lileta / Lilette / Lila, 2415, 416 Limburg, 1 i o i Linar, Gustave de, 1 i53, 316, 2 i 5 4 , 185, 342, 343-4, 389, 8 234; see also Kriidener: Valerie Lines Composed in a ConcertRoom, see Coleridge Lingendes, Jean de: Stances, 2322

Linon, Mile, 2504; see also Tolstoy, L.: AnnaKarenina Lintsi, 336o Lipetsk, 283, 3 i7i Lipetskie vodi, see Shahovskoy Lippert, Robert, see Evgeniy Onegin, MAN

TRANSLATIONS, GER-

Liprandi, I. P., 2458 Lipski, Miss / Grusha / Masha ( £ 0 var. ?), 3 2 7 6 & n Lirondelle, Andre, see Evgeniy Onegin, TRANSLATIONS, FRENCH Li'saya, Mt., 3 284

Lisitsa koznodey, see Fonvizin Literary Archives, see Literaturniy arhiv

Index Literary Articles, see Hodasevich: Literaturnie Literary Gazette, see Literaturnaya gazeta Literary Ghosts, see Bulgarin: Literaturnie duhi Literary Heritage, see Literaturnoe nasledstvo Literary Leaflets, see Literaturnie listki Literary News, see Novosti literaturi Literaturnaya gazeta (Literary Gazette, ed. Delvig), ^ 8 , 324, 2 i 5 4 , 8 i o i , 225-6, 334 Literaturnie duhi, see Bulgarin Literaturnie listki (Literary Leaflets, suppl. to Sevemiy arhiv, ed. Bulgarin), *74, 288, 371 Literaturnie stai'i i vospominaniya, see Hodasevich Literaturniy arhiv (Literary Archives), 2174 Literaturnoe nasledstvo (Literary Heritage), J 85, 28o, 119, 252, 32on, 357, 416, 43m, 4 4 6n, 499, 52 3 n, '56, 17711, 204n, 25 4 n, 268, 347^ 349^ 356, 366, 374 Lithuania / Russ. Litva, ^ 2 7 , 2 68, 288 Litsey, see Lyceum Little Psyche, see Bogdanovich: Dushen'ka Little Star, see Zvyozdochka Littre, Maximilien Paul Emile, •71 Livonia, 2 3 4 3 , 8393, 42 7 n Livomo, a488 Livy (Titus Livius), 253~4 Liza, 3 i66; see also Griboedov: Gore ot uma Liza, 8 i43; see also Karamzin: Bednaya Liza Lobo, Jeronimo, '403, 404, 445 Locke, John, '96; Essay Concerning Human Understanding, 896

Loewe de Weimars / Veimars, Baron, '241, 242 Loewenberg, Alfred: Annals of Opera, a79, 247 Logo, 3399, 400, 402, 403-4, 405, 408, 438-9 Logon-Chuan, 8438 Logote / Legote, 8 4oo-i, 402, 405, 439 Loire River, 246i Lombardy, 869 Lomonosov, Mihail Vasilievich, *43> 3l8> 2l07> 41** 449-50, 451, 521-2, V , 479, 484-90, 525; Kratkoe rukovodstvo k ritorike (Manual of Rhetoric), 2 522, 8 484-5, 489; Oda blazhenniya pamyati Gosudarine Imperatritse Anne Ioannovne na pobedu nad turkami i tatarami i na vzyatie Hotina 1739 goda (Ode to the Sovereign of Blessed Memory Anna Ivanovna on the Victory over the Turks and Tatars and on the Taking of Hotin), ^ 4 8 , 8478, 484—9; Oda na den* vosshestviya na vserossiyskiy prestol eyo velichestva Imperatritsi Elizaveti Petrovni, samoderzhtsivserossiyskiyat 1746 (Ode on the Anniversary of the Ascent to the All-Russian Throne of Her Majesty Empress Elizaveta Petrovna, All-Russian Autocratrix),13i8,2522, ^ 6 2 ; Pis'mo o pravilah rossiyskogo stihotvorstva (Letter about the Rules of Russian Versification), ^ 8 4 , 489-90; Pyotr Velikiy, V 7 London, ^ 3 , 97, 105, 288, 2 34> 43> 44> 79, y 5> 9 9 , 1 0 1 > 106, 109, 116, 143, 8151, 165, 183, 192, 263, 478, 99, 118, 270; Kensington Gardens, •147

London jackanapes / londonskiy

Index nahal (EO), a 26 4 , 8 i93~4 London Magazine, The, a n 6 , i53>352,359> 8111 Longinov, M. N., '265, 430, 445 lono (FT. sein, "bosom," "womb," "lap"), 2 2 4 2- 3 Lord Forbid My Going Mad, The, see P., WORKS: Ne

day

mne Bog Lord Ullin^s Daughter, see Campbell Lorraine, Prince Charles, Cardinal of, a268 Losin, Liza (£O var.), 32oo, 207; see also Olenin, Anna Lothario, 2358 Lotte, see Charlotte Louanges de la vie champetre, Des, see Chaulieu Louis XIV, king of France, ^14, 8 i74, 412, 414, 441 Louis XV, king of France, 2j6, 8 39on, 428, 430 Louis XVI, king of France, 8 334> 339, 343 Louis XVIII, king of the French, a 227

Louis (French translator), 3 Louise, queen of Prussia, 821 o Louisiana, 8o,8 Louis Philippe, king of the French, "47 Loup devenu berger, Le, see La Fontaine: Fables Louvel, Louis Pierre, 8 3i6, 333> 334, 335, 373 Louvet de Couvrai / Couvray, Jean Baptiste: Annie de la vie . . . de Faublas, Une, a65, 8 2i7; Fin des amours . . . de Faublas, 2 65, 89; Six Semaines de la vie . . . de Faublas, 265 Lovelace / Russ. Lovlas, ^40, 177, 3 l6 > 2288-9, 29l, 4*9, 541; see also Richardson: Clarissa

Lover Describeth His Restless State, The, see Surrey Loves of the Angels, The, see Moore Lowell, James Russell: Without and Within, "96 Lozinski, Grigoriy Leonidovich, see Evgeniy Onegin, COMMENTARIES, RUSSIAN

Lubeck, "356, 8 i67 Lucas, ^319; see also La M021noye: Dialogue Luchanovo Lake, a2o8 Lucifer, 838 Lucilius, Caius, 8267 Lucrece, a28o Lucretius Carus, Titus, 896, 97 Ludolf, Job, 34oo; Historia aethiopica, 8445 Lues venerea, 8284 Luga, a 4 3 2 , 433 Luginin, Fyodor Nikolaevich, a 43i Lukeria Lvovna (£0), ^74, •117 Lukin, Vladimir Ignatievich: ShchepetiVnik (The Trinket Dealer), *gg Lukoyanov, 1 6i, a205, 3 i8o Lund, a263 Lunin, M. S., 8 3i7, 351, 371 Lupus, Alexis, see Evgeniy Onegin, MAN

TRANSLATIONS, GER-

Luscinia luscinia, L. megarhynchos, a 36i; L. golzi, 2

Lutheran, 8434 Luzon, 8 i i Lyall, Robert: Character of the Russians, The, 83~4; Travels in Russia, 8294, 8278, 295, 296-7 Lyanov, Counselor (EO var.), 2 2 57 Lycee, ou Cours de litterature ancienne et moderne, see La Harpe, J. F.

Index Lyceum (Aleksandrovskiy Litsey), 164, 281, 2 3 7 , 39-40, 42, 52, 57> 84> ! J9» H5> 25> 26, 229, 236, 243, 252, 455, 3 23, 29? 43> 107> 129-38, 147, 196, 3°3> 320> 326> 342> 354? 5HI anniversary poem, There Was a Time, see P., WORKS: Bila pora Lyceum Examination, see Repin Lyovin / [mistransliterated] Levin, Konstantin, 2 344, 8 298, 311; see also Tolstoy, L.: Anna Karenina Lyovshin, Vasiliy Alekseevich, *49> 253> S1^ 3 7 2 -35 Flower Gardens, 3 73; Life of Nelson, 3 73; Manual of Agriculture, 3 73> Ocharovanniy labirint (Enchanted Labyrinth), 3 73; Russkie skazki (Russian Tales), 3 73> Vegetable Gardens, '73 Lyrico-Epic Hymn, see Derzhavin: Gimn Lyubov Petrovna {EG), ^74, a n8 Lyudmila, ^ 6 , 288; see also P., WORKS: Ruslan i Lyudmila Lyudmila, see Zhukovski

M M., Count de, 2 343; see also Kriidener: Valerie M., Prince ( £ 0 var.), 3 i99 M. (French translator), 257 M.,S. {EG var.), V M., S. (French translator), 26$ M., Valerie, Countess de, a i85, 342» 343~4» 358, 3 8 9; see also Kriidener: Valerie MA, see Moscow: Tsentral'niy Arhiv Mably, Gabriel Bonnot, Abbe de, 3 96-7, 217 Macalle, ^ 0 4 Macaulay, James, 34O3

Macbeth, see Shakespeare MacDonnell, Count Charles, 3 445 Macedon, 2 3i2 Macpherson, James, 2 8o, 120, 2 54~5> 3 55; Darthula, 3 52; Fingal, 2254, 3 52; Fragments of Antient Poetry, 2254; Songs of Selma, 8 82; Sul-malla of Lumon, 2333, 352; Temora, 2 254; Works of Gssian, 2254~ 5,345 Madame (governess; EG), 1g6 Madonna, 2 i 5 1 , 233i—4 Madrid, 3 i83, 330 Maecenas, Gaius Cilnius, 3354 Magazine of Ladies' Fashions, 1214

Mahomet, ^ 7 8 Mai Belessan, see Belessa River Mai Laham / Laam, 34O4 Maillet (French consul), '413, 414 Main, La, see Parny Maine Woods, The, see Thoreau Makariev Market, ^ 2 5 , ^ 7 8 Makarov, Aleksey Vasilievich,

V9

Maksimovich, Mihail Aleksandrovich, 8 i09 Malaya, 2 i92 Malbazo, see "Petrus Aethiops" MaVchik-Zabavnik {Sportive Lad, music Plosaykevich = EG, Five : 11 : 9-14), 2 49i Malebranche, Nicolas de, 2 47, 8 43i; De la recherche de la verite, 26~7, 47 Malek-Adhel, 1 i 5 3 , 316, 2 3423, 347; see also Cottin: Mathilde Malewski / Malevski, Franciszek, 2357, 522-3 & n Malfilatre, J. C. L. Clinchamp de: Narcisse, x i47, 2 3i7, 318 Malherbe, Frangois de, x i2, 2 448, 8485, 486; A Rabel,

54

Index Peintre, x i 2 ; Au Roy Henry le Grand, 8487-8 & n; Sur Vattentat, 2448-9 Malinets Lake, 22o8 Malinniki, 1 6 i , 64, 65, 2 i23, 205* 534> 535? 8 l 1 2 Malvina, see Cottin Malvina, 2 i20, 140, 255; see also Macpherson: Fingal Malvina, 2 255; see also Zhukovski: Ullin i ego dock* Manfred, see Byron Manget, J. L., 2404 Mann, Thomas, 3io,2 Mansfield Park, see Austen Mansurov, Pavel Borisovich, 277 Mantz, P., ^ 4 3 Manual of Agriculture, see Lyovshin Manual of Cultivated Plants, see Bailey, L. H. Manual of Rhetoric, see Lomonosov: Kratkoe rukovodstvo Manuel, Jacques Antoine, 25o, 51

Manzoni, Alessandro Francesco Tom maso Antonio, ^ o 1,3219; Conte di Cannagnola, II, zi 19; Promessi sposi, I, zi 19 Mara, see Marat Mara, see Baratinski Marais, Mathieu: Journal de Paris, 3445 Marat, David ("de Boudry"), 3 i3 5 O j 1 0 1 > 517-18, 3 2i7; Cleopdtre, 2 8o; Contes moraux, 2$o, 517, 8 6; Essai sur le bonheur, 3 i 10— 11; Nouveaux contes, 2517 Marmot a bobac, 3 231; M. marmot a, 3231 Marne, 2 4 8i Marot, Clement: De soy mesme, 3

25

Mars, 8317, 369 Marseilles, 8167 Marsovo Pole, see St. Petersburg Martin Zadek, see Zadeck Marvell, Andrew, 2276, 3 498, 504, 509; Definition of Love, The, 8494J Epitaph upon — , An, 2276; Garden, The, \ 6 i ; Nymph Cojnpl aining, The, 3 4*62; To His Coy Mistress, 8454, 3 50; Upon Appleton House, 2561 Marx, Karl, 2 i64, 224 Mary, mother of Jesus, 8352 Masha, 2 2 8o Mashuk, Mt., ^ 2 6 , 852, 284 Mason, see Freemason Massawa / Masuah Island, 3 4ion, 411,412, 413 Masson, Olga Karlovna, 2265 Masuah, see Massawa Mathew, David: Ethiopia, 8445 Mathilde, see Cottin Mathilde, Princess, '343; see also Cottin: Mathilde M a t t e n , Miss ( g o v e r n e s s ) , 2 i 2 i Mattino, II, see Parini Maturin, Charles Robert, ^ 3 , 316, 2 35, 287, 352, 353, 411;

Index Melmoth the Wanderer, ^ 3 , 155, 285, 316, 235, 352-4, 356> 896> 97~8> *59 Mauro, Fra, 84oo Max, 2385; see also Weber: Freischutz, Der Maximes et pensees, see Chamfort Maximian (Marcus Valerius Maximianus), Roman emperor, 8 i5 May Day, 86 Maykov, Aleksandra, '365 Maykov, L. V., '145, 855, 72, 122, 216,365 Maykov, Vasiliy Ivanovich, 3 134—5; Elisey; Hi, razdrazhyonniy Vakh (Elysius; or, Irate Bacchus), '36, 91—2, 3 i32, 134-5, 348, Igrok lornher a (The Omber Player), a 537 May 26, 1828, see P., WORKS: Dar naprasniy Mazepa, ^293; see also P., WORKS: Poltava

Mazepa, Ivan Stepanovich, 858, 155 Mazeppa, see Byron MB, see Moscow: Publichnaya Biblioteka McAdam, J. L., ^ i g , 8 i n McEve, ^ l g , 22y, *m;see also Vyazemski: Stantsiya Mecca, 8413, 42 m mechta ("dream," "fancy"), 1 338, 361, a i68, 171, 211-12 Mechta, see Batyushkov Mechti, see Zhukovski Mecklenburg- Schwerin, Charles Leopold, Duke of, 3 39on Medea, see Ozerov: Medeya Meditations, see Rileev: Dumi Meditations poitiques, see Lamartine Mediterranean, 8 i99, 203, 8415 Medniy vsadnik, see P., WORKS

Medvedev, I. N., 823 Medwin, Thomas, "354, 8311; Ahasuerus, the Wanderer, a 354> Journal of the Conversations of Lord Byron, *354, 8218

Meilhac, Henri, 8156 Melakotawit, queen of Abyssinia, 8409 Melancolie, La, see Legouve Melanges de litterature, see Arouet Melanges litteraires (ed. Fayolle), 834! Melchizedek, 814; see also Batyushkov: TipomnisK* meVkat* ("to flick," "to flicker," "to glint," "to be glimpsed"), ^62, 222o, 8272 Melmoth, John, *35, 352-4, 8163, 249> 259> 2 6 l > 3 6 4i see also Maturin: Melmoth the Wanderer Melmoth the Traveler, "353; see also Maturin: Melmoth the Wanderer Melmoth the Wanderer, see Maturin Melnikov, Pavel Ivanovich ("AndreyPecherski"): V lesah (In the Woods), *3Oi Melodrame, Le, see Ginisty Melolontha sp., 8 8i, 83 Melpomene, ^72 Memoire historique sur I'ambassade de France a Constantinoplt, see Bonnac Memoires, see Fouche; Raevski, Maria; Sanson; Vidocq Memoires d1 Afrique, see Baratieri Memoires de la Regence, see Piossens Memoires de lord Byron, see Moore Memoires de . . . Pergarni, *51 Memoires d?outre-tombe, see Chateaubriand

Index Memoirs, see Sobolevski: Za~ piski; Vigel: Zapiski; Yakushkin: Zapiski Memoirs of Kmma Courtney, see Hays Memoirs of My Life, see Grech: Zapiski Memoirs on Pushkin, see P.,

Meuse River, 8488 & n Mexico, 851 inezhdu tern / mezh tern (Fr. cependant), 2253 Mezh tern kak General Orlov, see P . , WORKS

Mezzogiorno, see Parini Michael, tsar, 8582 Michael Scot, zi$3 PUSHKINIANA: Memoirs on Michaud, Joseph Francois: BioPushkin (Pushchin) Memoirs of Samuel Foote, see graphie universelle, 2356n Mickiewicz / Russ. Mitskevich, Cooke Adam Bernard, ^ 2 7 , 3226, Menelaus, '539, 540 2r 288-9, 291; Budris i ego siMenonville, j nov'ya (Budris and His Sons, Mephistopheles / Russ. Mefistotr. P.), 8289; Grob Potocki, fel', 25o6, 82O5 8288; Pielgrzym (The PilMercure, a379 grim), 8288, 291; Sonety Merimee, Prosper: Bohemiens, Krymskie (Crimean Sonnets), Les, 8 i56; Carmen, 3156; Por8288 traits historiques, 8io,i Mer Rouge, VAbyssinie et Middlesex, 898 Mignon, 3g$, see also Goethe: VArabie, see Karri merer Wilhelm Meister Merteuil, Mme de, a339J see also Laclos: Liaisons dange- Mihaylovskiy Palace, see St. Petersburg: Mihaylovskiy reuses, Les Dvorets Merville, Michel Guyot de, 8430 Mihaylovskoe, ^ 7 , 37, 52, 60, Meslier, Jean, 8 22i 61, 63, 64, 65, 66, 68, 71, 72, Mesrah Island, 8410 Messenger of Europe, see Vest- 73, 2 ion, 12, 19, 20, 30, 31, 37> 59> 8 l > 1 1 2 > 1 2 2 n > 15°^ nik Evropi i33> J 34> l 6 l > ^ G * X 77> l92> Messeniennes, Les, see 193, 205, 207-8, 210, 218, Delavigne 219, 301, 329, 346, 361, 362, Messias, see Klopstock Messina, 8308 567> 373> 38l> 39°> 396> 39 8 , 429, 430, 431, 432, 443, 452, Metamorphoses, see Apuleius 454, 458, 462, 475, 478, 534, MeteV, see P., WORKS 535, a !8, 64, 107, 112, 116, Metman, Louis, 847 Metrical Guide to Pushkin's ^ J J ^S) 157» 231» 24°> 248> 249, 272, 273, 293, 303, 305, Poems, see P . , PUSHKINIANA Metricheskiy spravochnik k sti- 3o6> 3°7> 3°9» 310> 347> 348? hotvoreniyam Pushkina, see 358, 36o> 376, 389> 393> 39 6 ? P., PUSHKINIANA: Metrical 435 "Mihaylovskoe Revisited," sec Guide to Pushkin's Poems P., WORKS: . . . Vnov* Metromanie, La, see Piron Metschl, John, 83911 Milan, 8124; La Scala, a247 3 Metz, 4 I 9 J 429, 433; Ecole d'- Military Georgian Road, 828o, Artillerie, 8429-30 281, 283 Metz, see Poirier miliy (Fr. aimable, gentil), 1$62, •376

57

Index Miliy son, see Zhukovski

Mithridates the Great, king of Pontus, ^27, 3287-8 Mithridates, Sepulcher of / Mt., 3 Millevoye, Charles Hubert, 286, 288 3 74; Chute des feuilles, La, Mittau, a i94 3 26, 28, 29, 60-1, 74; De- Mitylene, 2352 jeuner, Le, 2382; Elegies, 326; Mizinchikov("Mr. Inch,7' "Mr. Priez pour moi, '26, 29 Pinkie"; EO var.), 2 4 5 8, 459 Mnemozina (Mnemosyne, ed. Million Street, see St. Petersburg: Mil'onnaya Kyuhel'beker & Odoevski), Milman, Henry Hart, '128 21m, 445, 493, 8163,224 Milonov, Mihail Vasilievich : Moans the Gray-Blue Little Neschastniy poet (The Un- Dove, see Dmitriev, I.: Stonet fortunate Poet), 326; Padenie siziy golubochek list'ev (Fall of the Leaves), Modem Wife, The (anon.), 3 28- 9 , 38, 61 2282 Miloradovich, Count M. A., Moderns, see Westernizers 2427, 428, 431,8346, 347 Modnaya lavka, see Krilov Milton, John, *i43, 3 45i, 502, Modnaya zhena, see Dmitriev, 523; Allegro, L\ 2523, 8501I. 2; Paradise Lost, 1 i, 3 3i; Modzalevski, B. L., 264, iO7n, Penseroso, II, 846i 145, 146, i63n, 8445; see also Milton's Prosody, see Bridges P., PUSHKINIANA: Pushkin's Minih / Miinnich, Count BurkLibrary hard Christoph, 839O & n, 434 Modzalevski, L. B., ^ 4 , 2!6i, Minin-Suhoruk, Rm'ma Zaha487, 517^ 3 2i6, 446 rich, 3262, 278 Moemu Aristarhu, see P., Ministry of Ecclesiastic Aifairs, WORKS 8 2 5 Moena / Moina, 1 io2, 28o ? . Ministry of Foreign Affairs, Moet, Jean Remi, x i96, 2480 3 i3o Mogilev / Mogilyov, 2398, 433, 8 Ministry of Public Education, 3°7 8 Mohair, Matilda, 8169; see also 2oo, 325 Steele: Spectator, The Minor, The, see Fonvizin: Mohammedan, see Moslem NederosV Minski, Miss (EO var. ?), *2?6, Moi bezdelki, see Karamzin Moina, 2255; see also Macpher277 son; Moena Minstrel, The, see Beattie Mirabeau, Count Honore de, Mois, Les, see Roucher Moi zamechaniya ob russkom V , 51) 4 1 3>4 l6 > 495) 8 3 6 1 teatre, see P., WORKS Miron (EO var.), 2499 Mironov, Masha, 8471; see also Molchalin, 8119-20; see also Griboedov: Gore ot uma P., WORKS: Kapitanskaya Moldavia, X22, 54, 99, 283, 330, dochka 260,305,458,8137, 151," 155, mirovedenie ("universology"), 2 125 156, 303 Misanthrope, Le, see Poquelin Moldavian Song, see P., WORKS : 8 Missolonghi, 23i, 312 Chyornaya shaV

Miller, P. N., see P., PUSHKINIANA: Pushkin's Moscow

Index Moliere, see Poquelin Molva (Report, suppl. of Teleshop, ed. Nadezhdin), 8525

Morea, 8 3i6, 330, 332, 372 Moretti, Ferdinando, 279 Morfill, William Richard,

Monah, see P., WORKS

Monari, Clemente (tenor), 32gg Monbron, see Fougeret Mondain, Le, see Arouet Mondoville, Leonce de, ^77, 348, '237; see also Stael: Del-

Morgan, Lady Sydney: Passages from My Autobiography, 2 io9-io, 89 Morgante Maggiore, see Pulci Morning, see Perevoshchikov: Utro phine Mongol, 2 255 Morning Chronicle, The, \2 Monime, 284; see also Racine: Morozov, P. 0., 8366 Mithridate Morpheus, X2g5 Monk, The, see Kozlov: Cher- Morris, William, 3 5i3; Old nets; Lewis; P., WORKS : Monah Love, 3 5i2-i3 Monlyon, Antonia de, 2277, Mort de Pompee, La, see Cor358, 511, 387; see also Nodier: neille Jean Sbogar Morte di Cleopatra, La, see 3 Monmerque, N. de, n o Nasolini Monnet, 344O Morven, 2 255, 8 9g; see also Monophysites, 34o8 Macpherson Mon Produit net, see Ducis Moscovisms, 2 363 8 Monroe, Elizabeth, 444 Moscow, 2 xx, *6, 7, 16, 27, 48, Monsieur (EO), see Frenchman 49> 5l> 52, 53»55> 64, 65, 66, Montaiglon, A. de, S443 68, 70, 71, 73>75, 76, 77> 79) Montaigne, Michel de, 26, 46, 80, 82, 140, 182, 249, 262, 8 8 263, 268, 270, 274, 275, 325, 47, i3i; Essais, 8140,465, 38 8 •ai, 27, 29, 31, 38, 59, 92, Monterey, 5i 111, 124, 126, 130, 154, 157, Montesquieu, Charles de 161, 203, 205, 207, 228, 262, Secondat, Baron de, 8337 8 265, 292, 296, 297, 301, 303, Montet, Edouard, 8g Montfaucon de Villars, Abbe: 3°5> 3 l 6 > 356» 3 6 2 n > 3 8 l > 385> 408, 426, 428, 429, 430, 436, Comte de Gabalis, Le, 2514—15 Montfort (P.'s tutor), 239 437> 452, 471>475> 478» 58> Montholon, Countess de, ^87 526, 8 i8, 23, 54, 69, 105, 109, 111-28 passim, 136, 143, 161, Montolieu, Isabelle de, see Po166, 167, 169, 176, 179, 180, lier de Bottons, E. J. P. 182, 212, 226, 255, 256, 257, Montpellier, 282 259, 262, 271, 272, 273, 277, Moor, 836 2 278, 283, 288, 292, 298, 301, Moore,Thomas, 158, 172, 359, 302, 304, 309, 313, 321, 328, 853; Lalla Rookh, 23O5, 435, '69, 122, 210-11, 250; Loves 348, 354, 356, 363> 394, 395> of the Angels, The, 2 i35, 136, 419, 420, 422, 423, 428, 516; 494; Memoirs of Byron, 2 i62, Archives (Moskovskiy arhiv 3 8 kollegii inostranni'h del), X8$, Morali / "Maure Ali," ^30 86, 229O, 8119-20; Bauman Moral Satire's Sharp Sting, see Street, see Nemetskaya; BibTolstoy, F. I.: Satiri lioteka, see Publichnaya BibMore, see Vyazemski lioteka; Chernishevski Insti-

Index tute, 2 i26n; Chigasi, a497; English Club (Moskovskiy Angliyskiy Klub), 8 i 18, 262, 275; Haritonievski / -skiy Pereylok/ Lane, ^ 6 9 , '499, 3 i 15-16; Imperial College of Music, 2 333> I v a n Velikiy Cathedral, 3 69; Krasnaya Ploshchad' (Fair Square), 2332; KremF / Kremlin, X268, 2497, 3 i i 4 ; MB, see Publichnaya Biblioteka; Moskva River, '497, '123; Nemetskaya Street, 3 i 16; Petrovskiy Castle, ^ 6 8 , 269, 3 i i 2 , 11314 ;Petrovskiy Park,seePetrovskiy Castle; Publichnaya Biblioteka (MB), ^ 5 , a i26, 133, 214, 414, 456 & n, 518, 3 8i, 119, 125, 127, 132, 347, 392; Simeonovskiy Pereylok / Lane, 3 n 6 ; Sobranie (Club of the Nobility), ^ 7 5 , 3 i 2 i - 2 , 275; TsentraFni'y Arhiv (Central Archives [MA]), ^Q-S; Tverskaya Street, ^ 6 9 , 3 i 12, 262; Tverskoy Boulevard, a5O4; University, '39, 482; Yauza / Yaooza River, a497 Moscow Elegies, see Dmitriev, M.: Moskovskie elegii Moscow Herald, see Moskovskiy vestnik Moscow Journal, see Moskovskiy zhurnal Moscow Telegraph, see Moskovskiy telegraf Moskovskie elegii, see Dmitriev, M.

Moskovskiy zhurnal (Moscow Journal, ed. Karamzin), 2443 Moskovskiy telegraf (Moscow Telegraph, ed. Polevoy), a i 10, 149, 3 i 8 i , 225, 246, 247 Moskovskiy vestnik (Moscow Herald, ed. Pogodin), a 4 i 4 ) 8 121, 257 Moskva, xxx, 8 532; see also Moscow 60

Moskva River, see Moscow Moskva v zhizni i tvorchestve Pushkina, see P., PUSHKIN IANA: MOSCOW in Pushkin*s

Life and Creative Work Moslem(s), ^ 3 2 , 3282, 397, 398, 407, 408-9, 411, 413, 414, 424, 436, 439 Mot i lastochka, see Krilov Motsart i SaVeri, see P., WORKS

Mountain Summits, see Lermontov: Gornie Moya rodoslovnaya, see P., WORKS Moy Demon, Demon

see P., WORKS:

Moyer / Moier, Johann Christian, 2488 Moy geniy, see Batyushkov Moyka Canal, see St. Petersburg Moyo prazdnoe vremya, see Tolstoy, Ya. Mozart, Wolfgang Amadeus, •385 Mozart and Salieri, see P., WORKS: Motsart Mozemleks (in Lahontan), 3431 Mr. Eliot's Sunday Morning Service, see Eliot, T. S. Muhammad Ahmed ibn Ibrahim el Ghazi ("Gran"), '408, 442 Munich, 2524, 3 3i3 Munnai River, 34oo, 404 Miinnich, see Minih Munzinger, Werner: Vocabulaire de la langue tigre, 3445 Murad ben Magdelun / "Murat," 3 4i2, 413, 414 Muravyov, Mihail Nikitich, a i76, 239; Bogine Nevi (To the Goddess of the Neva), *315 Muravyov, NikitaMihaylovich, i 1 3 3>3*7»349>35i>37i>37 a Muravyov-Apostol, Ivan Matveevich, 3248 Muravyov-Apostol, Matvey Ivanovich, 8

Index N., N. (EO var.), 388-9 N., N. (EO & OJ), ^86, '260 Muse(s), 149, 54, 120, 121, 129, N., Prince (Tatiana's husband; EO), ^ 3 , 56, 276, 288, 289, *35, !53, 2 35, 2 45, 2 53, 2 77, 292, 305, 307, 2414. 281, 282, 283, 284, 328, 290, 291, 435»52o, 3 i i 3 , 121, 168, 180, *i 3 , 14, 18,54, 1 2 3 , * 2 5, 2O1> 2 191, 238, 259 33, 2 3 6 , 2 6 9 , 3 1 0 , 3 1 1 , 374? 43, 435, 454, 4 8 3 , 5 3 8 , f 3 l » N., Princess Tatiana, X55, 56, 62,74,91, 124, 133, 134, 141, 57, 3°°, 3°4, 3°7, 3*3, 8 2 8 ° , 342, 8 2io, 212, 239, 240, 241, H9, *54, 168, 173, 178, 179, 516; see also Tatiana 253, 266, 301, 303, 308, 344 Nabokov, Dmitri Nikolaevich, Musenalmanach, 837 2 Musin-Pushkin, Count Aleksey 433 Nabokov, Dmitri VladimiroIvanovich, '477 vich, 8 28i Musin-Pushkin, Count Aleksey Nabokov, Maria Ferdinandovna Semyonovich, 2478 (b. Baroness von Korff), "433 Musin-Pushkin, Countess M. Nabokov, Vladimir VladimiroA. (b. Princess Urusov), 893 Musset, Alfred de, 2 n 6 , 152, vich, a i 8 6 ; Conclusive Evidence I Speak Memory, '294; *55n, 39 2 Nikolai Gogol, 2 314 Mussulman, see Moslem(s) 8 Mustafa II, sultan of Turkey, Nadezhdin, N. I., i2i, 175 l8 21 Nadpisi k portretam, see V3> 4*7, 4 , 4 Dmitriev, I. My Guardian Spirit, see Naina / Naena, ^255; see also Batyushkov: Moy geniy P., WORKS : Ruslan i Lyudmila Myortvie dushi, see Gogol My Pedigree, see P., WORKS: Nalozhnitsa, see Barati'nski Moy a rodoslovnaya Napersnitsa volshebnoy starini, My Peggy Is a Young Thing, see P., WORKS see Ramsay Naples, 8 3 i6,329-30, 360, 370, My Remarks on the Russian 4X9 Theater, see P., WORKS: Moi Napoleon I, emperor of the zamechaniya French, ^32, 268, *5 4, 58, My Spare Time, see Tolstoy, 102, 120, 164, 227, 311, 312, Ya.: Moyo prazdnoe vremya 35 8 , 847, 5 8 , 85, 108, 114, Mysteries of Udolfo, The, see 136, 218, 315, 316, 320, 321, Radcliffe 322, 326, 327, 328, 329, 342, My Summer Day in Tauris, 343-4,361,373 seeBobrov: Tavrida Napoleon III, emperor of the My Trifles, see Karamzin: Moi French, 85o bezdelki Na rabstvo, see Kapnist My Voice for You, Caressive, Narcisse, ^148; see also La

Muravyov-Apostol, Sergey Ivanovich, 3 336, 347, 359

see P., WORKS: NOCW

N N., M[onsieur], 822o; see also Chamfort N., N., 8198

Bruyere: Caracteres, Les Narcisse, see Malfilatre Narcissus, 2 3 i 7 Nari'shkin, Dmitri Lvovich, 2 i8o, 181, 8 48-9 Nari'shkin, Maria, 8 49

Index Nashchokin, P. V., 3 2ii

Ne lyubo, ne slushay, see Shahovskoy Na smert' R., see Tumanski Neman River, S32O Naso / Russ. Nazon, see Ovid Neptune, 3358, 488 & n Nasolini, S.: Morte di Cleo- Nerchinsk, a i23 patra, La, 279 Nereid (daughter of Nereus), 1 Natalia, a 545; see also P., 28 3 , 3 i54 WORKS: Monah NereshiteVniy, see Hmelnitski Natalia, boyarskaya doch\ see Neschastniy poet, see Milonov Karamzin Nesselrode, Count Karl Robert, V8> 3 i94, 306, 354 Natasha (EO var.), 2zjg a Natasha, 28o; see also P., Neustadt, s i37 WORKS: GrafNulin Neva River, see St. Petersburg Natasha, 228o, 509; see also P., Nevskiy aVmanah (Nevski Almanac, ed. Aladyin), ^ 8 , WORKS: Zhenih a i 7 7 , 178 Natashas ( £ 0 var.), 292 Nauka i literatura v Rossii pri New and Brief Method of RusPetre, see Pekarski sian Versemaking, see TrediaNaumov, Dmitri, 2^92 kovski: Noviy Nechaev, V., ^454 New and Complete Collection of Russian Songs, see Novikov: Nechkin, Militsa Vasilievna, Novoe 1 2 New Dictionary, see Yanovski: Necker, Jacques, i?5, 4i3> 414 Noviy slovotolkovateV Necker de Saussure, Albertine New Heloise, The / Russ. Nov> Adrienne, 335n ay a Eloiza, ^26; see also Ne day mne Bog soyti s uma, Wolmar, Julie de; Rousseau, seel?., WORKS J. J. :Julie NedorosV, see Fonvizin New Monthly Magazine, "352 Nedvizhniy strazh, see P., New Review, see Noviy zhurnal WORKS New Russia / Novorossiya, X62, a Nedzelski, B. L., 2i2 71, 2 i2 9 , 214, s i94, 303, 305 nega ("mollitude," "sensuous- New Sterne, The, see Shahovness"), ^ S , 364, a i86, 337, skoy: Noviy 360 New Testament, see Bible 396-7, 408, 413, 414, 420, New World, a515 425, 436, 437, 438 New Year, The, see Cotton Negroid race, '437 New York, xxx; Public Library, Neizdanniy Pushkin, see P., *xi; Metropolitan Opera PUSHKINIANA: Unpublished House, a333 Pushkin New Yorker Magazine, The, *$ Nekrasov, Nikolay Alekseevich, New York Review of Books, a4 "105, S493n; Russkie zhenNeyshtadt / Neustadt, M.: shchini (Russian Women), OpredeliteV rasteniy (Determinator of Plants), 375 *123 8 Nezabvennoy, see Yakovlev, M. Nelson, Horatio, Viscount, 58; Neznakomka, see Blok see also Lyovshin: Life of Nicaea, xxxiv Nelson Nicaise, see La Fontaine Naslazhdenie, see P., WORKS

Index Nordic poems, 1\^, 2253~5 Norman Abbey, 2543 Normandie, Basse, 239 Normans, 3 27i, 379 North / Northern (EO), ^ 6 , 109, *93> 213> *64> 3X4 112, 205, 210, 243, 288, 316, Northamptonshire, 2222 320, 328, 336, 346, 372 Northern Archives, see Nicole, Abbe, a4o Severniy arhiv Night Conversation, see NochNorthern Bee, see Severnaya noy razgovor pchela nightingales, see Luscinia Northern Chanter, see Severniy Night Thoughts, see Young pevets Nikita, see Muravyov, N. Northern Flowers, see Sevemie Nikolaev, 239,8, 83O7 tsveti Nikolai Gogol, see Nabokov, Northern Lyre, see Severnaya Vladimir S lira Nile River, 412, 414 Nina, belle, X2i6, "527, 529, Northern Society (Severnoe Obshchestvo), 8345, 346, 451 53°> Sl 75 Nina (EO var.), 8 i77, 208-9; Northmen, 8382, 383 see also Voronskoy Northumbrian Psalter, 8484n 3 Nina, 53o; see also Leonard: Notbek, Aleksandr, ^8, 2 i77, Bouquet, Le 178-9 Nina, Princess, 3 i76, 208, 214; Notebook, see Bartenev: Zapissee also Baratinsk: Bal naya Nivelle de la Chaussee, Pierre Notes and Queries, 266, 495 Claude, 2gg Notes pour Vhistoire d'Ethiopie, see Perruchon Nizhni Novgorod / Nizhniy 1 (now Gorkiy / Gorki), 6i, Notre (French translator), 2 325,22O5,462, 3 i67, 171, 256, 4°3 n 262, 279, 312 Nott, John, 2369 Noces de Figaro, see Beaumar- Nouveaux contes moraux, see chais: Nlariage de Figaro, Le Marmontel Noch\ see?., WORKS Nouvelle Heloise, La, see Nochnoy razgovor (Night ConRousseau, J. J.: Julie versation; from EO), 2^6j Nouvelles Lettres angloises, ou Nodier, Charles, ^ 4 , 316, Histoire du chevalier Grandis2 153-4, 160, 287; Jean Sbo- son, see Richardson: History gar, l$i6, 2277, 358-9, 5 ^ , 0 / . . . Grandison '87 Novgorod / Novgorod Velikiy Noei borguignon, see La Mon(Great), *6, 55, 2 7 7 , 78, noye: Noels 301, 8257n, 261, 271-2, 273, Noel, Frangois, 327, 28 278, 304; House of St. Sophia, 8 Noel, Fairy Tales, see P., 3 82 WORKS: Skazki: NoeV Novikov, N. I.: Novoe i polnoe Noels bourguignons, see La sobranie russkih pesen (New Monnoye and Complete Collection of Nonsensical Odes, see SumaroRussian Songs), 862, 241 kov: Vzdornie odi Nicette, 2 4ig; see also Parny: Heure du berger, Ly Nice Valour, The, see Fletcher Nicholas I, tsar, ^ 4 , 73, 2 7i, i5°> 239> 29!» 3X1> 35°> 347>

Index obman ("deceit," "illusion"), ^366, ^67, 287-8, 358 Observations on the Popular Antiquities of Great Britain, see Brand Observations sur la puissance de VAngleterre et.. .dela Russie, see Dupin Obshchestvo lyubiteley Rossiyskoy slovesnosti (Society of Lovers of Russian Letters), 2l 34> 8 l 9i Ochakov, M45, ^05 Ocharovanniy labirint, see Lyovshin Octavian, 261; see also Augustus October 19, see P., WORKS: Oktyabrya Oda blazhenniya pamyati . . . Hotina, see Lomonosov Oda na den* vosshestviya, sec Lomonosov Oda o sdache goroda Gdanska, see Trediakovski Ode, see Fontanes Ode: Au Roy Henry le Grand, see Malherbe Ode: Autumn, see Hood Ode aux francais, see Lebrun, Ecouchard Ode on Solitude, see Pope Ode on the Anniversary of the Ascent . . . of . . . Empress 0 Elizaveta Petrovna, see Lo0. / 0. and E. (EO), ^69, 170, monosov: Oda na den* vosshestviya V3-4 2 0 . , Charlotte, i i 7 ; see also Ode on the Surrender of the Goethe: WahlverwandtTown of Gdansk, see Tredschaften iakovski: Oda o sdache Ode on the Taking of Hotin, sec Obel River, 3401, 404 Lomonosov: Oda blazhenniya Oberman, 2 i52, 180; see also pamyati Senancour: Oberman Odes, see Lebrun, Ecouchard; Oblonski, Princess Daria Rousseau, J. B. (Dolly), 2298; see also Tolstoy, Odes et Ballades, see Hugo L.: Anna Karenina 1 Oblonski, Prince Stepan, 3 i83, Odessa, 6, 26, 55, 60, 62, 63, 66, 68, 69, 70, 71, 75, 86, 298; see also Tolstoy, L.: Anna 65, 3l5> 550, 551, tt5,354,*8, 9, Karenina ion, 12, 34, 37, 59, 60, 87,

Noviy i kraikiy sposob k slozheniyu rossiyskih stihov, see Trediakovski Noviy slovotolkovateV, see Yanovski Noviy Stern, see Shahovskoy Noviy zhurnal (New Review, ed. Karpovich), *xii Novoe i polnoe sobranie russkih pesen, see Novikov Novorossiya, see New Russia Novorzhev, 22O7 Novosti literaturi (Literary News, suppl. to Russkiy invalid), 227n, 3 i23, 225, 280 No Wonder Winter Glowers, see Tyutchev: Zima nedarom Nozdryov, 2426; see also Gogol: Myortvie dushi N-ski, Miss (EO var. ?), *276 & n Nulin, Count, 2335—6; see also P., WORKS: Graf Nulin Nunnemacher, Rudolph J., '39 Nurse (P.'s housekeeper), 1 ig8; see also Arina Nurse (Tatiana's; EO), 1 i6i, 162, 163, 173, 214, 244; see also Filatievna Nymph Complaining for the Death of Her Fawn, The, see Marvell

Index 88, 97, 115, 122 & n, 126, Edip v Afinah 129, 130, 132, 133, 134, 135, Oesterreich / Esterayh, E., 3 i47 157, 174, 187, 191, 193, 213, Of Freedom Solitary Sower, see 216, 225, 238, 247, 249, 256, P., WORKS: Svobodi 264, 265, 272, 292, 305, 336, O kak na sklone nashih let, sec 355, 3 6 l > 3 6 2 , 377, 3 8 4 , 3^5, Tyutchev: Poslcdnyaya 396» 398> 4H> 434, 4 5 2 , 459, lyubov1 3 i2, 64, 107, 151, 155, 157, Oka River, 3278 163, 167, 182, 190, 193, 194, Okhta, see St. Petersburg 248, 249, 254, 257, 265, 275, Oksman, Yu. G., 2 43in, 432, 3 287, 292-303 passim, 305, 254n 3° 6 , 3°7, 33 2 , 347, 354, 36o> Oktyabrya, 10: Ronyaet les bagryaniy svoy ubor, see P., 363, 38711, 389; WORKS Casino de Commerce, 3296, 298; Deribasovskaya Street, Old Believers, 8 i35 3 296, 298; Reynaud House, Olderogge, D.: Abissiniya, 3445 2296-7; Rishelievskiy Litsey, Old Evergreen, 263; see also 8 3o6n; Rishelievskaya Street, Egan: Life in London 3 296 Old Love, see Morris Old Man / Starik, 259; see also Odessa, see Tumanski Ode sur la colonne colossale P., WORKS: Tsfgani Old Petersburg, see Pilaev : elevee a Alexandre I, 2312 Stariy Peterburg Ode sur la prise de Namur, see Boileau Olenin, Aleksey Nikolaevich, 2 Ode to a Skylark, see Shelley 3°, 3 l 97, J99> 2 0 0 , 201, 207, 436 Ode to Empress Elizabeth, see Lomonosov: Oda na den7 vos- Olenin, Anna Alekseevna / Annette (m. Andro), 230, 3 i76, shestviya 178, 199-206; Dnevnik Ode to Evening, see Collins (Diary), 8 2oi-2 Ode to Hope, see Beattie 8 Ode to Liberty, see P., WORKS: Olenka, i76; see also Baratinski: Bal VoVnost'; Radishchev: VoVOlga, queen of Kiev, 338o, 382 nost' Ode to Lycoris, see Wordsworth Olga / OPffa, ixxiii Ode to the Sovereign of Blessed Olga (EO), ^ 3 5 , 136, 138, H2, 143, 151, 170, 186, 187, 189, Memory Anna . . . on the Tak1 1 J ing of Hotin, see Lomonosov: 9 i 97, 198* 2 1 3 , 2 2 1 , 2 2 2 , 223, 224, 227, 228, 233, 234, Oda blazhenniya pamyati 2 Odoevski, Prince Aleksandr 3 5 , 2 3 6 , 2 4 6 ; see also Ivanovich, 335 Olinka; Olya Odoevski, Prince Vladimir Olga (courtesan; EO var.), see Fyodorovich, 3 2i, 119, 224; Masson see also Mnemozina Olga, see Katenin O'Donoghue, King, 2274 Olin, Valerian Nikolaevich: 3 Odulf, 38o; see also P., WORKS: Korser, 2357~8 Rodoslovnaya Olinka / Olin'ka (dim. of Olya; Odyssey, see Homer EO), ^98, 227, 233, 234, 262; Oedipus in Athens, see Ozerov: see also Olga

Index Olin'ka / Olen'ka, 3 i 76; see also Barat'inski: Bal Olney Hymns, see Cowper Olonets, 2^7 Olya (dim. of Olga; £ 0 ) , ^87, 256 Olympus, S24 Omber Player, The, see Maykov, V.: Igrok Ombre de Duclos, L\ see La Harpe, J. F. de O MiVtone i Shatobrianovom perevode ' * Poteryannogo ray a," see P., WORKS O napravlenii nashey poezii, see Kyuhel'beker Once upon a Time a Turkey, see "Stalinski": EiT Onega Bay / Lake^ / River, 237 Onegin (EO), *[0ne] 96, 97, 101, 113,

102, 104, 107, 111, 115, 117, 118, 120;

"Onegino," 2 3i "Onegin's Album," see Evgeniy Onegin, CONTENTS,

"Onegin's day," see Evgeniy Onegin, CONTENTS Onegin's Journey, X4, 5, 6, 26,

58-9,65,66 &n, 75, 81,82, 83, 87, 323-34, 2 i2 4 -5, 199, 208, 362n, 411,417, 444, 504, 3 io5, 107, 108, 125, 127, 160, 161, 167, 251, 253-310, 313, 314, 364,470, 517, 521 "Onegin's Letter to Tatiana," see Evgeniy Onegin, CONTENTS

Oneginstvo, see Oneginism Oneirocritica, see Artemidorus One Word More, see Browning On Milton, see P., WORKS: O

MiVtone On Poetry, Classical and Romantic,

see

P.,

WORKS:

O

[Two] 126, 131, 132, 133, poezii 134; [Three] 149, 151, 152, On Pushkin, see Hodasevich: O 153, 165, 169; [Four] 179, Pushkine 180, 192, 193, 195; [Five] On Slavery, see Kapnist: Na 211, 212, 213, 217, 222, 223, rabstvo 224; [Six] 227, 231, 235, 237, On the Death of Amalia Riz2 238, 239, 241, 435 [Seven] nich, see Tumanski: Na smert1 257, 261; [Eight] 287, 289, R. 290, 292, 294, 296, 297, 300, On the Death of Dr. Robert Levet, see Johnson 3°3> 3 3°5> 3 o 6 > 38> 3 ° 9 ; (OJ), 323, 325, 327, 329; On the Memoirs of Samson, see P., WORKS: O zapiskah character of, 2 i 5 o - i , 169-72, On the Russian Theater, see P., 215, 227, 4 8 6 , 3 i 6 o - i , 302-3; father of (EO), ^ 6 , 98, 120, WORKS: Moi zamechaniya On the Tendency of Our Poetry, 121; and P., see P., PUSHsee Kyuhel'beker: O napravKINIANA (SUBJECTS): P. and lenii Onegin; uncle of ("rural oldOom, Olga, 3 20i timer," "old master"), ^ 5 , Opasniy sosed, see Pushkin, 120, 121, 130, 270, 25o6 (see Vasiliy also Sava Ilyich); see also Eugene Opatovich, S. I., 3 434, 445 Opera Guide, see Upton Onegin,A.,seeOtt-Onegin,A.F. Opiti v stihah i proze, see Onegin, Evgeniy, 8 382; see also Batyushkov P., WORKS: Rodoslov'naya; Opity I Opiti (ed. Grynberg), "Ezerski" Oneginism / Russ. Oneginstvo,

66

Index Opochinin, Fyodor, 2446 Opochka, *6, 60, 231, 205, 207, 398, " i n , 179, 273, 301, 307, 355, 3 8 9 O poezii klassicheskoy i romanticheskqy, see P., WORKS Opravdanie, see Baratinski OpredeliteV rasteniy, see Neyshtadt O Pushkine, see Hodasevich Opyat* ya vash, see P., WORKS Oraculum, see Drevniy i noviy Orbe, Claire d', 2338, 8234; see also Rousseau, J. J.: Julie Oredezh River, 2433 O'Reilly (Vyazemski's mother), Orel, see Oryol Orestes, 2327, 8287 Orient / Oriental, 2 i09, 314, 332, 2165, 439> 356> 9h n 4 . 1*5, 247> 277> a 8 l > 29*> 4 o 6 n Orlando / Roland, 2199; see also Ariosto: Orlando furioso Orlando furioso, see Ariosto Orleans, Philippe, Duke of, 3 39on, 428, 429, 430 Orlov, General Mihail Fyodorovich (m. Ekaterina Raevski), 2124, 3 2 4 8, 331-2 Oromota tribe, 8438 Orpheus, I555 Orthodox, see Greek Catholic Oryol/Orel, 8179, 283 Osen\ see P., WORKS Osennee utro, see P., WORKS

Osipov, Aleksandra Ivanovna / Aline (Praskovia's stepdaughter, m. Bekleshov), ^535 Osipov, Ivan (m. Praskovia Vulf), '534 Osipov, Praskovia Aleksandrovna (b. Vindomski / Windomsky, m. Vulf), 1 6i, 225, 242, 381, 432, 444,n 487, 534-6, a o8 3 > 3°9> 393 Osipov family, 2 ii2, 130, 134, 362n, 425, 444, 475, 534-6,

3

107, 151, 307; see also Vulf family Ossian / Ossianic, l 2i, 28o, 120, 228, 254, 255, 333, 345, 383, 3 2 3 > 34 > see a^so Macpherson Ostafievo, X68, 8 3i3 Ostafievskiy arhiv, see Saitov Osvobozhdenie Moskvi, see Dmitriev, I. Osyol 1 muzhik, see Krilov Otechestvennie zapiski (Patrial

Records, ed. Svinyin), 2174 0'Trigger, Sir Lucius, 854; see also Sheridan: Rivals, The Otrivok iz pis'ma k D., see P., WORKS

Ottoman Empire, see Turkey Ott-Onegin, A. F., 3 i22, 199 Ottsi i deti, see Turgenev, I. Ourry, E. T. M., 2 ioi Overcoat, The, see Gogol: ShineV

Ovid (Publius Ovidius Naso), X 22, 99, 216nj 59_61? 115, 135, 228; Tristia, 26i Ovid (lodge), X6i, 62 Oxford English Dictionary, 2 4 6, 188, 461 Oxycoccus oxycoccus, 2325; O. palustris, 2325, 893 O zapiskah Samsona, see P., WORKS

Ozerov, Vladislav Aleksandrovich, 1 io2, 28o, 82-3;Dmitriy Donskoy, 283, 8323; Edip v Afinah (Oedipus in Athens), 283; Fingal, 28o, 83; Medeya (Medea), 283; Poliksena (Polyxena), 283; Yaropolk i Oleg, 283 Oznobishin, Dmitri Petrovich,

P., P., 2 n 6 Pachomius, 2 ^8; see also P., WORKS: Dobriy

Padenie lisfev, see Baratinski; Milonov

67

Index Nationale, 2^0, 556n; Colonne Venddme, 2312; Jardin Paez de la Cadena, J. M., 3 i83 des Tuileries, 3 8, 9; Louvre, 2 o6 Pains of Sleep, The, see Cole3 > 331; Lycee, 8 i 3 i ; ridge Musee, 3 i 3 i ; Opera, 2 94> Palageya, see Pelageya 54°> 3 3 2 3; Theatre de la Palchikov / Pal'chikov, 2459 Comedie Franchise, 3222; Palermo: Oratorio del SantisTheatre de la Gaite, 2 3 5 5 ; 2 Very Cafe, see Very simo Rosario, 33i Palissot de Montenoy, C , 26i Paris (myth), X228, 2540-1 Pallas, 2238, 824 Parisina, see Byron Palm Week, ^ 9 4 , 195, 198 Parnassus, 2233, 255> 256> 3 4 8 5 Pamela, 2332, 334-5; see also Parny, Evariste, ^ 5 , 163, 2 4 9 , Richardson: Pamela 50, 337,371-2, 573, 379, 401, Pamphilus, St., 2527 538, 3 i4; Cabinet de toilette, Pamyati Pushkina, see P., Le, 2g8; Coup d'ctil sur PUSHKINIANA: TO the Memory Cythere, 2267; Deguisements of Pushkin de Venus, Les, '150; FragX Panafidin (publisher), 82 ment d'Alcee, 2461; GodPanard, C. F.: Description de dam!, 2 73, 148, 153; Guerre VOpera, 294 des dieux, La, 250; Heure du Pand-namah, see Sadi berger, U, 2419; Lendemain, 2 Panin, Pyotr Ivanovich, 82 Le, 2384; Main, La, 2371; Pankratiy, 2405; see also P., Poesies erotiques, 298, 119, 2 WORKS: Monah 7°> 379> 384> 4*9> 4^i; Papavoine, Louis Auguste, Radotage a mes amis, 2267; 3 335 Reponse a unjeune poete, 2379; Paphos, 2471 Serments, Les, 2379J Souvenir, Paradise and the Peri, see 2119; Tableaux, 2371 Moore: Lalla Rookh Parolles, 3 i94; see also Byron: Paradise Lost, see Milton Don Juan Paradis perdu, Le, see Milton: Portage de la succession, Le, see Paradise Lost Bulgarin: Razdel Paramon (EO var.), 2499 Partisan Review, xxi 2 Parasha, 28o, 296 Partridge, Eric: Dictionary of Pare de Mansfield, Le, ou Les Slang, 285 Trois Cousines, see Austen: Pasero de Corneliano, Count Mansfield Park Carlo, 2355; Histoire du JuifParini, Giuseppe, 8 i24; Materrant, L\ 2355 8 tino, II, 124-5; Mezzogiorno, Pasha / Pachette, 2296 //, 3 i25 Passages from My AutobiogParis / -ian, X73, 105, 221, 329, raphy, see Morgan 242, 68, 69, 73, 79, 8o, 106, Passer-by, The, see Dmitriev, 107, 239, 263, 312, 340, 384, I.: Prohodyashchiy 540, 541, 8 45, 99, 109, 118, Passetemps, see Bai'f 202, 218, 229, 289, 313, 315, Passions dujeune Werther, Les, 323, 335, 356, 372, 412, 419, see Goethe: Werther 421, 428, 450; Bibliotheque Pass of the Cross / Krestoviy Pereval, 8 28i Padus racemosa / Russ. cheryomuha,

3

i 1 — 12

68

Index Pastreni, Maitre, 26g; see also Dumas Pater, Walter: Appreciations, 8 33-4 Patrial Records, see Otechestvennie Paul I / Pavel Petrovich, tsar, 2 43> 72> 3°4> 3336> 344 Paulin, 8 i 10 Pauline, see Larin, Praskovia Pauline / Polina, see Praskovia Paulitschke, Philippe, '399,442 Pauluchi / Paulucci, Marquis Filipp, 2398, 8307 Pauvre Diable, Le, see Arouet Pavlov, Mihail Grigorievich, see Ateney Pavlovskoe / Pavlovsk, 1 6i, 65, 66, 2205, 534, 3257, 280 PB, see St. Petersburg: Publichnaya Biblioteka PD, see St. Petersburg: Pushkinskiy Dom Peacock, Thomas Love: Visions of Love, They Z2j Pecherski, Andrey, see Melnikov Pecherskiy Monastery, 338o, 382 Pechorin, a i54, 8284, 285, 287, 304; see also Lermontov: Geroy nashego vremeni "pedal digression," see Evgeniy Onegin, CONTENTS

pedant, 246—8 Pedigree of My Hero, see P., WORKS: Rodoslovnaya moego

geroya Pedigree of the Pushkins and the Gannibals, see P., WORKS: Kodoslovnaya Pushkinih Pegasus, 2483 Peinture, La, see Lemierre Pekarski, Pyotr Petrovich,8170, 431; Nauka i literatura v Rossii pri Petre Velikom (Russian Science and Literature in the Era of Peter the

Great), 8446 Pelageya / Palageya, Nikolaevna (EO), ^74, 3 n 8 Pelham, Lady Frances, 3 i68; see also Bulwer-Lytton: Pelham Pelham, Henry, 3 i68; see also Bulwer-Lytton: Pelham Pelham, ou les Aventures d?un gentilhomme anglais, see Bulwer-Lytton: Pelham Pemberley, 2424 Pembroke and Montgomery, Catherine, Countess of, 3 i94 Pembroke and Montgomery, G. A. Herbert, Earl of, 3 i94 Penseroso, II, see Milton Penza, '176 Pepin the Short, a 5i4 Pepys, Samuel, 2356, 334 Percy, Lady Betty, 2282; see also Modern Wife, The Percy, Juliet, 2 2 82; see also Modern Wife, The Percy, Thomas: Reliques of Ancient English Poetry, 3 i52 Perevoshchikov, V. M.: Utro (Morning), 827 Pergami, see Bergami Pergamum, 254O Perruchon, Jules, 8409, 446 Persia/ -ian, 289, 376, 439, 8431 Personal Sketches, see Barrington Perugino (Pietro Santi Bartoli), Perun, 2192 Perviy sneg, see Vyazemski Pesennik dlya damskogo ridikyulya (Songbook for a Lady's Reticule), 2408 Pesnya starogo gusara, see Davidov, D. Pesok sipuchiy po koleni, see Tyutchev Pestel, Colonel Pavel Ivanovich, 2495, 8 24 8, 2 4 9 , 3 1 8 , 347, 349, 359-61

Index pestret' ("to show varied hues," "to produce a speckled impression"), a220, 8297 Peter I the Great, tsar, 143, 233, 166,290,304,316,433,517, 3 84, 112, 232, 280, 281, 316, 335-6, 368, 379, 380, 389 & n, 390 & n, 392, 395^ 396, 397, 416, 419, 420, 421, 422, 423-8, 429, 432, 433, 434, 436, 444; Pis'ma i bumagi (Letters and Documents), '446; Zhurnal (Journal), 8446 Peter II, tsar, 339on Peter III, tsar, 339on Peter-and-Paul Fortress, see St. Petersburg: Petropavlovskaya Peterburg (Russ.), see St. Petersburg Peterburgskiy Ostrov, see St. Petersburg Peterhof / Petergof, ^54 Petersburg (Alaska), 2 3i Petersburg (Russia), see St. Petersburg Peter the Great, see Lomonosov: Pyotr Velikiy, Shihmatov: Pyotr Velikiy Peter the Great and the Ottoman Empire, see Sumner Petit, A., 3445 Petit Chaperon rouge, Le, see Boieldieu Petit Producteur francais, Le, see Dupin Petits Poetes francais, see Boyer Petit Volume, see Say Petrarch / Petrarca, Francesco, X 4> *3i l l 6 » 1 2 1 > 2 2 5» * 369 > 488, 8 2 7 ; Rime, 2369, 8 5

Petriide, La, see Thomas Petriads, ^14, 2516-17 Petrograd, see St. Petersburg Petronius, Gaius, 2 i2 Petropolis, see St. Petersburg Petrov, Aleksandr Dmitrievich: Shahmatnaya igra (The

Game of Chess), 244O Petrov, Pyotr Petrovich (Peter I's godson), see Gannibal, Abram Petrov, Vasiliy Petrovich, 3 i 4 1 , 298 Petrovskiy Castle, see Moscow Petrovskoe, 8393 "Petrus Aethiops" (Pasfa Say on Malbazo), 8 432 Petushkov, Ivan (EO), 1 2 i 6 , 221, 228, 263, "524, 545

Pevets, see Zhukovski Pezhemski, Pyotr, 8446 Phaedra / Russ. Fedra, 1 i02, •78-9 Phaedrus, 254 Phanariot (Constantinople Greek), 8 3 3 o Pharos Island, a311 Phedre, 284, 853O-i Phedre, see Lemoyne; Racine Phidias, 2543 Philetus, ^15, "273, 399 Philidor, Francois Andre: Analyse du jeu d?4checs, 2440 Philip, 2 2 7 3, 399 Phillipps-Wolley, Clive, "93, 189-90 Phillis, see Phyllis Philomela, 1 3i5, 374; see also Batyushkov: Poslednyaya vesna Phoebus / Russ. Feb, M55, *2o, 258, 265, 3 3i Phoebus Driving His Chariot, see Albano Phoenicia, ^07 Phosphor, X247, 838; see also Venus (astrology); Vesper Phrygia, 2540 Phyllis / Phyllida, ^50, 2321-2 Phyllis of Thrace, 2322 Physiologie du gout, La, see Brillat-Savarin Picard, 339; see also P., WORKS:

GrafNulin Pichot, Amedee, X6g, 70, 72, 73, 2 n n , i5n, 26, 32-3, 34,

7°

Index 55»4 1 »43»45, 63, 87, 96, 99, 155, *57> 159-61, 175, 176,

Piscina i bumagi, see Peter I

182, 185, 186, 187, 192, 504,

Pis'ma iz Frantsii, see Fonvizin Pis'ma russkogo puteshestvennika, see Karamzin Pis'mo k S[ergeyu] P[oltoratskornu] v N'yu-York, see Polevoy Pis'mo o pravilah rossiyskogo stihotvortsva, see Lomonosov

2

3°5, 354, 357, 35», 39o> 4 > 457, 478> 479> 5^1, V > 54> 94, 95, 128, 2 1 1 , 218, 250,

258, 319 Pielgrzym, see Mickiewicz Pierre, Guillot, and Michel, 8 38; see also Montaigne: Essais Pierre le Grand, see Dorat Pie voleuse, see Baudouin

d'Aubigny Pihtin (EO), ^ 6 3 Pikovaya dama, see P., WORKS

Piksanov, N. K., 2 5i3n; see also P., PUSHKINIANA: Pushkin

Pilaev, M.: Stariy Peterburg (Old Petersburg), 2 i 8 i Pilatre de Rosier, J. F., 3 i 3 i Pilgrim, see Childe Harold

Pilgrim* The, see Mickiewicz: Pielgrzym Pinchesne, Etienne Martin de: Georgiques de Virgile, Les, 2

2O8

Pindar, 2445, 449, 3 i45 Pindaric Odes, see Cow ley Pineapple and the Bee, The, see

Cowper Piossens, Chevalier de: Memoires de la Regence, '446 Pique-Dame, see La Motte

Fouque Piri, see Baratinski Piron, Alexis, 2239, a i42; An Comte de Fence, 28o; Mitromanie, La, ^39, 240; Rosine, 2 2 7 8, 323 Pir vo vremya chumf, see P., WORKS Pisa, 8311

Pisarev, Dmitri Jvanovicli, '58 Pisemski, Aleksey Feoiilaktovich: Tisyacha dush (A Thousand Souls), 2299, 324, 3 i 15

the Great

Pitt, William, Earl of Chatham, 8277

Pitt, William, the Younger, X8 Pitts, Joseph, 3443 Pius VII, Pope, 8326 plamenniy ("flaming," "fervid"), '367. '35O Pletnyov, Pyotr Alekseevich, 171, 77, 81, 2 i 9 , 20-4, 133, 184, 380, 414, 443, 3 i38, 230, 376,377. Plosaykevich / Plosajkiewicz, Ludwik Teodor, 2491 Plutarch, 2466; Lives, 355 Pod

nebom

golubirn,

see P.,

WORKS

Podolsk, 3 3i3, 359 Podsnezhnik (Snowdrop), 3 io9 Poems, see P., WORKS:

Stihotvoreniya Poems on the Naming of Places, see Wordsworth Poesies de Catulle, see Catullus Poesies erotiques, see Parny Poesies pastorales, sec

Fontenelle Poet / Russ. Piit {EG), x\ 16 Poet, 3327; see also P., WORKS: Geroy Poetaster, The, see Jonson Poete malheureux, Le, see Gilbert Poetf, see Kyuhel'beker Poets, see Kyuhel'beker: Poeti Pogaslo dnevnoe svetilo, see P., WORKS

Pogodin, Mihail Petrovich, 286, 2 i84, 312, 3 i75

Index Poltoratski, Mme, 83—4 Poltoratski, Pyotr Markovich, 6 7 Poltoratski, S. D., Polveka russkoy zhizni, see Delvig, A. I. Polyarnaya zvezda (Polar Star, ed. Bestuzhev & Rileev), 2 6 n 3 5 > 377> 493> 87°> l 8 3 ? 224, 230 Polyarnaya zvezda (ed. Herzen), 8344 Polychroni, Calypso, 2545 Polyphemus, 111 Polyxena, see Ozerov: Poliksena Pompadour, Antoinette Poisson, Marquise de, 82O5 Pompey (Gnaeus Pompeius Magnus), 855 Pompey's Pillar, 2311 Poncet, Charles, 8399-4Oo, 404, 409, 410 & n, 411, 412-14, 438-9, 441, 443; Relation . . . du voyage, '446 Poor Liza, see Karamzin: Bednay a Liza Pope, Alexander, 2 i5n, 101, 221, 521, 8 25, 30, 218; BassetTable, The, a26o; Eloisa to 2 Abelard, 2 34i; Epistle to Dr. 394> 3 97 Arbuthnot, 3i42—3; Essay on Poliksena, see Ozerov Criticism, '470—1; Essay on Polish prosody, '480 2 8 of Pollard, Major H. B. C : His- Man, i5n, 3o; Imitations 8 Horace, %4, H9n, 827o; Ode tory of Firearms, A, 42 2 on Solitude, 461; Rape of the Pollexfen, Sir Hargrave, 8 2i5~ Lock, The, 2 69, 101; Winter, 16; see also Richardson: His8 io5 tory of. . . Grandison Ivanovna, 32O4n Pollock, P. J.: Cours de langue Popov, Olga 8 a Popovo, 42i anglaise, i63 Baptiste ("Molpolniy ("full," "complete"), Poquelin,1 Jean iere"), i2, 336; Misanthrope, 1368, '230 x Polnoe sobranie sochineniy, see Le, i2 Pora, moy drug, pora, see P., P., PUSHKINIANA: Pushkin's WORKS Works Porphyria, 8 511; see also Polonism, ^144 Browning: Porphyria's Lover Polotsk, 8 i53, 423 Portraits historiques, see Poltava, see P., WORKS Merimee Poltoratski, Aleksey Pavlovich,

Poirier, Abbe Francois Jacques, 3 43 3 ; Metz, 8 4 4 6 pokoy ("peace," "repose"), 1 368, 3 2i4, 291; voVnost* i ("liberty and"), 3 2i 4 , 253, 291, 344-5 Poland / Polish / Pole(s), 2 i03, 312> 339> 476> 50*, a68> 100, 197, 278, 288-9, 354> 356> 357> 359, 382> 4 ^ n , 423, 424, 425, 488n; see also Polish prosody Polaris / zvezdapolunochi, 8359, 344 Polar Star, see Polyarnaya zvezda Polevoy, Nikolay Alekseevich 2 i49, 523, 3 io2, 225, 247; Pis'mo k S[ergeyu] P[oltoratskomu] v N'yu-York (A Letter to Sfergey] P[oltoratski] in New York), 8247 Polezhaev, Aleksandr Ivanovich: Romans (A Ballad, Une Romance), 2243 Polidori, John William, 2352; Vampire, The, ^55, 316, 2 i6o, 352 Polier de Bottens, E. J. Pauline,

72

Index Portugal / Portuguese, '360, man, The, 2 5 i o 403, 407-8, 4ion, 426n, 445 Praskovia / Paraskovia / Parasha / Pauline / Portuguese Expedition to Abys- / Pasha l/ Pachette Polina, i 4 i , 22c,6, 297, 3537 sinia, see White way Poslanie I. Wluravyovu Apos- Precis de VEcclesiaste, see Arouet tolu, see Batyushkov Poslanie k L. P., see P., WORKS Precis des guerres de la Revolution, see Tissot, P. F. Poslanie k Peterburgskomu Predki Pushkina, see P., PUSHzhitelyu, see Tolstoy, Ya. Poslanie k V[elikopoV skomu], KINIANA: Pushkin's Ancestors Preobrazhenskiy Regiment, see P . , WORKS 3 6 Poslanie k Yudinu, see P., 33 > 431 Prester John, 8441 WORKS Pretenders / Russ. Samozvantsi, Poslednyaya lyubov\ see 8 68 Tyutchev Poslednyaya vesna, see Batyu- Prevost d'Exiles, Abbe A. F., 2 shkov 335> 346, 347 Posvist, 2 io,i, 192 Priam(s), ^ 5 3 , 254O, 373 Potocki / Russ. Pototski, Price, Fanny, 2393,394; see also Countess Maria, 3288 Austen: Mansfield Park Pot-pourri, Le, see Dorat Prichudnitsa, see Dmitriev, I. Potrebnik (ritual book), 2496 Pride and Prejudice, see Austen Potyomkin, Prince Grigoriy Pridvorniy kalendar* (Court 1 3 Aleksandrovich, 320, 332 Calendar), 2223, 315 Pouchkine, see P., PUSHKINIANA: Priere au sommeil, see Pushkin Desportes Poulin, J., 2 i79 Priez pour moi, see Millevoye Priglashenie k obedu, see DerPour Uelene, see Ronsard Povesti pokoynogo Ivana Petro- zhavin var.), 32o6 vicha Belkina, see P., WORKS; Pri'gov (EO 8 see also P., WORKS : Barishnya- Priluki, 3O7 Prince of Abissinia, The, see Krest'yanka; MeteV; Vistrel Johnson: Rasselas Povest* o gore i zloschastii Princess Ligovski, see Lermon(anon.), 8479 tov: Knyaginya Ligovskaya pozhaluy ("if you are willing," Princess Mary, see Lermontov: "one might"), 34O Knyazhna Meri Pozharski (restaurateur), see Prior, Matthew, 2449, 85O5; Torzhok Cupid and Ganymede, a442; Pozharski / Pojarsky, Prince 3 Epitaph, An, 35O4~5 Dmitri M., 68 1 Prior, Monsieur, 2 5i6; see also Pradt, Dominique de, 4O, 3 Cottin: Malvina 195, io8; Europe apres le congres d'Aix-la-Chapelle, L\ Prisoner of Chillon, The, see 2 Byron 475~6 Praed, W. M.: Good-Night to Pritvornaya nevernost\ see Griboedov the Season, 3455n; "On HairPriyutino, 8 i76, 202 Dressing," 2 43; Red Fisher-

7)

[Pushkin, A. S.J

Index Probuzhdenie, see Kyuhel'beker Proceedings of Division of New Russian Literature, see Trudi Procter, Bryan Waller ("Barry Cornwall"): Song, '25 Prognostications of Seasons, see Bryusov1 kalendar* Prohodyashchiy, see Dmitriev, I. Prokopovich, Feofan, '480 Prolasov (EO var.), 13O4, '197, 198,206 Promenade matinale, La, see Lebrun, Pierre Promenades de Richelieu, Les, see Desmarets de Saint-Sorlin Promessi sposi, I, see Manzoni Propertius, Sextus, 2 2ig; Elegies, '138 prosody, 8 448~54i; see also English prosody; French prosody; German prosody; Polish prosody; Russian prosody; versification Prostakov, 2524; see also Fonvizin: NedorosV Prostakov, Mrs., 2 295; see also Fonvizin: NedorosV Prostite, vernie dubravi, see P., WORKS

Prunus, 8 i79 Prussia, 8 i83, 330 Prut / Pruth River, 237, '330 Psalm of Hezekiah, see Hezekiah pseudoclassicism / neoclassicism / "classicism," 2 2 O 4 ) 4 5 O j 3^5, 36, 171; see also Slavonizers Pskov/Pskovan ^54, 61, 63, 71, 73>23°>31> 37> 193>2°5>2O7> 214, 219, 229, 300, 398, 424, 425, 452, 457, 459, 462, 534, • i n , 116, 151, 179,231,284,

3°3> 3°7> 355, 389> 4 o 6 n > 435 Psyche, 2 137-8, 443 Publichnaya Biblioteka, see Moscow; St. Petersburg Pucelle a"Orleans, La, see Arouet Pulat, 842 Pulci, Luigi, 8 i24; Morgante

Maggiore, 8 i24

Punic War, 88 "pursuit," the, see Evgeniy Onegin, CONTENTS Pushchin, Ivanlvanovich, 2324, 8 i8, 248, 348, 360, 361-2; see also P., PUSHKINIANA: Memoirs

on Pushkin Pushka, Grigoriy (ancestor of the Pushkins), 339i

prostodushniy ("naive"), ^ 6 9 , 2276 Prostov (EO var.), 3 i97 Protasov, Aleksandra, 2488 Protasov, Maria, 2488 Protestant / -ism, 34o8 Proverbs, see Ray

Pushkin, Aleksandr Aleksandrovich (P.'s son), 847 Pushkin, Aleksandr Petrovich (P.'s great-grandfather), 3 39i

Pushkin, Aleksandr Sergeevich (Headings: LIFE; LETTERS; WORKS; PUSHKINIANA: SUBJECTS and TITLES.)

ceum, 8 i29-3i, 140; (1817-

LIFE (chronologically) :

19) St. Petersburg, "77, 8 i73; (1820) expulsion from St. Petersburg, 2427~33> Ekaterinoslav, S 282; Caucasus, 8 282, 286; Crimea, 8 285~6; Kamenka,

(1799) Moscow, birth, 3 n 6 ; (1799-1836) sojourns in the

country, '205, 207-8, 8 i79~ 80, 309-10;(1805-11) house tutors, 239-40; (1811-17) Ly-

74

[Pushkin, A. S.J 8248-9; (1820-4) Caucasus, Crimea, Kishinev, Odessa: Raevski family, Countess Vorontsov,

2

122—34; (1820—6)

S. Russia and Mihaylovskoe, 3 i5i—2, 302—3; (1821—36) attempts to learn English, 2 i 62— 3; (1823—31) work on EO, *6o— 67; (1823-6) references in letters to EO, ^ 1 , 68-73; (1823) Odessa: AmaliaRiznich, 2237— 8, 8299-300; (1824) Odessa, S O 3 5~7> Odessa, Mihaylovskoe, 2398; Mihaylovskoe, 2361-2; (1824-5) printing of EO, One, 2 19-21, 176-7; (1824—37) Osipov-Vulf famii 6 T (1825) Mihaylovskoe, 2458—9; Olga Kalashnikov, 2462-3; (1826) Moscow, 2301, S 273; (1826) Moscow, Mihaylovskoe, 3 273; (1827-8) St. Petersburg: Anna Olenin, 320i— 7; (1828— 9) St. Petersburg and Moscow: various amours, 3 i76; (1829) St. Petersburg: gaming, 2263—4; Caucasus, 8283; (1830) Boldino,3179-80; (18317) St. Petersburg: marriage to Natalia Goncharov, 347~8, 80; (1835, 1836) Mihaylovskoe, 3 3O9-io, 376; (1836-7) duel and death, 343~5o, 354-5 LETTERS (to):

Benckendorff, 8i6i—2, 225; Bestuzhev, 169~7O, 72, 2431; Delvig, ^ 9 , 253; Golitsin, *6i; Gnedich, 252-3, 144, 32O7; Heeckeren, J. T. van, 849; Katenin, 2427; Kaverin, 272; Kaznacheev, 2214, 377, '194; Kern, 2 ig6, 456; Kuchelbecker, ^ o , 2 i 5 7 ? 249, 526, 8301, 306; Mansurov, %rj^\ Nicholas I, *\-$o-\, 8205-6; Osipov, P., 2 25 , 381-2, 432,

Index 8 393n> Pletnyov, 22o, 23—4, 443, S 2 3°; Pushkin, Lev, X6gf 70—1, 2 i2, 2 3> 87> l53> *76-7> 346> 367> 4*9> 429> 443> ^ ^ 28*> 285*> Pushkin, Natalia, 3 i6g, 180; Raevski, A., 8163; Raevski, N., Jr., 2 2io; Rileev, *7i-2; Shvarts, 2^61-2, 452; Sobolevski, 8273, 3°4; Turgenev, A., 169, 71, 8295; unknown, 8332-3; Velikopolski, 2 2 62; Vulf, Aleksey, 222g; Vyazemski, P., ^ 8 - 9 , 70, 72-3, 161, 162, 206, 281, 305, 378, 3901, 475, 478, 526, 8176, 275^ 295> 348> 35 8 ; Vyazemski, V., 2133—4; Yazikov, 8309—10

WORKS:

Aleksandr Kadishchev, 8274; Anchar (The Upas), 2i$6y 192, 8319; Audrey SherCe (Andre Chenier), 2482—3; Angel, 8164; aphorism ("Translators . . ."), 8229; u Arap Petra Velikogo" ("The Blackamoor of Peter the Great"), 3 2i8, 336, 393-4, 396, 421, 43°> 435» 43 8 ; Avion, 8350; Bahchisarayskiy fontan (The Fountain of Bahchisaray), ^ 7 , 54, 329, 2 8 4 , 125, 173, 212, 410,8151,223,227,245,247, 286, 288, 292; BarishnyaKrest'yanka (Young Lady Turned Peasant), 240, 534; Batyushkov, notes on, 2272; Bila pora (There was a time), 2236, 829, 320; Blagosloviy poet! (Bless me, poet!),3147-8; Boris Godunov, 139, 64, 2 2io, 2 47> 427> 45J- 2 , 454; B°™dinskaya godovshchina (Borodino Anniversary), 3288; Budris i ego sinotfya (Budris and His Sons), 8289; Chaadaevu (To Chaadaev),

[Pushkin, A. S.J

Index

3i, 42911; Chansons russes: 166-7, 212, 429, 8 5 i , 64, 151, 227; K drugu stihotvortsu (To Le jeune seigneur, 324i—2; a Rhyming Friend), 252, 8 i3o; Chto v imeni tebe moyom Klevetnikam Kossii (To the (What is there in my name Slanderers of Russia), 8288; for you?), 3 i82; Chto zhe suho v chashe dno (Why is the K portretu Zhukovskogo (To the Portrait of Zhukovski), bottom dry in the cup?), 2227; 3 147; K P[ushchinu] (To P[ushChyornaya shal\ moldavschin]), 2324; K sestre (To His kaya pesnya (The Black 3 Sister), 2 33i; Kto znaet kray Shawl, Moldavian Song), i 55; (Who knows the land), '183; Dar naprasniy, dar sluchayniy K zhivopistsu (To a Painter), (Vain gift, chance gift), 3225; 2 8 2 Demon, ^ 5 , 297, i 7 4 , i2 9 , 543~4; 163—4, 261; Derevnya (The Medniy vsadnik (The Bronze 2 Country), 2o6, 218; Dnevnik Horseman), 2 i66, ^32, 233, (Diary), see below, PUSHKINI336> 38l> 383> 5!5; MeteV ANA (SUBJECTS) : Pushkin's (The Blizzard), '312, 322; diary; Dobriy chelovek (A Nlezh tern kak General Orlov Good Man), 248; Domik v (While General Orlov), 8331; Kolomne (The Cottage / Small Moemu Aristarhu (To My 3 House in Kolomna), i8o, Aristarch), 2455; Moizamech515; Doride (To Dorida), aniya ob russkom teatre (My Remarks on the Russian '465; Theater), 288, 91, 377; Monah Egipetskie nochi (Egyptian (The Monk), *io6, 405, 543; Nights), «i 7 7 , 383; "Elegy Mots art i SaVeri (Mozart and (1829)": Poedem, ya gotov Salieri), 3 i8o, 222-3; Moya (Let us depart, I'm ready), 2 rodoslovnaya (My Pedigree), 183; epigram on Bulgarin, 2 3 33"4, 3435- *77, 258; French, 8135—7; and Onegin (in £O), 2 37-8, 42-3, 78, 108, 169-71, 176-8, 192-3, 227-8, 462, 8190, 253, 265, 301--3; travels, ^ 0 - 7 , 71, 237, 68, 120-2, 124-5, 129-3°) i9*-3> 398> 428, 432,8151-2, 155, 301-3, 306—7; see also, above, P., LIFE PUSHKINIANA (TITLES):

Album of the Pushkin Anniversary Exhibition (AVbotn Pushkinskoy yubileynoy vistavki, ed. L. Maykov & B. Modzalevski), 2 i45; Annals of Pushkin's Life (Letopis* zhizni Pushkina, Tsyavlovski), 1 6o, 2 79n, 133; Annals of the Pushkin Commission, see Vremennik; Dictionary of Pushkin's Vocabulary (Slovak yazika Pushkina, ed. Vinogradov), 2 2 3 4> 333> From Pushkin1 s Unpublished Manuscripts (Iz neizdannih bumag A. 5. Pushkina, ed. Shlyapkin), 893, 276 & n, 277; In Pushkin's Hand (Rukoyu Pushkina, ed. Tsyavlovski, L. Modzalevski, & Zenger), ^5, a i26n, i6i, 8 io6, i82n, 183, 258, 348,446; Memoirs on Pushkin and Letters (Zapiski o Pushkine i pis"1ma, Pushchin), 8361-2; Metrical Guide to Pushkin''s Poems (Metricheskiy spravochnik k

78

[Pushkin, A. S.J

Index

stihotvoreniyam Pushkina, N. tive Art (Pushkin v izobraV. Lopatin, I. K. Romanovich, ziteVnom iskusstve,_ ed. Slo& Yarho, V. I.)? 3515» Moscow nimski & Gollerbah), 2 i76; in Pushkin's Life and Creative Pushkin in the Crimea (Pushkin v Krimu, Nedzelski), 2 2i2; Work {Moskva v zhizni i tvorchestve Pushkina, Ashukin), Pushkin in World Literature 8 n6; (Pushkin v mirovoy literature, 2 Savchenko), ^ 6 3 ; Pushkin, Pushkin (ed. Alekseev), io6, 8 Psychology of Creative Genius 246n; (Annenkov), '394; (ed. (Pushkin, psihologiya tvorcheBonch-Bruevich), 8273n; (ed. stva, Gofman), 2 47i, 8 25i; Egolin), l 82, 2 i26n; (Grossman), 8 i56; (ed. Piksanov), Pushkin's Ancestors (Predki 2 5i3; (Tarasov), 2138 & n-9; Pushkina, Vegner), 3447J (Tomashevski), 2 i33, 139; Pushkin's Library (Biblioteka (Tsyavlovski), 2 33in; PushPushkina, B. Modzalevski), 2 kin, Ancestor of the New 64—5, iO7n, i63n; Pushkin*s Russian Literature (Pushkin, Manuscripts . . . in Pushkin rodonachaVnik novoy russkoy House (Rukopisi Pushkina . . . liter aturi, ed. Blagoy & Kirv Pushkinskom Dome, ed. L. potin), 2256n, ^ 7 7 ; Pushkin Modzalevski & Tomashevski), andHis Contemporaries (Push- 1 84, 2 75, 145,32i6, 229; Pushkin i ego sovremenniki), *62, kin's Moscow (Pushkinskaya 85, 2 io, iO7n, 147^ 163^ Moskva, ed. Levinson, Miller, 63n, 288n, 30 m, 487, & Chulkov), 8 n 6 ; Pushkin's 8 , 528, 92, 193^ 2O4n, St. Petersburg (Pushkinskiy 269^ 274, 299n, 323n, 366 & Peterburg, Yatsevich), 8 35in; n,443,444; Recollections ofPushkin (VospoPushkin andHis Lyceum School- minaniya o Pushkine, Katemates and Teachers (Pushkin nin), 8254; Stories about Pushi ego litseyskie tovarishchi i kin (Rasskazi o Pushkine, nastavniki, Grot), 821; Pushkin Bartenev), 2$6, 3 2 i i ; Studies and the Military Picture Galon Pushkin (Etyudi o Pushlery of the Winter Palace kine, Grossman), 2 2i7; To the (Pushkin i voennaya galereya Memory of Pushkin (Pamyati Zimnyego dvortsa, Glinka), Pushkina), 2246n, 8 2i5n; Un8 i82n; Pushkin Collection published Pushkin (Neizdanniy (Pushkinskoy sbornik), ^37; Pushkin, ed. Tomashevski), 8 378; Pushkiniana for 1911-1917 X (Fomin), 82; Pushkin in Life Works (1838-41, ed. Zhukovski), 2 3i2; (1906-15, ed. (Pushkin v zhizni, "VereVengerov), 2 7 2, 214, ^ 4 7 , saev"), 2458n; Pushkin in 366, 445; (1936, ed. Oksman, Moscow (Pushkin v Moskve, Vinogradov, Chulkov, & RozTsyavlovski, & Vinokur), 16o, 2 anov), 8 447; 7 i , 154, 261, 264, 377, 478, 3 77, 140, 163, 175, 276n; Pushkin in Portraits and Illusd. Gofman), 3 337-8; trations (Pushkin v portetah i illyustratsiy ah, ed. Kalaushin), °i 1959) e d - Blag°y> 3 24on; Pushkin in Representa- Bondi, et al), ^ o , 83, 84, 2 i24, i26n, 484, 8 55, 376n,

79

[Pushkin, A. S.J

Index

378, 446, see also Evgeniy Blagoy, Bondi, Vinogradov, Onegin, EDITIONS: ed. Toma& Oksman), ^ , 3 i38, 209, shevski; (i960, 1962, ed. 268, 30611 Pushkin, Aleksey Fyodorovich, Pushkin, Elizaveta (Lev Sergeevich's wife), 3437 Pushkin, Fyodor Petrovich, "591 Pushkin, Grigoriy Aleksandrovich (P.'s son), 847 Pushkin, Konstantin (Grigoriy Pushka's son), 3 39i Pushkin, Lev Aleksandrovich (P.'s grandfather), 240, 3 39i Pushkin, Lev Sergeevich (P.'s brother), ^ 9 , 71, 74, a 9, 10, 12, 19-20, 23, 81, 87, 133, 176, 2O8, 39O, 443, 481, 3282, 283, 285, 286, 307, 389, 437 Pushkin, Maria Aleksandrovna (P.'s daughter), 847 Pushkin, Maria Alekseevna (m. Osip Gannibal), see Gannibal, Maria Pushkin, Nadezhda (Osip Gannibal's daughter, Sergey Pushkin's wife, P.'s mother), 1 6o, 2207,3307, 309, 391,437 Pushkin, Natalia Aleksandrovna (P.'s daughter), 347 Pushkin, Natalia Nikolaevna (b. Goncharov, P.'s wife), 2264, 280, 414, 429, 347, 48, 49, 200, 246 Pushkin, Olga Sergeevna (P.'s sister), 239, 162, 331, 3 6 2 ^

Pushkin, Vasiliy Lvovich (P.'s uncle), *44, 72, 2 20-l, 323, 524-6, 8 n6, lY^^iSiKapitan Hrabrov (Captain "Bold"), 2525-6; Opasnfy sosed (The D ange ro us N eighbor), x 318, 2 2o-i, 247, 524-6, 3 i9, 134; Stihotvoreniya (Poems), 2 2i ''Pushkin," see Tsarskoe Selo Pushkin family, see also Gannibal Pushkinskiy Don, see St. Petersburg pustinya ("wilderness"), ^ 6 9 , 2244, ^ 3 7 Pustyakov ( £ 0 ) , X2i6, 228, 2523-4, 525, 541, 3 4 Pustyakov, Mrs. (-EO), X22i Puteshestvie iz Peterburga v Moskvu, see Radishchev Puteshestvie NN v Parizh i London, see Dmitriev, I. Puteshestvie z Arzrum, see P., WORKS

Pyatigorsk, 2 1 2 1 ? 1 5 g > ^ ^ X 74> i§?» 4 2 9> 3 l 6 3 > 2 8 3 > 2 8 4 > 302

Pyatnitski/-skaya Church, 3424 Pygmalion, 2415 Pylades, ^ 2 7 , 3287 Pyotr (P.'s coachman), 2329 Pyotr J, see Bogoslovski Pyotr Velikiy, see Lomonosov; Shihmatov Pyrenees, 3 3i6, 329-30, 368 Pyrenees, Les, see Fontanes Pyrenees-Orientales, 8433 Pythias, 2233

452> 3 3°7

"Pushkin," Pavel (P.'s illegitimate son), see Ivanov, Pavel Pushkin, Pyotr (descendant of Konstantin, ancestor of P.'s parents), 8391 Pushkin, Sergey Lvovich (P.'s X 3 father), *6i, 73, *396, 398, Quaker, 285, i6o, 3187, 261 Quartin-Dillon, R., 445 524, 3307, 391, 392

80

Index Queen of Spades, see P., WORKS: Pikovaya dama

Quesnoy, Francois: Physiocratie, 2 57

Quinet, Edgar, 3 2i9 Quiroga, Antonio, 233O Quran, see Koran

R R., see Becquet R., Maria Gavrilovna, see Maria

283; Memoires, 2 i2i-2, 138 Raevski, Colonel Nikolay (father of General N. Raevski), 3 33 2 Raevski, General Nikolay Nikolaevich, 2 i2o—1, 124, 174, 3 9O, 282, 312, 332 Raevski, Nikolay Nikolaevich (son of Gen. Nikolay Nikolaevich), X69, 2 i 2 i , 124, 125, 159, 161,210, 429, 482, 8 282 5 2

S3.331J332

2

Gavrilovna; see also P., WORKS : Raevski, SofiaNikolaevna, 121, 124, '282 MeteV

R., Philidor: Elvina, 2 i2o Rabel, Daniel, x i2 Racine, Jean, X2i 3, a4o,336,170, 309, 431; Mithridate, 284n; Phedre, 2j6, 78, 84, 351, 392 Radcliffe, Ann, 2353, 357, 8 2i9; Mysteries of Udolfo, The, 2 2 35 > Romance of the Forest, The, 3 i47; Sicilian Romance, ^ , 2 35 2 Radin, Dorothea Prall, see Evgeniy Onegin, TRANSLATIONS, ENGLISH

Radin, Miss (EO var.?), 3 a 7 6 & n , 277 Radishchev, Aleksandr Nikolaevich, 3 274; Puteshestvie iz Peterburga v Moskvu (Jour-

ney from St. Petersburg to Moscow), 8274; VoVnosi' (Liberty), 2 3i2, 8337 Radotage a mes amis, see Parny Raevski, Aleksandr Nikolaevich, 2 97, 121, 122, 129-30, J 34> *59> i74>3 1 2 > 3 l 6 3> l6 4> 2 49> 33 J» 3 3 2 t Raevski, Ekaterina Nikolaevna (m. Orlov), 2 i 2 i , 124—5, 129, ^ S ? 159> 82 4 8 > 3 3 1 " 2 Raevski, Elena Nikolaevna, 2

i 2 i , 124

Raevski, Maria Nikolaevna (m. Prince Volkonski), 2 87,120-5,

Raevski, Vladimir Fedoseevich, 8 89, 90 Raevski family, 2 121, 193, 8 286, 302, 331

Ragot de Grandval, Nicolas. 2 94, 528, 530 Ragusa, 842o, 421, 422, 425 Raguzinski, see VladislavichRaguzinski Raikes, Thomas, 296, 263-5, 8 i93; Journal, 296~7, 194-5, 263, 264; Visit to St. Peters-

burg, A, 2 i94, 263-4 Rainaud / Reynaud, see Odessa: Reynaud House Raison et sensibilite, see Austen: Sense and Sensibility

Rakeev, "354-5 Ramenski, Prince Ivan, 2299; see also Pisemski: dush

Tisyacha

Rami Pasha, 8 4i8

Ramsay, Allan: Gentle Shepherd, The, 22j6; Invitation, The, 2285; My Peggy Is a Young Thing, ^ 7 6 ; TeaTable Miscellany, The, 2 285 ranks, military and civil / tabeV o rangah, 229O—1, 304 Ranunculus acris, 23OO Rape of the Lock, The, see Pope Raphael (Rafaello Sanzio), 2 334> 5 4 1 , 823 Rasselas, 34O3, 440, 4 4 1 ; sec

Index also Johnson: Rasselas Red Sea, 8 401,41 on, 411, 412, Rasskazi o Pushkine, see P., 4^3) 4*5 PUSHKINIANA: Stories about

Pushkin Rassuzhdenie o starom i novom sloge rossiyskogo yazika, see Shishkov Rat Island, 2428 Ratmir, Khan, 2255; see also P., WORKS: Ruslan i Lyudmila Ravenna, 2546 Ray, John: Proverbs, 38 Raymond, 2404 Raynal, Guillaume Thomas Francois: Histoire philosophique, 3^2 Razdel nasledstva, see Bulgarin Razgovor knigoprodavtsa s poetom, see P., WORKS Razgovor mezhdu izdatelem i klassikom, see Vyazemski Razgovor s gospodinom Bulgarinoin, see Kyuhel'beker Razin, Sten'ka / Stepan, 25og, *263, 279

Reali di Francia, I, 2274 realism, S32, 33, 290 Reason, Age of, 227, 107, 255, 3 66 > 393> 54 1 * 82 9°» 5°5 rechy ("speech") / rechi ("speeches," "accents," "words"), ^371, 2 377, 8 2 i 5 n Recherches physiologiques de la vie et la mort, see Bichat Recherches sur . . . la richesse des nations, see Smith: Wealth of Nations Recollections, see Rogers Recollections at Tsarskoe Selo, $eeP., WORKS: Vospominaniya Recueil de pieces choisies, see

Aiguillon Recueil des dames, see Brantdme Redeet oblakov letuchaya gryada, see P., WORKS Red Fisherman, The, see Praed Red Grainfield, see Krasnaya niva

82

Red Sea and Adjacent Countries, see Foster "Red Square," see Moscow: Krasnaya Ploshchad' Reflections on the Revolution, see Burke Reflexions serieuses, see

Lattaignant Reflexions sur la critique, see Houdar de la Motte Regence galante, La, see Hervez Regnier, Mathurin: Satire, 246 Regulus, Marcus Atilius, 122g, 3 8 Rehausen, Baron J. G. von, 2 26 3 Reiff, Charles Philippe: Die tionnaire russe-frangais, 2 7i Reineke Fuchs, see Goethe Relation abregee du voyage . . . en Ethiopie, see Poncet Reliques of Ancient English Poetry, see Percy Reminiscences, see Gronow Renaissance, 2322, 334 Renaud, 2 i43; see also Tasso: Gerusalemme liberat a Renaud, 2183; see also Chenier: Pres des bords oil Venise Rene, 2152, 154, 155, 156, 157, 183, 3 98-ioo; see also Chateaubriand: Rene Repetilov, 2426; see also Griboedov: Gore ot uma Repin, Ilya Efimovich, '42—3; Duel of Onegin and Lenski, 3 42; Lyceum Examination, '43 Re'publique des lettres, La, see

Chenier ReshiteVniy vechcr, see Davidov, D. Resignation, see Arnold Restif de la Bretonne, Nicolas Edme: Joli-picd, Le, 2 n 8

Index Retirement, The, see Beattie; Cotton Retraite, La, see Chenier Retreat, The, see Cotton Reuthamir, 22 55; see also Macpherson Reveillez-vous, belle endormie, see Riviere-Dufresny, Belle Dormeuse, La Revel / Tallin, 3358, 592, 393, 426 Reverie of Poor Susan, see Wordsworth Revival, The, see Tennyson: Day Dream, The Revue nationale, 23&6 Revue retrospective, 3445 Revue semitique, 3446 Reynard the Schemer, see Fonvizin: Lisitsa koznodey Reynolds, Mrs., ^ 2 4 ; see also Austen: Pride and Prejudice Rezanov, Gavrila, 3429 Rezanov, V. I., 2 i47 rhyme, see prosody; versification Ribaki, see Gnedich Ribas / Deribas, Osip Mihaylovich de, '296 Ricardo, David: Essay on . . . the Profits of Stock, 258 Richard I Cceur de Lion, king of England, 2343 Richardson, Samuel, 1 i39, 140, 2158, 287, 289, 346-7, 8 5 3 7 ; Clarissa Marlowe, 1 33, *288, 289, 346, 347, 348, 419; History of Sir Charles Grandison, The, 133, 2289, 346, 347, 8 2i5-i6; Pamela, a335, 346 Richelieu, Armand Emmanuel du Plessis, Duke de, 8286, 296 Riego y Nunez, Rafael del, a33o Riga, 2 i6i, 165, 327, 343, 432, 478. 479> 8220 > 393 Rileev, Anastasia Matveevna, a 43 2 Riieev, Kondratiy Fyodorovicli,

V , 2365» 367> 377. 43*> 4324, 478, 495, 845, 54, 58, 224, 2 8 4 > 347, 36o> 36l> 362, 471; Dumi (Meditations), 858, 224; Voynarovskiy, 858 Rimbaud, Arthur, 3 4i2 Rimbaud in Abyssinia, see Starkie Rime, see Petrarch: hi vita di Laura Rino, 2255; see also Zhukovski: Ullin i ego doch' Riphaeus (Ural Mts.), 2 3io Ripp, Amalia, see Riznich Rishelievskiy Litsey, see Odessa Ristaud, Marie, see Cottin Risunki poeta, see Efros Rivals, The, see Sheridan Riviere-Dufresny, Charles, 2 52g; Belle Dormeuse, La, X 2i6, 294, 527-8, 530 Riznich, Amalia (b. Ripp), "105, 111, 198, 238, 8 299300, 347 Riznich / Risnich, Ivan, 2 i98, ^99, 300 Riznich, Pauline (b. Countess Rzhevuski), 33OO Robert, D. Charles, *i83 Robertson, William, 8 96; History of Scotland, 8g6 Robespierre, Maximilien Francois Marie Isidore "de," "483, 8 3 6i Robin des Bois, see Weber: Freischutz, Der Robin Hood, 8279 Robinia

pseudoacacia,

8

i2

Rocquencourt, 2 2io Rodion, "452 Rodogune, see Corneille Rodoslovnaya moego geroya, see P . , WORKS

Rodoslovnaya Pushkinih i Ganibalov, see P., WORKS Roge, Albert, 8 5 i Rogers, Samuel: Recollections,

Index Kolait, 2 3ig; see also La Monnoye: Dialogue Roland, Comte d'Angers, see Orlando Rolf, Filippa, 2263 Roman Catholicism, a4O, 46, 339, 348

Romance, see DesbordesValmore Romance of the Forest, The, see Radcliffe Roman comique, see Scarron romanesque, 334 Romanian, 8 i55, 156 Romanov dynasty, *68, 336, 380, 382 Romans, see Polezhaev Romans et contes, see Arouet romanticism, 133, 69, 134, 159, 246, 323> * 2 7, 55> 83, 108, 116, 170, 181, 188, 282, 450, »32-7, 152, 154,290-1 Romanticists / Russ. Romantiki, see Westernizers Roman v pis'mah, see P., WORKS

Rome / Roman, 2 23, 32, 60, H8> X53> *99> 219> 38> 33> 99> 253. 304. 378> 383> 397> 398> 403, 407, 433 Romilly, Sir Samuel, 3 i28 Romulus, 1 g8, 3497 Ronan, 3 52; see also Macpherson: Fingal Ronsard, Pierre de, 23o6, 448, 8485; Odes, 2 4 4 8 ; Pour He'lene, 2 268; Sonnet a Prince Charles, 2 268 Rosa cinnamomea, 8 75 Rosalind, 2 i87; see also Shakespeare: As You Like It Rosambert, Count de, 2 65, 89; see also Louvet de Couvrai: Faublas Rosamore, Lady Judith, 2 i52; see also Arouet: Pucelle Rosamund Gray, see Lamb Rosicrucians, 2 5i5

Rosine, see Piron Rosset / Rossetti, Aleksandra Osipovna (m. Smirnov), 2 i 9 i Rossetti, Christina: Convent Threshold, The, 8536 Rossiada, see Heraskov Rossini, Gioacchino Antonio, X 555i 2 *34, 3*98> 3 00 > 537J Gazza ladra, La, 22/\,?, 355; Tancredi, 2 i82; Turco in Italia, II, 8307 Rossiyanin / (pi.) -e / (gen. pi.) Rossiyan ("of Russians"), x

23O

Rossiyskaya antologiya, see Bowring: Specimens of the Russian Poets Rossiyskiy muzeum (Russian Museum), 823 Rostov, 8302 Roucher, Jean Antoine, 2 57, 118; Mois, Les, 2 n 8 Roudak / Rudak, Stepanida, 3 i56; see also Goncourt: Freres Zemganno, Les Rouge et le noir, Le, see Beyle Round Table, The, see Hazlitt Rousseau, Jean Baptiste, 2 6, H9) 543^ 328> 2 1 7 ; Cantata, 2 22o; Odes, 22o8, 865 Rousseau, Jean Jacques, 1 i 0 5 , *39> 301» 26> 7» 104> l84> 252> 287, 338-42, 344, 484, 896, 217, 220; Confessions, Les, 1 3i3-i4, 2 i04, 8219; Contrat social, Du, 2 252; Dictionnaire de musique, 2 i82; Julie, ou la Nouvelle Heloise, 2 33, 2 i36, 181, 231, 249, 277, 338-42, 343> 348> 389> 392> 394» 322 > 100, 189-90, 213, 216, 219, 221, 234, 240 Rousselot (P.'s tutor), a39 R—ov, Princess (EO var.), 388 Rover, Red, 3 202; see also Cooper: Red Rover Rozanov, N. P., 8447 Rozen, Baron Egor Fyodorovich, 8228-9

Index Rozhestveno, 2432, 433 Rubens, Peter Paul, 2543 Rubus idaeus,

2

5O2

ruchey ("stream," "rill," "brook") / (pi.) ruch'i, 1371, 198-203, 503-4, 359, 284 Rudikovski, Evstafiy Petrovich,

, Rukavishnikov, Vasiliy Ivanovich, 2433

Russian Archives, see Russkiy arhiv Russian Assembly of Nobility, see Moscow: Sobranie Russian Biographical Dictionary, see Russkiy biograficheskiy slovar* Russian Code (dueling), 327i Russian Disabled Russkiy invalid

Soldier, see

3 7O-i Russian Gazette, see Russkie vedomosti

Russian folklore,

Rukopisi Pushkina . . . v Pushkinskom Dome, see P., PUSHRINIANA: Pushkin's Manuscripts . . . in Pushkin House Rukoyu Pushkina, see P., PUSHKINIANA: In Pushkin's

Russian God, 8 3i5, 321, 323, 373

Hand Rumyantsov Museum, see Moscow: Publichnaya Biblioteka Runovo, 2452

Russian mind, 2375

Russian God, see Vyazemski: Russkiy Bog Russian Justice, see Russkaya pravda

Russian Poems, see Cox well Russian Popular Festivals, see Rural Sports, see Gay Snegiryov: Russkie prostoRurik / Ryurik, Prince, 8 27i narodnie prazdniki Rus> I Russia, \ , 28, 79, 80, Russian prosody, 876, 448, 449, 123, 2 ioo, 217-18, 30111, 311, 4 5 i , 453) 455"7> 458> 459>

456,8261, 365, 380

"Rusalka," see P., WORKS Rusalka, ballada, see P., WORKS

Rushworth, James, a222; see also Austen: Mansfield Park

Ruslan, ^ 6 , 3 2O7; see also P., WORKS: Ruslan i Lyudmila

462, 465, 466-72, 475, 47796, 497, 500, 513-41 Russian Revolution, 2 28i, 433, Sl 7°> 534 Russian Science and Literature in the Era of Peter the Great,

see Pekarski: Nauka Russian spirit, 2375 WORKS Russian Tales, see Lyovshin: Russia (EO), 1 io8, 117, 249, Russkie skazki 266, 319, 323; see also Rus\ Russian Thalia, see Russkaya 3 9 * . Russian (EO), 1 io3, 106, 112, Taliya 131, 141, 142, 149, 155, 162, Russian translations, 2 i58 163, 205, 223, 267, 268, 302, Russian Versification, see Unbegaun 31?* 3* 6 "Russian Winter," see "RusRussian Academy, a i07 Russian alphabet, ^ 9 6 , 396, skaya zima" Russian woman, national type, 518 2 28o-i Russian Ancientry, see RussRussian Women, see Nekrasov: kaya starina Russian anthology, see Bow- Russkie zhenshchini Ruslan i Lyudmila, see P.,

ring: Specimens of the Russian Poets

Russische Gunstlinge, see Helbig

Index Russisms. 2195—6, 3i7O—1

Russkaya pravda (Russian Justice), 3 359

Russkaya starina (Russian Ancientry), 2122, i26n, 146,357, 3 2 3 3> 434) 444» 445 Russkaya Taliya (Russian Thalia, ed. Bulgarin), 284, 88, 8 i8, 223, 224 '"'Russkaya zima" ("Russian Winter" = £ O , Five : n : 1-8; music by Plosaykevich), 249i

Sabas, 232i Sabine farm, 2 i99, 219 Saburov, Andrey, 3 i97 Sacred City of the Ethiopians, The, see Bent Sacy, Silvestre de, 325o Sadi, Muslih-ud-Din, 13O9, 3 245, 247; Bustan, '249-50; Gulistan, '249; Pand-natnah, 3250

Sagad I, Malak, emperor of Abyssinia, '432 Sagad III, see Susneyos Russkie prostonarodnie prazdSaillant, Marquis de, 343O niki, see Snegiryov St. Basil Order, ^ 2 3 Russkie skazki, see Lyovshin 3 Russkie vedomosti (Russian Ga- Saint-Cyr, 46—7 3 Sainte-Beuve, Charles A., 2 i54, zette), 442 354; Vie . . . de Delormc, Russkie zhenshchini, see 2 154-5 &n, 544 Nekrasov Russkiy arhiv (Russian Ar- "Saintepallaie" ("Monsieur 2 3 Nicolas," Restif de la Brechives), 446n, 458, i36n, tonne), 2 i 18 i37n, 241, 312,445 Russkiy biograficheskiy slovar* St. Helena, 8326 (Russian Biographical Dic- St. Petersburg / Petersburg / Russ. Sankt Peterburg / Petrotionary), 8446 grad / Leningrad, xxx, 6, 16, Russkiy Bog, see Vyazemski 19, 20, 22, 24, 26, 27, 34, 37, Russkiy invalid (Russian Dis53) 54) 55) 6 1 , 6 2 , 6 4 , 6 5 , 6 6 , abled Soldier, ed. Voeykov), 1 2 S 8o, 27n, 315, 273n; see also 69> 7°> 7 1 * 7 2 » 74»2 8 a > 1 X 1 ) 113,222, 314,315, 9, 10, 19, Novosti literaturi 20, 21, 23, 30, 31, 36, 37, 38, Russkoe blagorodnoe sobranie / 39» 4°> 56, 68, 72, 73, 75, 76, Dvoryanskiy Klub, see Mos77, 79, 80, 84, 85, 87, 88, 92, cow: Sobranie 94, 96, 106, 109, 115, 121, Russo-French War, 2428 2 122-3, 127> !33> H2> M3> Russo-Swedish War, 428 2 144, 145, 146, 158, 159, 162, Ryazan / Ryazan', 297 164, 166, 174, 175, 176, 178, Ryer, Andre de, '249 182, 193, 226, 228, 229, 246, Ryno, 2255; see also Macpherson: Fingal 247, 262, 263, 297, 327, 367, Rzhevski, Miss (EO var.?), ^ 7 7 380, 385, 419, 427, 428, 429, Rzhevuski, see Hanski; Riz431) 432)433)443) 452) 458, nich, P.; Sobanski 480, 490, 495, 508, 535, 536, 541, 3 i2, 18, 46, 47, 48, 85, 99, 104, 105, 107, 112, 116, 118, 120, 121, 129, 130, 134, 151, 158, 166, 167, 169, 176, S., Charlotte, see Charlotte 3 193, 201-2, 204, 226, 231, Saad, Grand Sherif, 413 248, 254, 255, 258, 259, 269, Saadi, see Sadi

86

Index 270,272, 274, 27511, 282, 284, 285, 288, 289, 295, 302, 303, 5°5> 5°7> 3°9> 344, 35 1 , 35 2 , 355> 358, 359> 36o> 362> 364> 378, 379> 389> 39°. 421> 423> 426, 427 & n, 434, 435, 515; Academy of Arts (Iskusstv), 3 2O7; Academy of Sciences (Nauk), 8 i69, 365, 484; Admiral teyskiy Boulevard, 86g; Admiralteystvo (Admiralty), 3 27o; Admiralty Square, ^ 6 9 ; Alexandrine Column / Aleksandrovski / -skaya Kolonna, 2 3ii—12; Bol'shoy Kamenniy Teatr, ixxiii, 2 7 6, 79, 87, 91; Chyornaya Rechka / Black River, 246, 47-8; Court Opera, 279; Demut's / Demuth's Hotel, 3 i6i, 269; Ekaterininskiy Kanal, 2178; English Club, 3 n 8 , 275; Ermitazh (Hermitage), 2 33i, 3 182; Field of Mars, see Marsovo Pole; Fontanka Canal / Quay, 268, 3 344, 351; Hdtel de Londres, 3 269, 270; Kamenniy Ostrov / Stone Island, 2 3i, 8242; Kokushkin Most / Bridge, 2 i77; Kolomna, 276; Kolomyaki, 3 46; Komendantskaya Dacha, 8 5o; Konyushennaya Street / Church, 3354; Krestovskiy Ostrov / Island, 2 i75, 181; Letniy Sad (Jardin d'Ete), 196, 2 4i, 177; Maliy Teatr, 2 79; Marsovo Pole / Field of Mars, 2 i79; Mihailovskiy Dvorets / Palace / Inzhenerniy Zamok / Castle, 2 344; MiPonnaya / Milyonnaya Street, 1i 16, 2 i79, 3 i82; Morskaya Street, 1xxiii,,3269; Moyka Canal, 268, 69, 326g; Neva River, ^ 5 , 27, 96, 115, 122, 160, 289, 294, 303, 315, V > 7> H3> i74» l75> 176, 177, 180, 181, 192, 310, 312,

87

384, 3 4 6, 91, 92, 175, 176, 177, 204, 2i2n, 232, 233, 265, 3*7, 339> 347) 3 6 9. 3795 Nevski Boulevard, 2 68-g; Nevski Prospect / Avenue, 1 xxiii, 2 68—9, 71, 79, 3 269, 270; Okhta / Ohta, M i l , 2 i 4 3 , 3

202;

Palace Quay / Dvortsovaya Naberezhnaya, 2 i75, i76, 3 233 & n; Palace Square / Dvortsovaya Ploshchad', 2 i79, 311; Pazheskiy Korpus / Corp-desPages, 238o; Peterburgskiy Ostrov / Island, 2 i76; Petropavlovskaya Krepost' / Peterand-Paul Fortress, 2 i76, 177, 3 347; Publichnaya Biblioteka / Imperatorskaya Publichnaya / Leningradskaya / imeni Saltikova-Shchedrina (PB), X85, 86, 87, 2 5, 7, 38, 234, 318, 320, 326, 365, 366, 414, 488, 506, 507, 518, 527, 887, 88, J 2 1 3 > 55i 196» 207> 268 > 27°> 3 OO >

379»

43; Pushkinskiy Dom / Institute of Russian Literature (PD), *8 4 , 85, 86, 87, 88, 2 5, 75, 145, 267, 280, 320, 364, 365, 457, 467> 493> 5°5> 5 1 ^ 524n» 355» 72, 122, 216, 217, 267, 281, 282, 307, 312, 313, 314, 365, 366, 379, 382; Senatskaya Ploshchad', 3345, 346; Srednyaya Pod'yacheskaya Street, 2426; Talon's Restaurant, 269, 71, 73; University, 2 2o; Volkov Field, 28g; Winter Palace, see Zimniy Dvorets; Zimniy Dvorets, 82O5 St. Petersburg Gazette, X5 St. Petersburg Mercury, see Sankt-Peterburgskiy Merkuriy St. Petersburg Spectator, see

Index Sankt-Peterburgskiy zritcV St. Petersburgh: a Journal of Travels, see Granville Saint-Preux, 2 i36, 249, 338— 41* 389> 392> 394> 3l8 9~9 o > 213, 216, 234, 240; see also Rousseau, J. J.: Julie Saint-Priest, Count Emmanuel de / Russ. Emmanuil Sen-Pri, *294> 3 i97" 8 Saint-Priest, Armand Charles Emmanuel de Guignard, Count de, 8 i97 Saint-Priest, Countess Sofia de (b. Princess Golitsin), 3 i97 Saintsbury, George, S466, 513 Saint-Simon, Louis de Rouveroy, Duke de, S443 Saint-Sorlin, see Desmarets Saint-Thomas, 3 i45 Saint-Yves, Georges, 3399, 400 Saitov, Vladimir Ivanovich: Ostafievskiy arhiv (Vyazemski family papers), 213011 Salathiel, see Croly Salgir / Salghir River, 1 i2o, *212

Salieri, Antonio, 3222 Salle, Eusebe de, 2 i57, 159, 160, 894, 95 Salona, 3 i5 Salt, Henry, 8399, 400, 401-2, 403, 404, 405, 411, 440, 444; Voyage to Abyssinia, 3447 Sal tan, King (father of Gvidon), Saltikov, Mihail Evgrafovich ("Shchedrin"), 1 8 5, 387 Saltikov, Vasiliy, 3 i37 Samarkand, 3114 Sambek, 2 i2i Sambre River, 8488 Samson, see Sanson Sandunova, Elizaveta Semyonovna (b. Semyonov), '79 Sankt-Peterburgskiy merkuriy (St. Petersburg Mercury, ed. Krilov & Klushin), *266

Sankt-Peterburgskiy zriteV (St. Petersburg Spectator, ed. Fyodorov), ^69, 511 Sankt-Peterburgskoe Angliyskoe Sobranie, see St. Petersburg: English Club Sanson, Charles Henri, 3334, 335; Memoires, 3335 Sans Souci, 2 i48 Sanuto, Livio, 84oo Saratov, 8279 Sarskoe Selo, see Tsarskoe Selo Satan {EG), *i88 Satanism, *353 Satire(s), see Dry den: Imitation of Juvenal; Gilbert; Horace; Juvenal; Regnier Satiri nravstvennoy yazviteVnoe zhalo, see Tolstoy, F. I. Saturn, 2476 Sava, see Larin, Sava Sava Ilyich (EO var.), 232, 32021

Savchenko, S., 2463n Saxon,252i Say, Jean Baptiste, xi 13, 2 i64; Petit Volume, 2 i64; TraitecTeconomie politique, 2 i64 Sazanka River, 3 i8o Sbogar, Jean, I153, 2 358-9, 511, 387; see also Nodier: Jean Sbogar 393

Scarperia, see Angiolo Scarron, Paul, 3 i34; Roman comique, 2 3i4 Scenes de la vie prive'e, see Balzac Schefer, Charles, 3443 Schelling, F. W. J. von, 2236, 8

i

19

Scherer, Johann Benedikt / JeanBenoit, 8427n; Anecdotes, 47 Schiller / Shiler (P.'s teacher), 2 39 Schiller, Friedrich, ^29, 236, 2 i58, 231, 234-5, 236, 446,

88

Index 3

37, 226; Burgschaft, Die, 233; Geisterseher, Der, 2355; Ideale, Die, 328, 37; Wallenstein, 2253 Schilling / Shiling, Baron P., 2 524 Schlegel, August Wilhelm von, 22 3°» 378, 506, 335 & n; Ober 2

dramatische Kunst, 3 35 & n

Schlegel, Friedrich von, 2378, 3 35 Schmettau, Count F. W. C. von, ^ 4 5 Schoberg/ Scheberch, Christina Regine (m. Abram Gannibal), see Gannibal, Christina Schoberg/Scheberch, Matthias, 3 434 Schoebel, Charles, 2355; Legende du Juif-errant, La, 6 Schoonebeeck, Adriaan, 3428 Schubart, Christian Friedrich Daniel: EwigeJude, Der, 2355 Scotland, 2 28 3 , 325, 459, 3 3 4, 99> 2 9° Scott, Sir Walter, 1 ig5, 214, 2 6, 143, 158, 161, 336, 3 g6, 539; Eve of St. John, The, 3 146; Ivanhoe, 2 476; Journal, 2 172, 443; William and Helen, 3 152

Scribe, Eugene, 268

Sea, The, see Vyazemski: More Seasons, The, see Thomson Sea Victory, see Didelot Sebastopol / Sevastopol', 8287 Seckendorf, Baron S. von, 2 545 Second Army, 3 359, 362 Second Epistle to the Censor, see P., WORKS: Vtoroe poslanie

Secret Society (Decembrists), see Northern Society; Southern Society Sedin, Miss (EO var.?), '277 Sedley, Sir Charles: Barouche Driver, The, 2351; Fall, The, 3 150; Faro Table, The, *35i

Segrais, Jean Regnault de, 253 Seine River, 36 Selby, Miss, 3 2i5; see also Richardson: History of. . . Grandison Selected . . . Works of the Decembrists, see Shchipanov: Izbrannie Selenginsk, 8434 Selina / Celine (EO), M41 SeVskoe kladbishche, see Zhu-

kovski Semelet, N., 3249 Semen, Avgust, ^ 5 Semiramis, Queen, 3 i28 Semyon Petrovich (EO), ^ 7 4 , 3 n8 Semvonov, Pyotr Nikolaevich, 2 79" Semyonova, Ekaterina Semyonovna (b. Zhdanov), 1 io2, 2 8o, 8 3 Semyonovskiy Regiment, 229O, 3 335~6, 337 sen' ("shelter"), ^72, 3 io, 65 Senancour, Etienne de, a i 8 i ; Oberman, 2 i54, 180,321,422, 3 7i> 98 Seneca, Lucius Annaeus, ^ 1 4 , 2l 53> 466, 326o; De otio, 3267;

Epistles, 3 267 Senegal, 8319 Sens, 2 22o Sense and Sensibility, see Austen

sentimental / -ism, ^ 3 , 832, 55 Sentimental Journey, see Sterne

Seraoe / Serae, see Serawe Serawe, 84oo, 404 Serawe Mts., 8413 Serbia, 2 32i, 8421 Seremai River, 8401, 402 Serenus, Annaeus, 8267 Sergiy (EO var.), V 3 Serieys, A., ^ 0 4 Serments, Les, see Parny Sermon inutile, Le, see Lebrun, Ecouchard Sestos, 2 457

*9

Index Sevelinges, Charles Louis, *345, 39i, a 2 3 4-5, 238 Seventh Bullet, The, see Weber: Freischiitz, Der

Severnaya lira (Northern Lyre, ed. Amfiteatrov & Oznobishin), '299 Severnaya

pchela

(Northern

Bee, ed. Bulgarin & Grech), 1 5i77i i 34i a a 9» 2 62,467,»8i, 125, 175,225,436 Servernie tsveti (Northern Flowers, ed. Delvig), ^ 4 , 75, 78, 2 6 6 164, 2O3n, 224, 286 Sevemiy arhiv (Northern Archives, ed. Bulgarin; 1829 merged with Sin 2

otechestva),

27in; see also Literaturnie

listki Sevemiy pevets (Northern

Chanter, pub. Lazarev bros.), 2408 Shade of Fonvizin, The, see P., WORKS: TenJ Fonvizina Shahmatnaya igra, see Petrov,

Aleksandr Shahovskoy, Prince Aleksandr Aleksandrovich, ^xiii, 102, * 77 , 81, 82, 83-4, 426, 428, 3 i 7 i , 173; Finn, 2 84; Lipetskie vodi; Hi, Urok koketkam (The

Lipetsk Waters; or, A Lesson to Coquettes), 2 83, s i 7 i ; Ne lyubo, ne slushay (Do not listen if you do not like it) ,2S/\,; Noviy Stern (The New Sterne), 283 Shahovskoy, Prince Konstantin, "54 Shakespeare, William, x io, 12, 316, *46, 158, 210, 236, 254, 322, 521, 8 28, 34, 39, 82, 192, 218, 476; As You Like It, 2 187; Hamlet, ^ 1 , 316, ^ 0 4 , 305, 521, 8 3 i i ; King Lear, S 463n; Macbeth, 25O4, 8 82; Sonnets, 2328, 8500; Troilus and Cressida, 2 i 18

Shakespeare1 s Ghosts, see

Kyuhel'beker: Shekspirovi duhi

Shalikov, Prince Pyotr Ivanovich, 2 i6 & n Shamyl, 8 28i Shangalla, 34o8 Shchastliv ti v prelestnih durah, see P., WORKS

Shchastniy, Vasiliy, 8288 ShchepetiVnik, see Lukin

Shcherbatski, Princess Ekaterina (Kitty), 25O4; see also Tolstoy, L.: Anna Karenina Shcherbatski family ^ 9 8 , 8 x 17; see also Tolstoy, L.: Anna Karenina Shcherbinin, M. A., 83O5; see also P., WORKS: Shcherbininu Shcherbininu, see P., WORKS

Shchipanov, I. Ya.: Izbrannie . . . proizvedeniya dekabristov (Selected Works of the Decembrists), 2227, 8 35l-2 Shchyogolev, P. E., *62, 8177 Sheba, Queen of, 8437 Sheffer, V., 2 i3on Shekspirovi duhi, see Kyuhel'-

beker Shelley, Percy Bysshe, 2344, 8

53> Adonais, Skylark, 2 344

8

53; Ode to a

Shenshin, Afanasiy Afanasievich ("Fet"), 8 4 9 3 n, 539 Shenstone, William, 8 i8o; Essays on Men and Manners, 247 Shepelyov, Dmitri Andreevich, 8 395 & n Sheremetev, Count Boris Petrovich, 384 Sheremetev, Count V. V., 288,89 Sheridan, Milady, 2516; see also Cottin: Malvina Sheridan, Richard Brinsley: Rivals, The, 354, 102-3 Sheviryov, Stepan Petrovich, 2 i84, 450, 522-3, 8 i i 9 , 142; Son (Dream),

Index Shihmatov, Prince Sergey Aleksandrovich Shirinski-: Pyotr Velikiyi liricheskoe pesnopenie (Peter the Great, Lyric Hymn), 2517 Shilovski, K. S., 2333 ShineV, see Gogol Shipov, Miss ( £ 0 var.?), '276 Shirinski-Shihmatov, see Shihmatov Shishkin, Lyudmila, X82 Shishkov, Admiral Aleksandr Semyonovich, *55, 70, 71, 288, *28, 376, 8 i 3 6 , 169-71, 173; Rassuzhdenie o starom i novom sloge rossiskogo yazika (Dissertation on the Old and New Styles in the Russian Language), '170 Shlyapkin, I. A., 822o,; see also P., PUSHKINIANA: From Pushkin's Unpublished Manuscripts Shmurlo, E. F., 3426, 447 Shot, The, see P., WORKS: Vistrel Shrovetide, a2o,8—9 Shtrayh / Streich, S. Ya., 3352 shum ("noise," "hum," "hubbub"), 1338, '143-4, H8 Shvabrin, Aleksey Ivanovich, 8 47i; see also P., WORKS: Kapitanskaya dochka Shvarts, Dmitri Maksimovich, a 36i-2 & n, 452 Shvarts, General, 8337 Siberia / Russ. Sibir', 2 i23, 124, 228, 339, 357, 428, 446, 493, 8 i3, 130, 247, 248, 274, 316, 325-6, 347, 349, 373, 390, 433 Sicilian Romance, see Radcliffe Sicily, 255, 199, 899 "Sidorov" [Russian equivalent of "Smith" or "Jones"], 8 24i Siege of Corinth, The, see Byron Silentium, see Tyutchev Silvio, a 26i; see also P., WORKS: Vistrel

Simbirsk / Ul'yanovsk, 8 i79 Simeon Stylites the Elder, St., 1 270, 3 n 6 Simferopol, 2 2i2, 8287 Simvolizm, see Bugaev Sinai, Mt., Monastery, 8 4i3 Sin otechestva (Son of the Fatherland, ed. Grech & Bulgarin), a22, 90, 149, 175, 37m, 8224, 225, 226, 228, 286; see also Severniy arhiv Siraudin, Paul, 269 Sire, 8 44i Sitin (publisher), ^ 2 Sitski, Miss (EO var.?), 8276n Sivers / Sievers, A. A., 8299n Sizran' / Syzran, 8279 skakat' ("to gallop," "to drive"), 1574, a i94-5 Skazka o Bove Koroleviche (Tale of Bova the Prince), 317; see also Bova Skazki, see P., WORKS Skazki, NoeV: Ura, see P., WORKS

Skotinin, ^ 2 4 ; see also Fonvizin: NederosV Skotinins {EO), X2i6 Skupoy ritsar\ see P., WORKS Sladkovski, Roman, 2 5i7 Slang and Its sinologues, see Farmer Slattern, Lady, 8 iO3; see also Sheridan: Rivals, The Slav / Slavic, ^ o , a 3 i i , 374, 8

437

Slavisms, a 29j, 8 i44, 169 Slavonic Review, The, 2i9O, 8243

Slavonizers / Ancients / Archaists / Besedists / Pseudoclassicists, a 2i, 29, 83, 450, 8 16971, 172, 173 Slavophiles / Russ. Slavyanofili', 2 ioo, 236, 8 i39, 160, 17m, 268 Slavyanofili', see Slavophiles Slonimski, A. L., a i76

Index Slovak Akademii Rossiyskoy (Russian Academic Dictionary), x io6, 2 io6, 107-8 Slovak DaVya, see Dahl Slovak dostopamyatnih lyudey Russkoy zemli, see Banti'shKamenski Slovak yazika Pushkina, see

Literature, see Obshchestvo Socrates, 2 34o, 546 Sofia, 25O9, 86*9, 166; see also Griboedov: Gore ot uma Sofiyski, L.: Gorod Opochka, 2 458n Sofiyskie letopisi (Sophian Annals), 3 3 8o, 382 Sografi, A. S., 2 79 Sokolov, D. N., 8323 Sokolov, Pyotr Fyodorovich,

P., PUSHKINIANA: Dictionary

of Pushkin1 s Vocabulary Slovo o polku Igoreve (The Song of Igor's Campaign, anon.), 2 i86, 192, 52111, 3 i53 Slyonin, Ivan Vasilievich, *70

Soleure, see Solothurn Solin, Miss (EO var. ?), 3 276n Solomon, King, 2 5i4, 8 437 Solothurn / Soleure, 2 515 Solovetskiy Monastir / "Solovki," 82O7 Somali, 3 4o8 Some Records of Ethiopia, sec

Small Town, see P., WORKS: Gorodok Smaylhome Castle, see Zhukovski: Xamok Smidovich, V. V. ("Veresaev"), 2 458n; see also P., PUSHKINIANA: Pushkin in Life

Smirdin, A. F., ^ o , 81 Smith, Adam, X24, 98, 257—8; Wealth of Nations, 257, 58 Smolensk, 2 3i, 227, 8 m , 423 smotret1 ("to look"), 2498; see also vzor Snake, Mt., see Zmeinaya Snegiryov, I. M., ^ 5 , 2 300-l; Russkie prostonarodnie prazdniki (Russian Popular Festivals), 23oo— 1, 501 Snitterfield, 844O Snowdrop, see Podsnezhnik

Sohanski / Sohan'ski, Karolina Adamovna (b. Countess Rzhevuski), 3 i82, 275, 300 Sobolevski,S.A.,2265,4i7,43O, 8 i 19, 273; Zapiski (Memoirs), 3362 Sobranie (Club of the Nobility), see Moscow

Beckingham Sommaire d'un cours d*architecture militaire, see Belidor Somov, Orest Mihaylovich, 8io 1 son ("sleep," "dream"), I375, 2 421~2 Sonety Krymskie, see Mickiewicz

Song, see Procter Songbookfor a Lady's Reticule, see Pesennik Song for the Wandering Jew, see Wordsworth Song of an Old Hussar, see Davidov, D.: Pesnya starogo gusara Song of Igor's Campaign, see Slovo o polku Igoreve Song of the Girls, see Evgeniy Onegin, CONTENTS Songs ofSelma, see Macpherson Sonnet(s), see Petrarch; Ronsard; Shakespeare Son of the Fatherland, see Sin otechestva Sophian Annals, see Sofiyskie Sorcy, Malvina de, 2 5 i 6 ; see

Sobranie raznih sochineniy Lomonosova (Collection of Various Works by Lomonosov), •485 Society of Friends, see Quaker Society of Lovers of Russian

also Cottin: Malvina 92

Index Sorel, Julien, 276, 91; see also Beyle: Rouge et le noir, Le SorevnovateV prosveshcheniya i blagotvoreniya (Champion of Enlightenment), 2383 Sorot / Sorot' River, 2207-8, 3 266, 309, 310 sosed ("neighbor"), ^ 7 5 , 2224-

Spalding, Henry, see Evgeniy Onegin, LISH

TRANSLATIONS, ENG-

Spanish America, 8 436

Sparser Becomes the Clouds' Volatile Range, see P., WORKS :

Redeet oblakov Spectator, The, see Addison; Steele 5, 536> 3 56-7 Spencer, William Robert, 3 i53 Sosnitska / Sosnitski, Elena Yakovlevna, 277 Spendthrift and Swallow, see Sosok cherneet skvoz* rubashku, Krilov: Mot Spenser, Edmund, 225 see P . , WORKS So 'Tis the Sea, see P., WORKS: Spirit, Flesh, see Collop Sportive Lad, see MaVchikTak more Souel, Pere, 8 98; see also Zabavnik Spring, see Barati'nski: Vesna; Chateaubriand: Rene Thomson: Seasons Souffrances du jeune Werther, Sreznevski, V. I., 2 io Les, see Goethe: Weriher 8 Stael-Holstein, Anne Louise Soulie, E., 443 South / Southern {EG), ^ 9 3 , Germaine Necker, Baroness de, X4> 33, 301> 3H» *54> 62, 3H» 33°> 331 164, 228, 253-4, 287> 548> South America, 2339 359> 5o6> 835 & n> 2 l 6 » 2 2 1 ; Southern Society (Yuzhnoe Obshchestvo), ^ 4 9 , 331, 345, Considerations sur les principaux evenemens de la Revolu346> 349> 3 5 9 tion, 2415—14; Corinne, 9g6; Southey, Robert: To ContemDe la Litterature, *366, 413, S 8 plation, 8s, 83 174; De VAllemagne, 254, Souvenir, see Parny 182, 230-1, 295-6, 506, 8 35, Souvenirs de thidtre, see Gautier 37, 153, 221; Delphine, ^ 3 , Souvenirs du peuple, Les, see J 54> 2277> 343> 347~8» 396, Beranger 221, 237; Dix Ans dexil, *$ 14, Sovet epicheskomu poetu, see 2164-5, 180 Batyushkov 3 Soviet / Sovet regime, X5, 59, Stahanovets, i6 2 Staheev, Aleksandr, 343 70, 278, 106, 227, 281, 298, 8 Stalin, Joseph, see Jugashvili 312, 380, 433, 43, 207, 257n, 279> s 8 l > 337) 348> 363> 4*9 "Stalinski" (i.e., Barati'nski & Sobolevski): BiV (Once upon Sovremennaya pesnya, see a time a turkey), 8 273 & n Davidov, D. Stambul / Russ. Tsargrad, see Sovremennik (The ContempoConstantinople rary, first ed. P.), a22, 265, stan (waist and torso), 2278 328, 432, *383, 379, 446, 525 Stances, see Lingendes Soyuz poetov (in BlagonaStansi, see Barati'nski; P., merenniy), 2376 WORKS Spain / Spanish, 1 a89, 330, Stantsiya, see Vyazemski 8 2275, i83, 290, 330, 333, Stanzas: In hope of glory, see 360, 429, 433

9)

Index P., WORKS: Stansi

Staraya Russa, 3257n starina ("ancientry," "old times"), ^75, 2222, 359, 363 Staritsa, "205, 534, ^74 Stariy Peterburg, see Pilaev Starkie, Enid, 8 4i2; Rimbaud in Abyssinia, 8447 Starno, S52; see also Macpherson: Fingal Starov, Colonel, 845 Stasov (EO var.), a2o6 Stasyulevich (publisher), X82 Station, The, see Vyazemski: Stantsiya Steele, Sir Richard: Spectator, The, 3 i8-i9, 196 Steibelt, Daniel, a79 Steinmetz, Andrew: Gaming Table, The, 2 i47 Stella's Birthday, see Swift Stendhal, see Beyle Stephens, John Lloyd: Incidents of Travel, 8113-14 steppe, '158, 178-80, 295 Sterne, Laurence, 1 3i6, 2 i58, 215, '143; Sentimental Journey, 23O4, 4O2n; Tristram. Shandy, 232, 195, 304-5 Stihotvoreniya, see P., WORKS; Pushkin, Vasiliy Stipa pennata, '179 Stirless Sentinel, The, see P., WORKS: Nedvizhniy Stockholm, 2478 Stolpyanski, P. N., s 17511, 227n Stone Guest, The, see P., WORKS: Kamenniy gost1 Stonet siziy golubochek, see D mi trie v, I. strannosi* ("oddity," "eccentricity"), ^76, 2 i69-7i, 227 Stranstvuyushchiy zhid, see Zhukovski Strasbourg, 1101, 111, 274 Stratford on Avon, '440 Stribo / Stribog, 2 i92

Strofi pohvaVnie poselyanskomu zhitiyu, see Trediakovski Stroganov, Count Aleksandr Pavlovich, '56 Stroganov, Count Pavel Aleksandrovich, 856 Strophes, see Trediakovski: Strofi Stsena iz Fausta, see P., WORKS Stupin, Aleksandr Vasilievich, 3

172

Stiirler, Colonel, 3347 Suakin, 8 4i3 Sudan, 84oi Sudienko, S., 2 5i3 sueta ("vain pursuits," "bustle"), 1 3 7 6 , 2 i68 Suez, 8413, 415 Suhum / Sukhum, 3287 Suida, 2452, ^35 Sul-malla of Lumon, see Macpherson Sultan-Shah, M., 8246n Sumarokov, Aleksandr Petrovich, 846g, 490—1; Gde ni gulyayu, ni hozhu (Wherever ramble I), '490—1; Vzdornie odi (Nonsensical Odes), 2

52i—2

Sumerki moey zhizni, see Dolgoruki, Ivan Summer, see Thomson: Seasons Summerson, Esther, 2339; see also Dickens: Bleak House Sumner, B. H., 8422; Peter the Great and the Ottoman Empire, 8447 sumrachniy (Fr. tenebreux), ^G)

8

501

Sunday Homilies, 8484n Sunrise, see Dennitsa "Sur des vers de Virgile," see Montaigne: Essais Surgeres, Helene de, '268 "Sur la mort," see Bossuet Sur la premiere attaque de

94

Index goutte, see Chaulieu Sur Vattentat, see Malherbe Sur Vusage de la vie, see Arouet Surrey, Henry Howard, Earl of: Lover Describeth His Restless State, The, 8453, 499-500 Susneyos / Sagad III, emperor of Abyssinia, "403, 408 Suvorin (publisher), *82 Suvorov, Count Aleksandr Vasilievich, "217, 305, 479 Sveaborg / Suomenlinna, 2357, 3 i69, 243, 4O3n "Sverchok" (i.e., P.), 2229, 3 svet ("the world") / svetskiy ("fashionable," "high-life"), 1377, 2 4 4 , 148, 3 i58 "Svetlana" (i.e., Zhukovski), 3 172 Svetlana, ^ 2 , 42, 151, 201, 208, 2 33O-i, 489, 500-1; sec also Zhukovski: Svetlana Svichinski, I. N., 2247

T., Miss K. L, 8322; see also P., WORKS: Povesti . . . Belkina

Table Talk, see Hazlitt; Hunt; P . , WORKS

Tableaux, see Parny Tabor, Mt., 8441 Tacitus, Cornelius, 253 Taganrog, 2 i2i, 129, 8345 Tak more, drevniy dushegubets, see P., WORKS Talantin, '371; see also Bulgarin: "Literaturnie duhi" Talcottville, 239i Tale of a Usurer (anon.), 8 484n Tale of Grief, see Povesi* o gore Tales of the Hall, see Crabbe: Cathedral-Walk Tales of the Late Ivan Belkin, see P., WORKS: Povesti Talisman, see P., WORKS Tallement des Reaux, Gedeon: Svobodi seyateV pustinniy, see Historiettes, Les, 3 n o P . , WORKS Talon, Pierre, 1 i o i , 313, '71, Svyatie Gori (Holy Hills), "229, 8298 Taman/Taman', 8265, 285-87, 458, 459, 83552 302; Gulf, 8287 Svyatoslav III, 523n 2 i62 Swanton-Belloc, Louise, Taman', see Lermontov 2 Sweden / Swedish, 96, 263, Tambov, X2i6, 221, 2 83, 297, 527> 3l79>2 2 4^ 324> 3 4 2 3 Sweet Psyche, see Bogdanovich: Tancrede, i83; see also Chenier: Pres des bords oil Venise DusherCka Tancrede, see Arouet Swift, Jonathan, s i42, 143, 270; Journal of a Nlodern Tancredi, see Rossini (dim. of Tatiana; EO), Lady, 2325, 531; Stella's Tanya Xl 57> 15^i l69> J79> l 8 3) l85> Birth-day, 35O5; Verses Wrote 206, 212, 213, 214, 218, 219, in a . . . Table-book, 2442 220, 228, 253, 256, 258, 260, Swinburne, Algernon Charles: 263, 265, 266, 270, 271, 272, Dolores, 8523 *73> 2 74, 2 76, 3°4> 3o6> 3°7; Swiss National Library, a515 see also Tatiana Switzerland / Swiss, 2 i36, 152, 153, 180, 217, 343, 8136, 290 Taranskoy, Nina ( £ 0 var.), 8176 Sykes, L. S., *5i6 Syracuse, 255 Tarasov, L. ("Henri Troyat"), 2l Syria, '415 3$, !39; see also P., PUSHSyringa vulgaris, 2/\,o6 KINIANA: Pushkin

Index Tarasova, Alia Konstantinovna, "391 Tarentum / Tarentine, 252O Tar gum, see Borrow Tarquin (Sextus Tarquinius), 2 28o Tarteron, Pere, 252 Taschereau, J. A., 8 n o Tasov ( £ 0 var.), 32o6 Tasso, Torquato, ^ l G , '158, 181-5,358, 3 i4; Gerusalemme liberate 2 i 4 i , 182, 184 Tatar / Tatary, ^ 2 8 , 2 i24, 125, 212, 410, 457, 8226, 280, 286, 288 "Tatiana" (i.e., Countess Vorontzov), 2 i34 Tatiana (EO), l i 3 7 , 138, 151, 152, 154, 156, 157, 159, 161, 162, 164, 165, 168, 170, 171, 173, 179, 182, 185, 186, 197, 198, 203, 205, 207, 208, 209, 210, a n , 212, 213, 214, 215, 216, 217, 219, 220, 221, 223, 228, 235, 256, 257, 258, 259, 260, 261, 262, 264, 265, 270,

*7li 2 75, 2 74, 2 7 6 , 2 77, 29°» 291, 292, 294, 295, 296, 297, 3°3, 3°7, 3 ° 8 , 3°9, 3245 character of (in and beyond EO), •280-1, 282

Tatiana of Rome, St., 2486, 535, 3 i8 "Tatiana's Letter to Onegm," see Evgeniy Onegin, CONTENTS "Tatiana's soliloquy," see Evgeniy One gin, CONTENTS

Tauri, 8287 Tauric Chersonese, see Korsun Tauris, ^ 8 3 , 327, 328, M25, 127, *i 4 9, 151 Tauris, see P., WORKS: Tavrida

Tavrida, seeBobrov; P., WORKS Tea- Table Miscellany, see Ramsay Teheran, 289, 3283 Tekla-Haymonot I, emperor of 96

Abyssinia, 34O9, 410, 440 Telescope, see Teleskop Teleshop (Telescope, eel. Nadezhdin), 2 i05 Tellez, Balthazar, '400 temnota ("darkness") / tyomnfy ("dark"), 1377, '285 Temora, see Macpherson Teri Fonvizina, see P., WORKS Tennyson, Alfted, Lord, 3 5i3; Break, Break, Break, '474; Daisy, The, 3 461; Day Dream, The, 25O9; In Memoriam, *454, 460-1, 462, 510-11 Terek River, 1 326, 3 264, 280 Terpsichore, ^ 4 , 53, 103, 109, 272

Terror, Reign of, 2 483, 3 i36, 335, 343 Thaddeus, ^ 7 3 , 399 Thalia, ^ 7 2 Thamyra / Themire / Temira, 2 4i5, 416 theaters (St. Petersburg, Moscow, Odessa), x 103-6, 286, 343-4, 2 76-97, 8 l 2 1 , 3°o Theatre de la Comedie Frangaise, see Paris Theatre de la Gaite, see Paris Thecla / Russ. Fyokla, l$ 15 Themistocles, 3332 Theocritus, X98, 2 54, 55-6, 522; Idyls, 2 55, 520 Theodora, X3i5 Theophanus / Russ. Feofan, 3 2 4 3 Theophilus / Tewoflos, emperor of Abyssinia, 3 4io Theresa, 2 56; see also Goethe: Wilhelm Meister Thevenot, Melchisedec, 34oo Thiers, Louis Adolphe, 3241 Thiesse, Leon, 2 i58; Zuleika et Selim, 2 i58 Thoas, King, ^287 Thomas, Antoine Leonard: Petreide, La, 2 5i8 Thomas, St., 25O2

Index Thomson, James: Seasons, The, 2 25, 74-5, *79> 248> 27> *>§*» 410, 461, 470, 472, 490, 504, 3 6g, 72 Thoreau, Henry David: Maine Woods, The, 2325 Thousand and One Nights, The (tr. Lane), ^456 Thousand Souls, A, see Pisemski: Tisyacha dusk Thrace, 2322 Through Her Chemise a Nipple Blackens, see P., WORKS: Sosok Thyrsis, a 48; see also P., WORKS : Dobriy chelovek Tibullus, Albius, 25g Tiersot, Julien: Chansons populaires, "528-9 Tiflis, 2 8g, 90, 3 28i, 283 Tigre, 8 399-4oo, 404, 407, 409, 410 & n, 411, 412, 415, 432, 438> 439> 44i Tigre-Endorta, see Endorta Timofeev, K. A., 8458n Tinyanov, Yu. N., 2 i i 9 , 229, 234, 252, 446n, 856 Ti pomnish\ see Batyushkov Tipperary, 843 Ti prav, moy drug, see P., WORKS

Tiraspol, s i 5 5 Tiresias, 2 3i8 Tireurs de pistolet, Les, see Vaux tishina ("stillness") / tihiy ("still") / tishe (comp.), ^ 7 8 , •63-4, 179, 242-3, 366, 444-5 Tissot, P. F., ^ o i , 8 223; De la poesie latine, '223; Pre'cis des guerres, '223 Tissot, S. A., ^ n , 8 222-3; De la sante, 8222 'Tis Time, My Dear, 'Tis Time, see P., WORKS: Pora, moy drug Tisyacha dush, see Pisemski Titian (Tiziano Vecelli), 2543 To a Greek Lady, see P.,

97

WORKS: Grechanke

To a Painter, see P., WORKS: K zhivopistsu To a Rhyming Friend, see P., WORKS: K drugu stihotvortsu Tobolsk, 2 4 4 6 , ^ 3 4 To Chaadaev, see P., WORKS: Chaadaevu To Contemplation, see Southey To Dawe, Esqr., see P., WORKS: Xachem To Dorida, see P., WORKS:

Doride To Emperor Alexander, see Zhukovski: K Imperatoru To Erastus, see Velikopolski: K Erastu To Fani, see Delvig: Fani To Friends, see Batyushkov: K druz'yam To Gnedich, Who Advised the Author to Write Satires, see Barati'nski: Gnedichu To Goethe, see Zhukovski To His Coy Mistress, see Marvell To His Sister, see P., WORKS: K sestre

To Ianthe, see Byron Toilette of Venus, The, see Albano Tokule Mt., 8 4oo, 401 tolk ("interpretation," "sense," "judgment," "doctrine"), 1 57&> 2l94> 2 l 6 Tolkoviy slovar\ see Dahl Tolstoy (as rhyming word), 8 532> 534 Tolstoy, Count Fyodor Ivanovich ("Amerikanets"), 2 42830, 443, 458, 8 7 , 9; Satiri nravstvennoy yazviteVnoe zhalo (Moral Satire's Sharp Sting), 2429 Tolstoy, Count Fyodor Petrovich, ^ 9 , 189, 2443 Tolstoy, Count Ivan An dreevich, 3422

Index Tolstoy, Count Lyov / Lev Nikolayevich, 2o,2, 204, 327, 428, 440; Anna Karenina (Anna Karenin), 26, 279, 298, 344, 504, 8 3 8 , 298, 311; Haji-Murad, 352; Istoriya vcherashnego dnya (History of Yesterday), a70 Tolstoy, Count Nikolay Ilyich (Lvov's father), "428 Tolstoy, Count Pyotr Aleksandrovich, 82oo Tolstoy, Count Pyotr Andreevich, 8395, 417, 418-19, 422 Tolstoy, Count Yakov Nikolaevich, a 77, 146-7, 3 i62; Moyo prazdnoe vremya (My Spare Time), 2146; Poslanie k Peter burgskomu zhitelyu (Epistle to an Inhabitant of St. Petersburg), 2146 To Luck, see Krilov: K schastiyu

Tomashevski, Boris Viktorovich, ^ o , 83, 84, a49, 80, 81, 92, 126, 133, 141, 241, 244, 247, 261, 274, 309, 320, 334, 336> 349, 37O> 4 l6 > 4*7> 483> 509, 528, 8 2i, 64, 78, 81, 101, 108, 194, 201, 209, 216, 250, 268, 271, 277, 324, 356, 357, 358) 363> 365, 366, 374; see also Evgeniy Onegin, EDI-

Pushkinu; Yazi'kov: K Pushkinu

Torbin, Miss ( £ 0 var.?), 8276 Torigny, 222o Torquato, see Tasso Torzhok, 2 6i, 8 4, 112, 252, 272, 273; Pozharski's Restaurant, 8a

73

Toscar, 2255; see also Macpherson toska ("boredom," "yearning," "nostalgia," "heartache," "dull anguish"; between skuka, "ennui," and muka> "torment"), X25, 379, "141, 156, 170, 171, 337, 360, 383, 399; see also ennui To the Emperor, see Zhukovski: K Imperatoru To the Goddess of the Neva, see Muravyov: Bogine To the Portrait of Zhukovski, see P., WORKS: X portretu

To the Slanderers of Russia, see P., WORKS: Klevetnikam To the Volga, see Dmitriev, I.: K Volge Towneley, John, 298 Traite d'economie politique, see Say Traite des grandes operations militaires, see Jomini TIONS; P . , PUSHKINIANA: UnTranscaucasia, 8246, 281 published Pushkin translation, problems of, xvii— Tombeaux champetres, see xi, xiii-xiv, 1, 7-10, 337-9, 2 Chateaubriand i 2 - i 3 , i8n, 28, 45, 55, 81, a Tomi, 6i 85, 93~4» io 2 -3» 103-4> l l 6 > tomlenie ("languishment" / 120, 138-9, 141-2, 145, tomimiy ("oppressed"), ^ 7 9 , 148, 163, 165-6, 175-6, a 187-91, 194, 211-12, 213, 337> 36o> 382-3> 4 2 0 tomnost* ("languor") / tomniy 218-19, 220, 233, 234, 235-6, 241, 243, 244, 272, 278, 279, (adj.), X379> 2 i 6 3 , 171, 365, 285-6, 289, 290, 295, 303, 382, 8 7 i To My Aristarch, see P., 38> 523> 3 2 4 " 6 , 329> 332~4> WORKS: Moemu To Pushchin, see P., WORKS: K

P[ushchinu] To Pushkin, see Delvig, A. A.:

Pushkinu;

Venevitinov: K

337- 8 > 347, 359> 3 6o > 3 7 1 - 2 * 378~9> 384> 3 8 6 "7> 392~3>

404-5, 420, 422, 460-6, 46970, 480, 484, 496, 502, 537, 6 540,

Index 7h 76-7, 94> H 2 -3> H5-6, 155-6, 183-9, 190-1, 241-2, 243-4, 467> 493-4 transliteration, 1xix-xxv, 224, 481 Travels, see Bruce; Clarke Travels in Russia, see Lyall; Wilson, W. R. Trediakovski / Tred'yakovski, Vasiliy Kirilovich, 2 4 i i , 448, 449, 3 481-4, 489, 490, 523; "Cantata" on the Empress Anna's Coronation, S483~4; Elegy II, 8483; Noviy i kratkiy sposob k slozheniyu rossiyskih stihov (New and Brief Method of Russian Versemaking), '481; Oda o sdache goroda Gdanska (Ode on the Surrender of the Town of Gdansk), ^448, 8488n; Strofi pohvaVnie poselyanskomu zhitiyu (Strophes in Praise of Country Life), 22O9~ 10, 302 Tressan, Louis Elisabeth de la Vergne, Count de, a i99, 411, 3 6, 244 Trichet, 2 53o; see also Krilov: Modnaya lavka Trieste, 2 3 5 8 Trifle, Mr., see Pustyakov Trifon, 24oo Trigorskoe / Trigorsk, a i i 2 , 205, 242, 3 62n, 475, 487, 534, 536> s65» 1O7> 23°> 231, 2 4 ° J 266, 307, 308, 309, 310 Trigorskoe, see Yazikov Trinity College (Dublin),235 Trinity Day, 2299, 300 Trinket Dealer, The, see Lukin: ShchepetiVnik Triple Thinkers, The, see Wilson, E. Triquet (EO), ^ 1 6 , 219, 228, 2 2 5 9> 53> 85> 175 Trishka (EO var.), 24oo, 404 Tristesse d'Olympio, see Hugo Tristia, see Ovid Tristram Shandy, see Sterne

Trivia, see Gay Trognon, Auguste, Troilus and Cressida, see Shakespeare Troy, * 7 3 , 4 88n Troy at, Henri, see Tarasov Trubetskoy, Prince Sergey Petrovich, '346 Trad (Mig vozhdelenniy na~ stal), seeV., WORKS Trudi otdela novoy russkoy literaturi (Proceedings of Division of New Russian Literature), 2279n Tsargrad, 1 io5, 333, 2 ioo; see also Constantinople Tsarskoe Selo / Tsarskoe (now Pushkin), 161, 67, 239, 52, 87, 127, 206, 432, 3 45, 129, 1 3 ^ *37> H7> 194» *96> 200 > 217, 376; see also Lyceum Tserana, 34Oi Tsigani, see P., WORKS Tsiganka, see Barati'nski Tsi'mlyanskaya Stanitsa, 2534 Tsimlyanskoe (wine), ^ 1 9 , 534 Tsyavlovski, M. A., ^ o , 2 68, 72, 7 9 n , 126, 161, 377, «77, i82n, 204, 348, 446; see also P., PUSHKINIANA: Pushkin and

Annals of Pushkin*s Life Tsyavlovski-Zenger, Tatiana, 2 i 6 i , 256n, 8204, 277,446 Tula, 1327, 3 73, 179 Tulchin / Tul'chin, '317, 349, 359» 3 6 ° Tumakov (EO var.), 2526 tumanniy ("nebulous"), ^ 8 0 , 3 i59 Tumanski, Vasiliy Ivanovich, 1 33° J 2249» 3294 > 299-300, 347; Na smert' R. (On the Death of Amalia Riznich), 3 299~3oo & n; Odessa, ^ o , 3 293, 294; Verier i Sharlotta (Werther and Charlotte), 3 26- 7 Tungus, 2311 Turaev, B. A.: Abissinskie hro-

99

Index let (Last Love: Oh how in our declining years), 8525; 5zlentium, 8525; Zima nedarom zlitsya (No wonder winter glowers), 8522

niki (Abyssinian Chronicles), 3 447 Turco in Italia, II, see Rossini Turgenev, Aleksandr Ivanovich, !62, 69, 2 2i, 38, 75, 159, 216, 228-9, 234, 332, 385, 427> 432> 488> 3H> 54> H2> 172, 207, 288, 295, 313-14, 323, 340, 354-8, 374, 375 Turgenev, Ivan Sergeevich, 2 92, 204, 280, 480, 8 i56, 340; Ottsi i deti (Fathers and Children), 2344; see also Evgeniy

u

Onegin, TRANSLATIONS, FRENCH

Turgenev, Nikolay Ivanovich, 2 2 7 > 75, 234> 95l5i 3H, 3*7, 333, 34°> 344> 354-8 Turgenev, Sergey Ivanovich, 2432; Journal, 834O-i Turin, Count (EO var.), 8 ig6 Turkey / Turkish, 23O5, 406, 5*5, 3 i37> 2 8 i , 282, 283, 302,

33°> 331* 332> 344, 36> 395> 396> 397> 398> 4°5> 4 o6n > 4 O 8 J 409, 412, 413, 414-19, 421-2, 424, 427, 428, 432, 438, 484, 487 Turner, William: Herball, 2502

Tuwim, Julian, 2i03 Tver/TverV6i,«3i,i23,2O5,

9 > 3 J 5 3 4 J »6 » 7 J 274, 275n, 280; Galiani's Restaurant, '273 tverdit* ("to keep saying"), 2 289, 338 Twelfth Night, ^ 9 6 Two Neighbors, see Hemnitser: Dva soseda Tyrian, 2 52o-i Tyrol, S322 Tyurikov (court jester), 8427 Tyutchev, Fyodor Ivanovich, 2450, 8139, 144, 4 9 3 ^ 495^ 525; Pesok sipuchiy po koleni (The crumbly sand is kneehigh), 2328; Poslednyaya lyubov\- O kak na sklone nashih 100

Ober dramatische Kunst und Literatur, see Schlegel, A. Uchast' russkih poetov, see Kyuhel'beker udaloy ("dashing"), 1381, 2 165-6 Ude, Louis Eustache: French Cook, The, 273 Uhlan (Olga's husband; EO), X 266, 267 Ukraine, 2 5oi, 8 i2, 58 Ukraintsev, Emelian Ignatievich, 8416-17 & n, 421 Uliana / UPyana (P.'s nurse), a 4.53> 454 Ullin, 2255; see also Zhukovski: Ullin i ego doch? Ullin and His Daughter, see Zhukovski: Ullin Ulyanov / UPyanov, Vladimir Ilyich ("Nikolay Lenin"), 185, 2 78, i34> 3 2O »47 6 Ulysses, see Joyce umilenie (Fr. attendrissement) / umilyonniy, umiVniy (adj.), 2

2 i 3 , 270, 301, 381, 3 2 i , 71

Unbegaun, B. 0., 8 4 68n; Russian Versification, 8468n Under the Willows, see Lowell: Without and Within Undina, see Zhukovski Undine, see La Motte Fouque Unfortunate Poet, The, see Milonov: Neschastniy poet Uniate, 8423 Union of Poets, see Soyuz Union of the Slavs, 8362 Union of Welfare (Soyuz Blagodenstviya), 8331, 345, 349, 351, 354 United States Army Map Serv-

Index ice, s 40i, 404, 405, 447 Universal Court Grammar, see Fonvizin: Vseobshchaya Untersuchungen uber die Bahn des grossen Cometen vom Jahre 1811, see Argelander Upas, The, see P., WORKS:

Anchor Upon Appleton House, see Marvell Upton, George P.: Opera Guide, 2 385 UralMts., 2471, 8533 Ural River, a31 o Ural v Rossiyu skachet, see P., WORKS: Skazki, Noel1 Urok koketkam, see Shahovskoy: Lipetskie vodi Ushakov, Ekaterina Nikolaevna, a2o,2, '176 Ustryalov, Nikolay Gerasimovich: Istoriya tsarstvovaniya Petra Velikogo (History of the Reign of Peter the Great), 3 447 Utro, see Perevoshchikov Uvarov, Count Sergey Semyonovich, 8436 Uvi! yazik lyubvi boltliviy, see

Valerie, see Krudener Valognes, "39 Vampire / Vampyre, The, see Polidori V a n d y k e , Sir A n t h o n y ,

1

i5i,

2331; Holy Family with the Partridges, 2 33i; Virgin and Child, a 33i; Virgin with the Rosary, 2331 Vanya (dim. of Ivan; EO), l 158 Varangians / Russ. Varyagi, variant stanzas (EO), see Evgeniy Onegin, CONTENTS

Varlaf Odulfovich, 838o; see also P., WORKS: Rodoslovnaya moego geroya Varyushka, a525; see also Pushkin, Vasiliy: Opasniy sosed Vasilkov, 8359 Vauban, Sebastien Le Prestre, Marquis de, ^29, 433 Vaux, Baron Ludovic de: Tireurs de pistolet, Les, 851 vchuzhe ("from outside," "as a stranger"), a25o Vegner, M., "409, 426, 443; see also P., PUSHKINIANA: Pushkin's Ancestors Veiled Prophet of Khorassan, P., WORKS uzhe ("already"), l55*> 382-3, The, see Moore: Lalla Rookh 2 Veimars, Loeve, see Loewe de 6 3 , 194, 469-70 Weimars Veles, a i86 Velikie Luki, 2433 V. (EO var.), 89o, 92 Velikiy Sobor, 8346 2 Vacdnium myrtillus, 325; V. Velikopolski, Ivan Ermolaevitis-idaea, 2324, 325 vich, 2262; K Erastu (To Vadim Novgorodskiy, see Erastus), 2262 Knyazhnin VeVmozha, see Derzhavin Vakhanka, see Batyushkov Veltman / Weldmann, Valday, 8262, 272, 273, 274; Aleksandr Fomich, 2303 8 3 Hills, 274; Lake, 272 Venetian Night, see Kozlov: Valedictory, see Cotton Venetsianskaya noch1 Valentia, George, Viscount: Venetsianka / Venetian (EO), Voyages and Travels, 8447 Valerie, Countess de M., see Venetsianskaya noch?, see Kozlov M., Valerie, Countess de; also Krudener: Valerie IOI

Index Venevitinov, A., 2 i22 Venevitinov, Dmitri Vladimirovich, ^36, '119, 142; K Pushkinu (To Pushkin), 2236 Vengerov, S. A., 2 2i4; see also P., PUSHKINIANA: Works

Venice / Venetian, ^ 5 , 26, 28, 182, 183, 184, 186, 343, 358, 8 27i, 4i6n, 423, 512; see also Venetsianka Venus (astrology) / Cypris / Phosphor / Hesperus / Vesper, 2 i25, 3 3 8 Venus (myth) / Russ. Venera, iioe^ios, 125,137, 138,318, 464, 544, V , 176, 317, 340,

Very, Cafe, ^229, 318, 8 8 - 9 Vesna, see Baratinski Vesper, 2 i83; see also Chenier: Pres des bords oil Venise Vesper (EO), 1 2 3 8, 838 Vestnik Evropi (Messenger of Europe, first ed. Kachenovski), 8 i2i, 130, 147, 199,218, 225, 227, 425 Vesuvius, 833O Vetrana, 2511; see also Dmitriev, I.: Prichudnitsa V evreyskoy hizhine lampada, see P., WORKS Vexin Normand, 2468 Viardot, Louis, see Evgeniy Onegin, TRANSLATIONS,

Venus in Her Dressing Room, see Albano Veresaev, see Smidovich Vergniaud, P. V., ^476 Verona, Congress of, 8 i83, 330, 333 Versailles, 2 2io, '440 Vers d*un homme, see Ducis Verses Wrote in a Lady's Ivory Table-book, see Swift versification (rhyme, rhythm, alliteration, etc., in EO), "36, 39> 63> 71* 8l > 85> 92> 94~6» 98, 99-100, 113, 120, 131, 135, 142, 163, 166, 173, 185, 196-7, 211-12, 222, 224-5, 230, 231, 235, 241, 242, 243, 249-50, 286, 288, 313, 314, 319-20, 330, 342, 350, 360, 367> 379> 399> 400-1, 408-9, 420, 422, 439, 443~4> 466-8, 469-70, 470-1, 477, 520, 529-30, 536, 3 n 8 , 119, 137, 148-50, 164, 188, 190, 20910, 227-8, 233, 235, 239, 241, 250, 297, 342; see also prosody Vers pour mettre au bas d'une statue, see Colardeau Verteri Sharlotta, see Tumanski Vert- Vert, see Gresset 102

FRENCH

Viburnum opulus, 25O2 Vicar of Wakefield, The, see Goldsmith Victoria, xxviii Vidal, 844O Vidocq / Russ. Vidok, Franc,ois Eugene, 8226; Memoirs, 8226, 335 "Vidok-Figlyarin" (i.e., Bulgarin), 3226; see also Vidocq; Bulgarin Vie de Byron, see Lamartine Vie du Chevalier de Faublas, see Louvet de Couvrai Vie et les Opinions de Tristram Shandy, La, see Sterne: Tristram Shandy Vienna, ^46, 356, 476, 835, 48, 273 Vie, poesies et pensees de Joseph Delorme, see Sainte-Beuve Vies des hommes illustres, see Plutarch: Lives Vietinghoff, see Kriidener Vigel, Filip Filipovich: Zapiski (Memoirs), 2 29i, 8 i2i, 344 Vignaud, Henri, 8445 Vigny, Alfred de, 2 i59 Viipuri / Russ. Viborg, 857 Vikings, 827i

Index Vilain, Le, see Beranger Villemain, Henri, 2 394, 487 Villiers, Abbe Pierre de, 2 22o; Eloges de la solitude, 2 22o Vilno, 8389, 423 Vinogradov, L. A., 8 447; see also P., PUSHKINIANA: Pushkin in Moscow Vinogradov, V. V., 3 437 Vinokur, G. 0 . , ^ o , 83, 2 i26 Vira / Vyra, 2433 Virgil (Publius Virgilius Maro), ^ 1 4 , 24O> 46, 55, 59, 140, *99> 3 21 > 3 22 > 392> 4 6 5 , 37°> 132; Aenid, l 2 4 , 98, 253, 59; Bucolica, 831 o; Georgics, 2 2o8, 869 Virgin and Child, see Vandyke Virgin with Rosary, see Vandyke Visions of Love, The, see Peacock Visit to St. Petersburg, A, see Raikes Vistrel, see P., WORKS Vitebsk, 2398, 433, 8307 Vive Henri IV (song), 8322,323 Viviers (Ardeche), ' 7 3 Vizdorovlenie, see Batyushkov Vladikavkaz, 8 28o, 281, 283 Vladimir, 2382; see also Baratinski: Eda Vladimir (EO), 1 i 2 8 , 143, 151, 186, 191, 227, 234, 236, 239, 254; see also Lenski Vladimir, see Heraskov Vladimir Petrovich, 2303 Vladislavich, Luka, 8421 Vladislavich-Raguzinski, Count SavvaLukich, 3 419-23, 428, 434 V lesah, see Melnikov vnimat' ("to hearken"), ^85, 2420 . . . Vnov* ya posetil, see P., WORKS

Vocabulaire de la langue tigre, see Munzinger Vodopad, see Derzhavin 10)

Voenno-Gruzinskaya Doroga (Military Georgian Road), 8280, 281, 283 Voeykov, Aleksandr Fyodorovich, 2 22,488, 8 1 2 3 , 2 7 3 ^ 280 Vo glubine sibirskih rud, see P., WORKS

Voiart, Elise, 2 4 8 7 Voiture, Vincent: A la reine Anne

d1 Autriche,

2115

Volga River, *6, 55, 246, a 3 i 0 , 509, 3 i i 2 , 262, 263, 272, 2 8 7 ~9> 3 0 2 "Volhov Republic," 8 2 ? 1 Volhov / Volkhov River, 8271 Volhovskoy, Nina (EO var.), 8176 Volkonski, Princess Maria Nikolaevna, see Raevski Volkonski, Prince Mihail Sergeevich, 2i2i ? 122 Volkonski, Prince Sergey Grigorievich (m. Maria Raevski), 2122-3, 8248-9, 2 7 2 »35^, 359 Volkonski, Princess Zinaida Aleksandrovna, 2 i23 VoVnost*, see P., WORKS;

Radishchev voVnos? i pokoy ("liberty and peace"), 8 2 i 4 , 253,291, 344-5 volochitsya ("to dangle," Fr. se trainer), 2421 Voloshin, Maksimilian Aleksandrovich, 8534 Voltaire, see Arouet Voobrazhaemiy razgovor s Aleksandrom I, see P., WORKS Voronezh, 8283 Voronich, 8239—40, 308 Voronskoy, Nina (£0), ^89, 8174, 175-8 Vorontsov / Woronzoff, Countess Ekaterina Semyonovna, see Pembroke and Montgomery, Catherine, Countess of Vorontsov, Countess Elizaveta Ksaverievna (Eliza or Elise, b. Countess Branitski), 2 i 2 , 97,

Index 125, 129-34, 135, 174, 191, 213-14, 279, 292, 309, 320, 385> 397-8, 434, 536, 8 i 6 4 , 182, 270, 306 Vorontsov, Count Mihail Semyonovich, 1 62, 71, 2 97, 129, 130, 214, 249, 332, 361-2 & n, 377> 434, 356> 151, 193-4, 270, 294, 303, 305-6, 354 Vorontsov / Woronzoff, Count Semyon Romanovich, 8 i 9 3 Vospominaniya o Pushkine, see P., PUSHKINIANA: Recollections

of Pushkin Vospominaniya v Tsarskom Sele, see P., WORKS "Vot" (i.e., Pushkin, Vasily), 3 172 Vot, pereshed chrez most Kokushkin, see P., WORKS Voyage de Grece, Le, see Lebrun, Pierre Voyage de Languedoc, Le, see Lhuillier Voyage du baron de Lahontan, Lie, see Lahontan Voyage en Abyssinie, see Lefebvre Voyage en Russie, see Barufti Voyage historique d'Abissinie, see Le Grand Voyage to Abyssinia, see Salt Voyages and Travels, see Valentia Voyages . . . d'une princesse babylonienne, see Arouet Voyageur, he, see Delavigne Voynarovskiy, see Rileev vprochem (Fr. tfailleurs), *386 vraV ("babbler," "boastful driveler") / vrat* ("to baba 3 ble"), 1386, 426, 9 Vremennik Pushkinskoy kommissii (Annals of the Pushkin Commission), X85, a5O7, '141, Vrevski, Baroness, see Vulf, Euphraxia

Vronski, Count Aleksey, 3 i 8 i ; see also Tolstoy, L.: Anna Karenina Vsemimiy vestnik (International Messenger), 8 443 Vseobshchaya pridvornaya grammatika, see Fonvizin Vseslav, prince of Polotsk, 8 153; see also Slovo o polku Igoreve Vsesoyuznaya Biblioteka imeni Lenina, see Moscow: Publichnaya Biblioteka Vsevolozhski, Nikita Vsevolodovich, a 77 Vtoroe poslanie k tsenzoru, see P., WORKS

Vulf, Aleksey Nikolaevich, X62, *229, 288, 444, 459, 535, 536, 8 i i 2 , 274, 308, 310; Dnevnik (Diary), 8396, 444, 447 Vulf, Anna Ivanovna (Netty), 2l1 ^ 535 Vulf, Anna Nikolaevna (Annette), a i 6 i , 478, 535, '65, 231 Vulf, Euphraxia / Evpraksia Nikolaevna (Zizi; m. Baron Vrevski), ^ 4 , 66, *534-5, 536, 8 3o8, 310 Vulf, Ivan Ivanovich, ^534, 535 Vulf, Nikolay Ivanovich (m. Praskovia Vindomski), 2 534, 536 Vulf, Pavel Ivanovich, 1 6 i , 2 534 ? 8 2 57 Vulf, Praskovia (b. Vindomski), see Osipov, Praskovia Vulf / Woulff family, ^205; see also Osipov family "Vulgarin," 8 i 7 5 ; see also Bulgarin vyaliy ("limp," "listless"), 2 8 3 3> ' 3 1 - 2 Vyatskiy Regiment, 8 359 Vyazemski, Princess Nadezhda Petrovna, 8 3o6 Vyazemski, Prince Nikolay Petrovich, lfj2, 8 3o6

IO4

Index Vyazemski, Prince Pyotr Andreevich, ^xii, xxiii, 4, 42, 52, 62, 66, 68, 70, 72, 73, 93, 2 2 7 »317»89» 10,21,27-9,38, 59, 82, 109, 130, 134, 159, 161, 162, 206, 212, 216, 240, 281, 332-3, 376, 378, 385, 390, 424, 462, 471, 473, 475, 478, 479, 483, 492-3, 520, 522, 526, 8 23, 54, 101, 108, 111, 120-1, 142, 147, 158, 169, 172, 174, 176, 177, 202, 204, 259, 2 7 5 ^ 288, 295, 313, 3*5, 348, 35*> 3545 356, 358, 361, 363, 436, 471; Diary, *5i5, 351; More (The Sea), 3 3 5 8; Perviy sneg (First Snow), X

3 l 7i 29 & n> 27~9> 62> 391* 411-12, 456, 492-3, 505;

Rozgovor mezhdu izdatelem i

Wallenstein, see Schiller Walsh, William: Curiosities of Popular Customs, *3oon Walter, Gerard, 2 i83n, 209, 391, 444, 463, 464, 465, 3 26, 161

Walton, Izaak, 232i Wanderer, Hebrew, 2 i56, 556; see also Byron: Childe Harold

Wandering Jew, see Jew, Wandering Wandering Jew, The (ballad), 2

356

Wandering Jew, The, see Clark Warsaw, X82, 2 i65, 446, 82O5, 288, 552, 354, 423; Diet, 8352

Waterfall, The, see Derzhavin: Vodopad Watson, David, 3 i5, 70 Waverer, The, see Hmelnitski: NereshiteVniy

klassikom (Conversation BeWaverley Novels, 14O, 2 356; tween the Editor and the see also Scott Classicist; foreword to P.'s Wealth of Nations, see Smith Bahchisarayskiy fontan), 2 2i2 Weaver, R. T., 2 i38n & n, 3 292; Russkiy Bog Weber, Carl Maria von: Frei(Russian God), '321; Stantsiya (The Station), X319-20, schu'tz, Der, M64, 2384~5 3 1 o 9— 1 o; Zimnie karikaturi Webster's New International (Winter Caricatures), 81 o 9; Dictionary, 2295, 874, 378 see also Ostafievo; Saitov: Weil, Armand, 2 i4n, 277, 295, 3 Ostafievskiy arhiv 9 8n, 165 Vyazemski, Princess Vera FyoWeimar, 22$6, 446 dorovna (b. Princess Gagarin), Weiss, F. R.: Principes philoJxxiii, 70, *130, 131, 133, 191, sophiques, 2252 2 8 33 , 385, 306 Wellington, Arthur Wellesley, Vzdornie odi, see Sumarokov Duke of, 2227, 8 i69, 333 Vzglyad na russkuyu slovesWell-Meaner, The, see nost\ see Bestuzhev, A. Blagonamerennfy vzor ("gaze"), 24O4, 8174 Wensinck, A. J., 8445 Werther, M53, 2342, 344-6, 32 35> 238> see also Goethe: Werther Wahlheim, 2345 Werther a Charlotte, see

w

Wahlverwandtschaften, Die, see Goethe Wailly, Etienne Augustin, 33O Waldemar, '339 Wales, a494-5

Coupigny Westbury, Capt., 2 282; see also

Modern Wife, The Westerners / Russ. Zapadniki,

Index Westernizers / Moderns / Arzamasists / Romanticists, 2 2i, 29, 163, 8 i72 Westminster . . . Review, 22^S What Is There in My Name for You, see P., WORKS: Chto v imeni Wherever Ramble I, see Sumarokov: Gde ni gulyayu While General Orlov, see P., WORKS : Mezh tern Whirl-blast from Behind the Hill, A, see Wordsworth Whirlingly Curious Scene, A, see Zhukovski: Kolovratno White Doe of Rylstone, The, see Wordsworth White Sea, '37, 310 Whiteway, R. S.: Portuguese Expedition to Abyssinia, The, 3 443, 447 Whitsuntide, 23oo, 301, 501 Who Knows the Land, see P., WORKS: Kto znaet kray Why Draw with Your Pencil Sublime, see P., WORKS: Zachem tvoy Why Is the Bottom Dry in the Cup, see P., WORKS: Chto zhe

Wieland, Christoph Martin, 8230

Wilberforce, William, 8 3i9 Wild Oats, see O'Keeffe Wilhelm, 3i54J see also Burger: Lenore Wilhelm, ^345; see also Goethe: Werther Wilhelm Meister, see Goethe Wilhelm JVIeisters Lehrjahre, see Goethe William and Helen, see Scott Willkommen und Abschied, see Goethe Willow Week, 8198 Wilson, Edmund, a 39i; Triple Thinkers, The, a474 Wilson, John ("Christopher North''): City of the Plague,

The, 3 i8o, 471, 472n Wilson, William Rae: Travels in Russia, '269—70 Windsor, a 22i, 834 Wine, see Gay Winsome Dream, see Zhukovski: Miliy son winter (EO), 2473~4> 489-9*; see also "Zima" Winter, see Pope; Thomson: Seasons, The Winter Caricatures, see Vyazemski: Zimnie karikaturi Winter Evening, see?., WORKS: Zimniy vecher Winter Morn, see P., WORKS: Zimnee utro Winter Palace, see St. Petersburg: Zimniy Dvorets Winter: What Are We to Do in the Country?, see P., WORKS: Zima: Chto delat1 Without and Within, see Lowell Witt, Count de, 2 ig5 Wittenberg, "356 Wittgenstein, Count P. H., 8 1 3 7>359 Woe from Wit, see Griboedov: Gore ot uma Wolfs Glen, 1385 Wolkonsky, see Volkonski Wolmar / Volmar, Baron de, a 339> see also Rousseau, J. J.: Julie Wolmar, Julie / Russ. Yuliya de, 1 i53, 154, 316, 2 i 3 6 , 3 3 8 42 > 343» 358, 389> 392> 394, 8 22, 100, 189-90, 213, 234, 240; see also Rousseau, J. J.: Julie Wolmar, Marcellin de, 234o; see also Rousseau, J. J.: Julie Wolsey / Russ. Vol'sey (teacher), 83o6n Women: a Fragment (from EO), V 4 Wordsworth, William, 8 i68, 219, 35o8, 509; Excursion,

IO6

Index The, 2 i62, 219; Ode to Lycoris, x i4; Poems on the Naming of Places j 8 i5o; Reverie of Poor Susan, The, 3524; Song for the Wandering Jew, a355; Whirl-blast from Behind the Hill, A, 3 507-8; White Doe of Rylstone, The, *??, 508 Woronzoff, see Vorontzov Wotan, 2355 Wotton, Sir Henry, 252i Written after Leaving Her at New Burns, see Cowper Wrottesley, 236g "Wunderbare . . . Prophezeyu n g . . . Martin Zadecks," 2515

Yakov, 2453 Yakovlev, Mihail Lukiyanovich: Nezabvennoy (Elegy to the Unforgettable One),

yasniy ("clear," "limpid," "serene"), I387, 2 2 4 i Yatsevich, Andrey Grigorievich, 8 35in; see also P., PUSHKINIANA: Pushkin's St. Petersburg

Yauza River, see Moscow Ya vas lyubil, see P., WORKS

Yazikov, Nikolay Mihaylovich, *39> l89> 229> *92> 2 l 6 > 24°> 242, 443, 444, 479, 481, 8 23, 224, 266, 308-10, 495n; K Pushkinu (To Pushkin), 8 3o89; Trigorskoe, ^4.2, ^09 Years Have from Nlemory Eroded, see Hodasevich: Iz pamyati Yiddish, 3274 Yon / John, Dr., 289 Yordan, Fyodor, 288 Yorick, M43, 316, ^ 0 4 , 305; see also Shaksepeare: Hamlet Yorick, Parson, 2 3O3,304-5; see

8 122-3 also Sterne: Tristram Shandy Yakovlev, Pavel Lukiyano- York, 234i 2 vich, 432, 433, »23 Yorkshire, 2459 Yakubovich, A. I., 2 8 9 You Are Fortunate, see P., Yakub Varlafovich, '380; see WORKS: Shchastliv ti also P., WORKS: Rodoslovnaya Young, Edward, 8 i39; Night moego geroya Thoughts, 8 i39 Yakushkin, I. D., 2227, 8248, Young Lady Turned Peasant 317, 348, 349, 351-2, 353-4; Girl, see P., WORKS : Barishnya Zapiski (Memoirs), 2227, 8349, YouWe Right, My Friend, see 351-2 P., WORKS: Tiprav, moy drug Yakushkin, V.E., 2 i26&n, 128 Youth, Modestly Feast, see P., 2 WORKS: Yunosha Yalta, 53 4 Ypsilanti / Hypselantes / Russ. Yankee, 3 m Ipsilanti, Prince Alexander, Yanovski, N. M.: Noviy slovo*55O-i> 3 3 2 tolkovateV (New Dictionary), 2 Ypsilanti, Prince Demetrius, io6 8 2 33 > 3 6 ° Ya pamyatnik sebe vozdvig, see P., WORKS: "Exegi monumenYudin, Pavel Mihaylovich, 886 tum" Yu le Grand et Confucius, see Ya pomnyu chudnoe mgnoven'e, Le Cleri see P., WORKS Yuliya / Julie de Wolmar, see Yaropolk i Oleg, see Ozerov Wolmar, Julie de Yaroslav the Wise (Mudri'y), Yunosha, skromno piruy, see P., 8 26i, 271 WORKS

IOJ

Index Yurov, Aleksey, 3429, 431 Yushnevski, General A. P., 8 359> 3 6 2 Yuzefovich, M. V., 8 3i2

Zavadovski, Countess Elena Mihaylovna, '177 Zedechias, 2 5i4 Zemfira, 3 i55; see also P., WORKS: Tsigani

Zachem tvoy divniy karandash, see P., WORKS

Zadeck, Martin, *214, 215, 318, 2 l6 3 > 5°3> 514-16, 519-20 Zadek / Zadeka, Martin, sec Zadeck Zadock, 2 5i4 Zaharino / Zaharovo, 22O5, 3 n6 Zakrevski, Countess Agrafena Fyodorovna, 3 i75, 176 zal I zala / zalo (Fr. salle), J388,

Zemfira's Song, 3 155-7, 5 2 4 Zenger, T. G., see TsyavlovskiZenger, T. Zephyrina, see Vetrana Zetulba, 286; see also Didelot: Caliph of Bagdad Zeus, ^ 6 , 331, 256, 539, 3 3oi, 348 Zhandr / Gendre, Andrey Andreevich, 2228, 8 i 8 Zhdanov, I. N., 2246n Zheleznaya, Mt., 3284 Zhenih, see P., WORKS

Zhirkevich, I. S., 3323 2 Zhivopisnoe obozrenie (Graphic 54 Zamok SmaVgoVm, see Zhu- Survey), 244O kovski Zhukovski, Vasiliy Andreevich, 2 Za-Ouald,8439, 441,442 4, 32, 42, 201, 2 i5 & n, 20, ^5. 29, 50, 83, 137, 158, 228, Zapadniki, see Westerners 230? 255, 256, 312, 330-1, Zapiski, see Sobolevski; Vigel; 333> 427> 447> 45> 45i, 471* Yakushkin 3 Zapiski moey zhizni, see Grech 488-9, 500-1, i 3 , 14, 49, 54, Zapiski o Pushkine i pis^ma, see 101, 139, 140, 142, 144, 1458, 154, 171, 172, 173, 196, P., PUSHKINIANA: Memoirs on 207, 210, 211, 223, 357, 489, Pushkin (Pushchin) °? 525; Ahill (Achilles), Zapiski otdela rukopisey (Me- 49 2 i9i; K Imperatoru Aleksmoirs of Division of Manuandru (To Emperor Alexanscripts), 2456n der I), 2483; Kolovratno kur'Zapisnaya knizhka, see oznaya stsena (Whirlingly / Bartenev Vicissitudinously Curious Zappi, G. B. F., a i83 Scene), 2 49i; Lenora, '152; Zarema, ^ 2 9 ; see also P., Lesnoy tsar* (Forest King), WORKS: Bahchisarayskiy 2 235; Lyudmila, 8153; Mefontan chti (Fancies), 8 28; Miliy son Zarena, 3 i2 3; see also Bobrov: (Winsome Dream), 8 2 i i ; Pe~ Tavrida 1 vets (The Bard), 875~6; SeVZaretski (EO), 2j, 46, 229, skoe kladbishche (Country 230, 231, 239, 240, 243, 259, 3 *5i>*7> 9> i5- l 6 > i9>4°> 228, Churchyard), 83; Stranstvuyushchiy zhid (The Wander5*7> 520 ing Jew), 2357; Svetlana, 1 20i, zateya ("scheme," "enter2 i5n, 330-1, 488-9,498, 500prise"), 1388, 2 2 9 7 J > SJOJ 8l55> 1 7 2 ; To Goethe, 2 Zavadovski, Count A. P., 88, 89 IO8

Index 2

255; Ullin i ego doch1 (Ullin and His Daughter), 2255; Undina, starinnaya povest* (Undine, an Ancient Tale), 3 97; Zamok SmaVgoVm (Smaylhome Castle), 8145-6 Zhurnal Hi podyonnaya zapiska, see Peter I the Great Zhurnal ministerstva narodnovo prosveshcheniya (Journal of the Ministry of Public Education), 2458n, 8313 "Zima" ( = EO, Five : 11), 2 4 9 i Zima: Chto delat\ see P., WORKS

Zima nedaroni zlitsya, see Tyutchev Zimnee utro, see P., WORKS

Zininie karikaturi, see Vyazemski Zimniy vecher, see P., WORKS Zizi (EO), ^ 1 9 , 2 534-5, 536> 8298 Zmeinaya, Mt., 8284 Zoilus, 8 i i 4 , 120 Zubov, 2 i27, 845 Zuleika et Se'ZiVn, see Byron: Bride of Abydos, The Zuyovo, 22O7 Zvenigorod, 22O5, 3 n 6 Zven'ya (Catenae), 238n, 84, 296, 3 0 3 ^ 351, 357, 434, 8 7 n, 2 3 n, 245, 247n Zvyozdochka (Little Star), 2365, 366; see also Polyarnaya zvezda