all their fortresses in Piedmont; of the victory of Marengo, to force the Imperialists to abandon the whole strongholds of Lombardy as far as the Adige. The possession of the single fortress of Mantua in 1796, enabled the Austrians to stem the flood of Napoleon's victories, and gain time to assemble four different armies for the defence of the monarchy. The case of half a million of men, flushed by victory, and led by able and experienced leaders assailing a single state, is the exception, not the rule. Circumstances, therefore, of paramount importance and irresistible force, compelled Marlborough to fix the war in Flanders, and convert it into one of sieges and blockades. In entering upon such a system of hostility, sure, and comparatively free from risk, but slow and extremely costly, the alliance ran the greatest risk of being shipwrecked on the numerous discords, jealousies, and separate interests, which, in almost every instance recorded in history, have proved fatal to a great confederacy, if it does not obtain decisive success at the outset, before these seeds of division have had time to come to maturity. With what admirable skill and incomparable address Marlborough kept together the unwieldy alliance will hereafter appear. Never was a man so qualified by nature for such a task. He was courtesy and grace personified. It was a common saying at the time, that neither man nor woman could resist him. "Of all the men I ever knew," says no common man, himself a perfect master of the elegances he so much admired, "the late Duke of Marlborough possessed the graces in the highest degree, not to say engrossed them. Indeed he got the most by them, and contrary to the custom of profound historians, who always assign deep causes for great events, I ascribe the better half of the Duke of Marlborough's greatness to those graces. He had no brightness, nothing shining in his genius. He had most undoubtedly an excellent plain understanding, and sound judgment. But these qualities alone would probably have never raised him higher than they found him, which was page to James the Second's queen. But there the grace protected and promoted him. His figure was beautiful, but his manner was irresistible, either by man or woman. It was by this engaging, graceful manner, that he was enabled, during all his war, to connect the various and jarring powers of the Grand Alliance, and to carry them on to the main object of the war, notwithstanding their private and separate views, jealousies, and wrongheadedness. Whatever court he went to (and he was often obliged to go to restive and refractory ones) he brought them into his measures. The pensionary Heinsius, who had governed the United Provinces for forty years, was absolutely governed by him. He was always cool, and nobody ever observed the least variation in his countenance; he could refuse more gracefully than others could grant, and those who went from him the most dissatisfied as to the substance of their business, were yet charmed by his manner, and, as it were, comforted by it."* *Lord Chesterfield's Letters, Lord Mahon's edition, i. 221-222. PÚSHKIN, THE RUSSIAN POET. No. II. SPECIMENS OF HIS LYRICS. TRANSLATED FROM THE ORIGINAL RUSSIAN, BY THOMAS B. SHAW, B.A. OF CAMBRIDGE, ADJUNCT PROFESSOR OF ENGLISH LITERATURE IN THE IMPERIAL ALEXANDER LYCEUM, TRANSLATOR OF "THE HERETIC," &c. &c. IN offering to the public the following specimens of Pushkin's poetry in an English dress, the translator considers it part of his duty to make a few remarks. The number and extent of these observations, he will, of course, confine within the narrowest limits consistent with his important duty of making his countrymen acquainted with the style and character of Russia's greatest poet; a duty which he would certainly betray, were he to omit to explain the chief points indispensable for the true understanding, not only of the extracts which he has selected as a sample of his author's productions, but of the general tone and character of those productions, viewed as a whole. The translator wishes it therefore to be distinctly understood that he by no means intends to offer, in the character of a complete poetical portrait, the few pieces contained in these pages, but rather as an attempt, however imperfect, to daguerreotype-by means of the most faithful translation consistent with ease-one of the various expressions of Pushkin's literary physiognomy; to represent one phase of his developement. That physiognomy is a very flexible and a varying one; Pushkin (considered only as a poet) must be allowed to have attained very high eminence in various walks of his sublime art; his works are very numerous, and as diverse in their form as in their spirit; he is sometimes a romantic, sometimes a legendary, sometimes an epic, sometimes a satiric, and sometimes a dramatic poet;-in most, if not in all, of these various lines he has attained the highest eminence as yet recognised by his countrymen; and, consequently, whatever impression may be made upon our readers by the present essay at a transfusion of his works into the English language, will be necessarily a very imperfect one. In the prosecution of the arduous but not unprofitable enterprise which the translator set before himself three years ago-viz. the communication to his countrymen of some true ideas of the scope and peculiar character of Russian literature-he met with so much discouragement in the unfavourable predictions of such of his friends as he consulted with respect to the feasibility of his project, that he may be excused for some degree of timidity in offering the results of his labours to an English public. So great, indeed, was that timidity, that not even the very flattering reception given to his two first attempts at prose translation, has entirely succeeded in destroying it; and he prefers, on the present occasion, to run the risk of giving only a partial and imperfect reflection of Pushkin's intellectual features, to the danger that might attend a more ambitious and elaborate version of any of the poet's longer works. Pushkin is here presented solely in his lyrical character; and, it is trusted, that, in the selection of the compositions to be translated-selections made from a very large number of highly meritorious works-due attention has been paid not only to the intrinsic beauty and merit of the pieces chosen, but also to the important consideration which renders indispensable (in cases where we find an embarras de richesses, and where the merit is equal) the adoption of such specimens as would possess the greatest degree of novelty for an English reader. The task of translating all Pushkin's poetry is certainly too dignified a one, not to excite our ambition; and it is meditated, in the event of the accompanying versions finding in England a degree of approbation sufficiently marked to indicate a desire for more specimens, to extend our present labours so far, as to admit passages of the most remarkable merit from Púshkin's longer works; and, perhaps, even complete versions of some of the more celebrated. Should, therefore, the British public give the fiat of its approbation, we would still further contribute to its knowledge of the great Russian author, by publishing, for example, some of the more remarkable places in the poem of "Evgenii Oniégin," the charming "Gypsies," scenes and passages from the tragedy of "Bóris Godunóff," the "Prisoner of the Caucasus," "Mazépa," &c. &c. With respect to the present or lyrical specimens, we shall take the liberty to make a few remarks, having reference to the principles which have governed the translator in the execution of the versions; and we shall afterwards preface each poem with a few words of notice, such as may appear to be rendered necessary either by the subject or by the form of the composition itself. Of the poetical merit of these translations, considered as English poems, their writer has no very exalted idea; of their faithfulness as versions, on the contrary, he has so deep a conviction, that he regrets exceedingly the fact, that the universal ignorance prevailing in England of the Russian language, will prevent the possibility of that important merit-strict fidelity-being tested by the British reader. Let the indulgent, therefore, remember, if we have in any case left an air of stiffness and constraint but too perceptible in our work, that this fault is to be considered as a sacrifice of grace at the altar of truth. It would have been not only possible, but easy, to have spun a collection of easy rhymes, bearing a general resemblance to the vigorous and passionate poetry of Pushkin; but this would not have been a translation, and a translation it was our object to produce. Bowring's Russian Anthology (not to speak of his other volumes of translated poetry) is a melancholy example of the danger of this attractive but fatal system; while the names of Cary, of Hay, and of Merivale, will remain as a bright encouragement to those who have sufficient strength of mind to prefer the "strait and narrow way" of masterly translation, to the "flowery paths of dalliance" so often trodden by the paraphraser. In all cases, the metre of the original, the musical movement and modulation, has, as far as the translator's ear enabled him to judge, been followed with minute exactness, and at no inconsiderable expense, in some cases, of time and labour. It would be superfluous, therefore, to state, that the number of lines in the English version is always the same as in the original. It has been our study, wherever the differences in the structure of the two languages would permit, to include the same thoughts in the same number of lines. There is also a peculiarity of the Russian language which frequently rendered our task still more arduous; and the conquest of this difficulty has, we trust, conferred upon us the right to speak of our triumph without incurring the charge of vanity. We allude to the great abundance in the Russian of double terminations, and the consequent recurrence of double rhymes, a peculiarity common also to the Italian and Spanish versification, and one which certainly communicates to the versification of those countries a character so marked and peculiar, that no translator would be justified in neglecting it. As it would be impossible, without the use of Russian types, to give our readers an example of this from the writings of Pushkin, and as they would be unable to pronounce such a quotation even if they saw it, we will give an illustration of what we mean from the Spanish and the Italian. The first is from the fourth book of the Galatea of Cervantes "Venga á mirar á la pastora mia Quien quisiere contar de gente en gente Que vió otro sol, que daba luz al dia Mas claro, que el que sale del oriente," &c.; and the second from Chiabrera's sublime Ode on the Siege of Vienna— "E fino a quanto inulti Sian, Signore, i tuoi servi? E fino a quanto Orgogliosa n'andrà l'empia baldanza? Dov'è, dov'è, gran Dio, l'antico vanto Di tua alta possanza?" &c. &c. In the two passages here quoted, it will be observed that all the lines end with two syllables, in both of which the rhyme is engaged; and an English version of the above verses, however faithful in other respects, which should omit to use the same species of double termination, and content itself with the monosyllable rhyme, would indubitably lose some of the harmony of the original. These double rhymes are far from abundant in our monosyllabic language; but we venture to affirm, that their conscientious employment would be found so valuable, as to amply repay the labour and difficulty attending their search. We trust that our readers will pardon the apparent technicality of these remarks, for the sake of the consideration which induced us to make them. In all translation, even in the best, there is so great a loss of spirit and harmony, that the conscientious labourer in this most difficult and ungrateful art, should never neglect even the most trifling precaution that tends to hinder a still further depreciation of the gold of his original; not to mention the principle, that whatever it is worth our while to do at all, it is assuredly worth our while to do as well as we can. The first specimen of Pushkin's lyric productions which we shall present to our countrymen, done into English," as Jacob Tonson was wont to phrase it, "by an eminent hand," is a production considered by the poet's critics to possess the very highest degree of merit in its peculiar style. We have mentioned some details respecting the nature and history of the Imperial Lyceum of Tsarskoë Seló, in which Pushkin was educated, and we have described the peculiar intensity of feeling with which all who quitted its walls looked back upon the happy days they had spent within them, and the singular ardour and permanency of the friendships contracted beneath its roof. On the anniversary of the foundation (by the Emperor Alexander) of the institution, it is customary for all the "old Lyceans to dine together, in the same way as the Eton, Harrow, or Rugby men are accustomed to unite once a-year in honour of their school. On many of these occasions Pushkin contributed to the due celebration of the event by producing poems of various lengths, and different degrees of merit; we give here the best of these. It was written during the poet's residence in the government of Pskoff, and will be found, we think, a most beautiful and touching embodiment of such feelings as would be suggested in the mind of one obliged to be absent from a ceremony of the nature in question. Of the comrades whose names Púshkin has immortalized in these lines, it is only necessary to specify that the first, Korsákoff, distinguished among his youthful comrades for his musical talents, met with an early death in Italy; a circumstance to which the poet has touchingly alluded. Matiúshkin is now an admiral of distinction, and is commanding the Russian squadron in the Black Sea. Of the two whom he mentions as having passed the anniversary described in this poem (October 19, 1825) in his company, the first was Pústchin, since dead, and the second the Prince Gortchakoff, whom he met by accident, travelling in the neighbourhood of his (the poet's) seclusion. Our readers cannot fail, we think, to be struck with the beautiful passage consecrated to his friendship with Délvig; and the only other personal allusion which seems to stand in need of explanation, is that indicated by the name Wilhelm, towards the end of the poem. This is the Christian name of his friend Küchelbecher, since dead, and whose family name was hardly harmonious enough to enter Pushkin's line, and was therefore omitted on the Horatian principle-" versu quod dicere nolim." We now hasten to present the lines. OCTOBER 19, 1825. The woods have doff'd their garb of purply gold; Ay, I am very sad; no friend is here With whom to pledge a long unlooked-for meeting, I drink alone; ev'n now, on Neva's shore, He is not come, he of the curled hair, That some sad wanderer might read it, weeping- Art thou too seated in the friendly ring, Thrice happy voyage!.... With a jest thou leapedst Well hast thou kept, 'neath many a stranger sky, |