Blackwood's Edinburgh Magazine, Vol 58, No. 357, July 1845

The good remember, and forget the ill.

Feast, then, while we are here, while yet we may:
Hour after hour, alas! Time thins our numbers;
One pines afar, one in the coffin slumbers;
Days fly; Fate looks on us; we fade away;
Bending insensibly to earth, and chilling,
We near our starting-place with many a groan…
Whose lot will be in old age to be filling,
On this Lyceum-day, his cup alone?

Unhappy friend! Amid a stranger race,
Like guest intrusive, that superfluous lingers,
He'll think of us that day, with quivering fingers
Hiding the tears that wet his wrinkled face…
O, may he then at least, in mournful gladness,
Pass with his cup this day for ever dear,
As even I, in exile and in sadness,
Yet with a fleeting joy, have pass'd it here!

In the following lines, the poet has endeavoured to reproduce the impressions made upon his mind by the mountain scenery of the Caucasus; scenery which he had visited with such rapture, and to which his imagination returned with undiminished delight. It has been our aim to endeavour, in our translation, to give an echo, however feeble and imperfect, of the wild and airy freedom of the versification which distinguishes these spirited stanzas. The picture which they contain, rough, sketchy, and unfinished, as it may appear, bears every mark of being a faithful copy from nature – a study taken on the spot; and will therefore, we trust, be not unacceptable to our readers, as calculated to give an idea not only of the vigorous and rapid handling of the poet's pencil, but also of the wild and sublime region – the Switzerland of Russia – which he has here essayed to portray. Of the two furious and picturesque torrents which Púshkin has mentioned in this short poem, Térek is certainly too well known to our geographical readers to need any description of its course from the snow-covered peak of Dariál to the Caspian; and the bold comparison in the last stanza will doubtless be found, though perhaps somewhat exaggerated, not deficient in a kind of fierce Æschylean energy, perfectly in character with the violent and thundering course of the torrent itself: —

Caucasus

Beneath me the peaks of the Caucasus lie,

My gaze from the snow-bordered cliff I am bending;
From her sun-lighted eyry the Eagle ascending
Floats movelessly on in a line with mine eye.
I see the young torrent's first leap towards the ocean,
And the cliff-cradled lawine essay its first motion.
Beneath me the clouds in their silentness go,
The cataract through them in thunder down-dashing,
Far beneath them bare peaks in the sunny ray flashing,
Weak moss and dry shrubs I can mark yet below.
Dark thickets still lower – green meadows are blooming,
Where the throstle is singing, and reindeer are roaming.
Here man, too, has nested his hut, and the flocks
On the long grassy slopes in their quiet are feeding,
And down to the valley the shepherd is speeding,
Where Arágva gleams out from her wood-crested rocks.
And there in his crags the poor robber is hiding,
And Térek in anger is wrestling and chiding.
Like a fierce young Wild Beast, how he bellows and raves,
Like that Beast from his cage when his prey he espieth;
'Gainst the bank, like a Wrestler, he struggleth and plyeth,
And licks at the rock with his ravening waves.
In vain, thou wild River! dumb cliffs are around thee,
And sternly and grimly their bondage hath bound thee.

To those who measure the value of a poem, less by the pretension and ambitiousness of its form, than by the completeness of its execution and the skill with which the leading idea is developed, we think that the graceful little production which we are now about to present to the reader, will possess very considerable interest. It is, it is true, no more important a thing than a mere song; but the naturalness and unity of the fundamental thought, and the happy employment of what is undoubtedly one of the most effective artifices at the command of the lyric writer – we mean repetition – render the following lines worthy of the universal admiration which they have obtained in the original, and may not be devoid of charm in the translation: —

To * * *

Yes! I remember well our meeting,
When first thou dawnedst on my sight,
Like some fair phantom past me fleeting,
Some nymph of purity and light.
By weary agonies surrounded,
'Mid toil, 'mid mean and noisy care,
Long in mine ear thy soft voice sounded,
Long dream'd I of thy features fair.

Years flew; Fate's blast blew ever stronger,
Scattering mine early dreams to air,
And thy soft voice I heard no longer —
No longer saw thy features fair.
In exile's silent desolation
Slowly dragg'd on the days for me —
Orphan'd of life, of inspiration,
Of tears, of love, of deity.

I woke – once more my heart was beating —
Once more thou dawnedst on my sight,
Like some fair phantom past me fleeting,
Some nymph of purity and light.
My heart has found its consolation —
All has revived once more for me —
And vanish'd life, and inspiration,
And tears, and love, and deity.

The versification of the following little poem is founded on a system which Púshkin seems to have looked upon with peculiar favour, as he has employed the same metrical arrangement in by far the largest proportion of his poetical works. So gracefully and so easily, indeed, has he wielded this metre, and with so flexible, so delicate, and so masterly a hand, that we could not refrain from attempting to imitate it in our English version; for we considered that it is impossible to say how much of the peculiar character of a poet's writings depends upon the colouring, or rather the touch– if we may borrow a phrase from the vocabulary of the critic in painting – of the metre. Undoubtedly a poet is the best judge not only of the kind, but of the degree of the effect which he wishes to produce upon his reader; and there may be, between the thoughts which he desires to embody, and the peculiar harmonies in which he may determine to clothe those thoughts, analogies and sympathies too delicate for our grosser ears; or, at least, if not too subtle and refined for our ears to perceive, yet far too delicate for us to define, or exactly to appreciate. Moved by this reasoning, we have always preferred to follow, as nearly as we could, the exact versification, and even the most minute varieties of tone and metrical accentuation. Inattention to this point is undoubtedly the stumbling-block of translators in general; of the dangerous consequences of such inattention, it is not necessary to give any elaborate proof. How much, we may ask, does not the poetry of Dante, for instance, lose, by being despoiled of that great source of its peculiar effect springing from the employment of the terza rima! It is in vain to say, that it is enormously difficult to produce the terza rima in English. To translate the "gran padre Alighier" into English worthily, the terza rima must be employed, whatever be the obstacles presented by the dissimilarities existing between the Italian and English languages.

The Mob

"Procul este, profani!"

A Poet o'er his glowing lyre
A wild and careless hand had flung.
The base, cold crowd, that nought admire,
Stood round, responseless to his fire,
With heavy eye and mocking tongue.

"And why so loudly is he singing?"
('Twas thus that idiot mob replied,)
"His music in our ears is ringing;
But whither flows that music's tide?
What doth it teach? His art is madness!
He moves our soul to joy or sadness.
A wayward necromantic spell!