Blackwood's Edinburgh Magazine, Volume 58, Number 358, August 1845

Now Poland's, and now Russia's side.
Which shall stand fast in such commotion,
The haughty Liákh, or faithful Russ?
And shall Slavonic streams meet in a Russian ocean—
Or that dry up? This is the point for us.

Peace, peace! your eyes are all unable
To read our history's bloody table;
Strange in your sight and dark must be
Our springs of household enmity!
To you the Kreml and Praga's tower
Are voiceless all—you mark the fate
And daring of the battle-hour—
And understand us not, but hate …

What stirs ye? Is it that this nation
On Moscow's flaming wall, blood-slaked and ruin-quench'd,
Spurn'd back the insolent dictation
Of Him before whose nod ye blench'd?
Is it that into dust we shatter'd
The Dagon that weigh'd down all earth so wearily?
And our best blood so freely scatter'd
To buy for Europe peace and liberty?

Ye're bold of tongue—but hark, would ye in deed but try it
Or is the hero, now reclined in laurell'd quiet,
Too weak to fix once more Izmáil's red bayonet?
Or hath the Russian Tsar ever in vain commanded?
Or must we meet all Europe banded?
Have we forgot to conquer yet?
Or rather, shall they not, from Perm to Tauris' fountains,
From the hot Colchian steppes to Finland's icy mountains,
From the grey Kreml's half-shatter'd wall,
To far Kathay, in dotage buried—
A steelly rampart close and serried,
Rise—Russia's warriors—one and all?
Then send your numbers without number,
Your madden'd sons, your goaded slaves,
In Russia's plains there's room to slumber,
And well they'll know their brethen's graves!

We are not sure whether we are right in yielding to the temptation of transcribing in these sheets so many of the smaller lyrics and fugitive pieces of our author; and whether that very charm of form and expression which attract so strongly our admiration to the originals, should not have rather tended to deter us from so difficult an attempt as that of transposing them into another language. The chief grace and value of such productions certainly consists less in the quantity or weight of the gold employed in their composition, than in the beauty and delicacy of the image stamped or graven upon the metal; and the critic may object against us, if our critic be in a severe mood (quod Dii avertant boni!) the rashness of the numismatist, who should hope, in recasting the exquisite medals of antique art, to retain—or even imperfectly imitate—the touches of the Ionic or the Corinthian chisel.

True as is the above reasoning with respect to the slighter productions of poetry in all languages, it is peculiarly true when applied to the smaller offspring of Púshkin's muse; and were we not sufficiently convinced of the danger and the arduousness of our attempt, by our own experience and by analogy, we should have found abundant reason for diffidence in the often repeated counsels of Russians, who all unite in asserting that there is something so peculiarly delicate and inimitable in the diction and versification of these little pieces, as to be almost beyond the reach of a foreigner's appreciation, and, consequently, that any attempt at imitation must, à fortiori, of necessity be a failure. Notwithstanding all this, and despite many sinister presages, we have obstinately persevered in our determination to clothe in an English dress those pieces, great and small—gems or flowers, productions perfumed by grace of diction, or heavy with weight of thought—which struck us most forcibly among the poems of our author; and we hope that our boldness, if not our success, may be rewarded with the approbation of such of our countrymen as may be curious to know something of the tone and physiognomy of the Russian literature.

Presentiment

Clouds anew have gather'd o'er me,
Sad and grim, and dark and still;
Black and menacing before me
Glooms the Destiny of Ill …

In contempt with fate contending,
Shall I bring, to meet her flood,
The enduring and unbending
Spirit of my youthful blood?

Worn with life-storm, cold and dreary,
Calmly I await the blast,
Saved from wreck, yet wet and weary,
I may find a port at last.

See, it comes—the hour thou fearest!
Hour escapeless! We must part!
Haply now I press thee, dearest,
For the last time, to my heart.

Angel mild and unrepining,
Gently breathe a fond farewell—
Thy soft eyes, through tear-drops shining,
Raised or lower'd—shall be my spell:

And thy memory abiding,
To my spirit shall restore
The hope, the pride, the strong confiding
Of my youthful days once more.

Perhaps our readers would like to see a Russian Sonnet. To many the name of such a thing will seem a union of two contradictory terms; but, nevertheless, here is a sonnet, and not a bad one either.

The Madonna

With mighty pictures by the Great of Old
Ne'er did I long to deck my cell, intending
That visitors should gape and peer, commending
In Connoisseurship's jargon quaint and cold.

One picture only would I aye behold
On these still walls, 'mid these my toils unending;
One, and but one: From mists of cloudy gold
The Virgin Mother, o'er her Babe-God bending—

Her eyes with grandeur, His with reason bright—
Should calm look down, in glory and in light,
While Sion's palm beside should point to heaven.
And God hath granted this fond prayer of mine:
Thou, my Madonna, thou to me wert given,
Divinest form of beauty most divine!

The last production which we shall present in our present bundle of samples, selected from Púshkin's lyrics, is the irregular ode entitled André Chénier. This composition is founded upon one of the most well-known and tragic episodes of the first French Revolution: the execution of the young and gifted poet whose name forms the title of the lines. The story of Chénier's imprisonment and untimely death, as well as the various allusions to the beautiful verses addressed by him to his fellow-prisoner, La Jeune Captive, to his calm bearing on the scaffold, and to the memorable exclamation which was made in the last accents ever uttered by his lips; all these things are, doubtless, sufficiently familiar to our readers; or, if not, a single reference, either to any of the thousand books describing that most bloody and yet powerfully attractive period of French history—nay, the simple turning to the article Chénier, in any biographical dictionary, will be amply sufficient to recall to the memory the principal facts of the sad story which Púshkin has made the subject of his noble elegy. It will be therefore unnecessary for us to detail the life and death of the hero of the poem, and we shall only throw together, in these short preliminary remarks, the few quotations and notes appended by the Russian poet to his work. These will not be found of any very formidable extent; and as the poem itself is not of a considerable length, we trust that the various passages, which these quotations are adduced to illustrate, will be sufficiently perceptible, without our submitting to the necessity of appending them in the form of marginal annotations or foot-notes, a necessity which would force us to load the text with those unsightly appendages to books in general, and to poetry in particular—the asterisks and daggers of marginal reference.