Eugene Onegin, Alexander Pushkin [best books to read for teens TXT] 📗

the most interesting productions of the poet. The former line indicates the Prisoner of the Caucasus, the latter, The Fountain of Baktchiserai. The Salguir is a river of the Crimea. ↩

Odessa, December 1823. ↩

The barshtchina was the corvée, or forced labour of three days per week rendered previous to the emancipation of 1861 by the serfs to their lord.

The obrok was a species of poll-tax paid by a serf, either in lieu of the forced labour or in consideration of being permitted to exercise a trade or profession elsewhere. Very heavy obroks have at times been levied on serfs possessed of skill or accomplishments, or who had amassed wealth; and circumstances may be easily imagined which, under such a system, might lead to great abuses. ↩

The neighbours complained of Onegin’s want of courtesy. He always replied da or nyet, yes or no, instead of das or nyets⁠—the final s being a contraction of sudar or sudarinia, i.e. sir or madam. ↩

From the lay of the Russalka, i.e. mermaid of the Dnieper. ↩

The Russian annotator remarks: “The most euphonious Greek names, e.g. Agathon, Philotas, Theodora, Thekla, etc., are used amongst us by the lower classes only.” ↩

The serfs destined for military service used to have a portion of their heads shaved as a distinctive mark. ↩

The foregoing stanza requires explanation. Russian pancakes or blini are consumed vigorously by the lower orders during the Carnival. At other times it is difficult to procure them, at any rate in the large towns.

The Russian peasants are childishly fond of whirligigs, which are also much in vogue during the Carnival.

“Christmas Carols” is not an exact equivalent for the Russian phrase. Podbliudni pessni, are literally “dish songs,” or songs used with dishes (of water) during the sviatki or Holy Nights, which extend from Christmas to Twelfth Night, for purposes of divination. Reference will again be made to this superstitious practice, which is not confined to Russia. See Note 62.

“Song and dance,” the well-known khorovod, in which the dance proceeds to vocal music.

“Lovage,” the Levisticum officinalis, is a hardy plant growing very far north, though an inhabitant of our own kitchen gardens. The passage containing the reference to the three tears and Trinity Sunday was at first deemed irreligious by the Russian censors, and consequently expunged.

Kvass is of various sorts: there is the common kvass of fermented rye used by the peasantry, and the more expensive kvass of the restaurants, iced and flavoured with various fruits.

The final two lines refer to the Tchin, or Russian social hierarchy. There are fourteen grades in the Tchin assigning relative rank and precedence to the members of the various departments of the State, civil, military, naval, court, scientific and educational. The military and naval grades from the 14th up to the 7th confer personal nobility only, whilst above the 7th hereditary rank is acquired. In the remaining departments, civil or otherwise, personal nobility is only attained with the 9th grade, hereditary with the 4th. ↩

A play upon the word venetz, crown, which also signifies a nimbus or glory, and is the symbol of marriage from the fact of two gilt crowns being held over the heads of the bride and bridegroom during the ceremony. The literal meaning of the passage is therefore: his earthly marriage was dissolved and a heavenly one was contracted. ↩

The fortress of Otchakoff was taken by storm on the 18th December 1788 by a Russian army under Prince Potemkin. Thirty thousand Turks are said to have perished during the assault and ensuing massacre. ↩

Odessa and Mikhailovskoe, 1824. ↩

“Svetlana,” a short poem by Joukóvski, upon which his fame mainly rests. Joukóvski was an unblushing plagiarist. Many eminent English poets have been laid under contribution by him, often without going through the form of acknowledging the source of inspiration. Even the poem in question cannot be pronounced entirely original, though its intrinsic beauty is unquestionable. It undoubtedly owes its origin to Burger’s poem “Leonora,” which has found so many English translators. Not content with a single development of Burger’s ghastly production the Russian poet has directly paraphrased “Leonora” under its own title, and also written a poem “Liudmila” in imitation of it. The principal outlines of these three poems are as follows: A maiden loses her lover in the wars; she murmurs at Providence and is vainly reproved for such blasphemy by her mother. Providence at length loses patience and sends her lover’s spirit, to all appearances as if in the flesh, who induces the unfortunate maiden to elope. Instead of riding to a church or bridal chamber the unpleasant bridegroom resorts to the graveyard and repairs to his own grave, from which he has recently issued to execute his errand. It is a repulsive subject. “Svetlana,” however, is more agreeable than its prototype “Leonora,” inasmuch as the whole catastrophe turns out a dream brought on by “sorcery,” during the sviatki or Holy Nights (see Canto V st. x), and the dreamer awakes to hear the tinkling of her lover’s sledge approaching. “Svetlana” has been translated by Sir John Bowring. ↩

The heroes of two romances much in vogue in Pushkin’s time: the former by Madame Cottin, the latter by the famous Madame Krudener. The frequent mention in the course of this poem of romances once enjoying a European celebrity but now consigned to oblivion, will impress the reader with the transitory nature of merely mediocre literary reputation. One has now to search for the very names of most of the popular authors of