EUGENE ONÉGUINE [Onegin]:
A Romance of Russian Life in Verse
By Alexander Pushkin
Translated from the Russian by Lieut.-Col. [Henry] Spalding
London: Macmillan and Co.
1881
PREFACE
Eugene Onéguine, the chief poetical work of Russia’s greatest poet, having
been translated into all the principal languages of Europe except our own,
I hope that this version may prove an acceptable contribution to
literature. Tastes are various in matters of poetry, but the present work
possesses a more solid claim to attention in the series of faithful
pictures it offers of Russian life and manners. If these be compared with
Mr. Wallace’s book on Russia, it will be seen that social life in that
empire still preserves many of the characteristics which distinguished it
half a century ago—the period of the first publication of the latter
cantos of this poem.
Many references will be found in it to our own country and its literature.
Russian poets have carefully plagiarized the English— notably
Joukóvski. Pushkin, however, was no plagiarist, though undoubtedly his
mind was greatly influenced by the genius of Byron— more especially
in the earliest part of his career. Indeed, as will be remarked in the
following pages, he scarcely makes an effort to disguise this fact.
The biographical sketch is of course a mere outline. I did not think a
longer one advisable, as memoirs do not usually excite much interest till
the subjects of them are pretty well known. In the “notes” I have
endeavored to elucidate a somewhat obscure subject. Some of the poet’s
allusions remain enigmatical to the present day. The point of each sarcasm
naturally passed out of mind together with the society against which it
was levelled. If some of the versification is rough and wanting in “go,” I
must plead in excuse the difficult form of the stanza, and in many
instances the inelastic nature of the subject matter to be versified.
Stanza XXXV Canto II forms a good example of the latter difficulty, and is
omitted in the German and French versions to which I have had access. The
translation of foreign verse is comparatively easy so long as it is
confined to conventional poetic subjects, but when it embraces abrupt
scraps of conversation and the description of local customs it becomes a
much more arduous affair. I think I may say that I have adhered closely to
the text of the original.
The following foreign translations of this poem have appeared:
1. French prose. Oeuvres choisis de Pouchekine. H. Dupont. Paris, 1847.
2. German verse. A. Puschkin’s poetische Werke. F. Bodenstedt. Berlin,
1854.
3. Polish verse. Eugeniusz Oniegin. Roman Aleksandra Puszkina. A.
Sikorski. Vilnius, 1847.
4. Italian prose. Racconti poetici di A. Puschkin, tradotti da A. Delatre.
Firenze, 1856.
London, May 1881.
CONTENTS
MON PORTRAIT
Written by the poet at the age of 15.
Note: Russian proper names to be pronounced as in French (the nasal sound
of m and n excepted) in the following translation. The accent, which is
very arbitrary in the Russian language, is indicated unmistakably in a
rhythmical composition.
A SHORT BIOGRAPHICAL NOTICE OF ALEXANDER PUSHKIN.
Alexander Sergévitch Pushkin was born in 1799 at Pskoff, and was a scion
of an ancient Russian family. In one of his letters it is recorded that no
less than six Pushkins signed the Charta declaratory of the election of
the Románoff family to the throne of Russia, and that two more affixed
their marks from inability to write.
In 1811 he entered the Lyceum, an aristocratic educational establishment
at Tsarskoe Selo, near St. Petersburg, where he was the friend and
schoolmate of Prince Gortchakoff the Russian Chancellor. As a scholar he
displayed no remarkable amount of capacity, but was fond of general
reading and much given to versification. Whilst yet a schoolboy he wrote
many lyrical compositions and commenced Ruslan and Liudmila, his
first poem of any magnitude, and, it is asserted, the first readable one
ever produced in the Russian language. During his boyhood he came much
into contact with the poets Dmitrieff and Joukóvski, who were intimate
with his father, and his uncle, Vassili Pushkin, himself an author of no
mean repute. The friendship of the historian Karamzine must have exercised
a still more beneficial influence upon him.
In 1817 he quitted the Lyceum and obtained an appointment in the Foreign
Office at St. Petersburg. Three years of reckless dissipation in the
capital, where his lyrical talent made him universally popular, resulted
in 1818 in a putrid fever which was near carrying him off. At this period
of his life he scarcely slept at all; worked all day and dissipated at
night. Society was open to him from the palace of the prince to the
officers’ quarters of the Imperial Guard. The reflection of this mode of
life may be noted in the first canto of Eugene Onéguine and the
early dissipations of the “Philosopher just turned eighteen,”— the
exact age of Pushkin when he commenced his career in the Russian capital.
In 1820 he was transferred to the bureau of Lieutenant-General Inzoff, at
Kishineff in Bessarabia. This event was probably due to his composing and
privately circulating an “Ode to Liberty,” though the attendant
circumstances have never yet been thoroughly brought to light. An
indiscreet admiration for Byron most likely involved the young poet in
this scrape. The tenor of this production, especially its audacious
allusion to the murder of the emperor Paul, father of the then reigning
Tsar, assuredly deserved, according to aristocratic ideas, the deportation
to Siberia which was said to have been prepared for the author. The
intercession of Karamzine and Joukóvski procured a commutation of his
sentence. Strangely enough, Pushkin appeared anxious to deceive the public
as to the real cause of his sudden disappearance from the capital; for in
an Ode to Ovid composed about this time he styles himself a “voluntary
exile.” (See Note 4 to this volume.)
During the four succeeding years he made numerous excursions amid the
beautiful countries which from the basin of the Euxine—and amongst
these the Crimea and the Caucasus. A nomad life passed amid the beauties
of nature acted powerfully in developing his poetical genius. To this
period he refers in the final canto of Eugene Onéguine (st. v.),
when enumerating the various influences which had contributed to the
formation of his Muse:
During these pleasant years of youth he penned some of his most delightful
poetical works: amongst these, The Prisoner of the Caucasus, The
Fountain of Baktchiserai, and the Gipsies. Of the two former it
may be said that they are in the true style of the Giaour and the
Corsair. In fact, just at that point of time Byron’s fame—like
the setting sun—shone out with dazzling lustre and irresistibly
charmed the mind of Pushkin amongst many others. The Gipsies is
more original; indeed the poet himself has been identified with Aleko, the
hero of the tale, which may well be founded on his own personal adventures
without involving the guilt of a double murder. His undisguised admiration
for Byron doubtless exposed him to imputations similar to those commonly
levelled against that poet. But Pushkin’s talent was too genuine for him
to remain long subservient to that of another, and in a later period of
his career he broke loose from all trammels and selected a line peculiarly
his own. Before leaving this stage in our narrative we may point out the
fact that during the whole of this period of comparative seclusion the
poet was indefatigably occupied in study. Not only were the standard works
of European literature perused, but two more languages—namely
Italian and Spanish—were added to his original stock: French,
English, Latin and German having been acquired at the Lyceum. To this
happy union of literary research with the study of nature we must
attribute the sudden bound by which he soon afterwards attained the
pinnacle of poetic fame amongst his own countrymen.
In 1824 he once more fell under the imperial displeasure. A letter seized
in the post, and expressive of atheistical sentiments (possibly but a
transient vagary of his youth) was the ostensible cause of his banishment
from Odessa to his paternal estate of Mikhailovskoe in the province of
Pskoff. Some, however, aver that personal pique on the part of Count
Vorontsoff, the Governor of Odessa, played a part in the transaction. Be
this as it may, the consequences were serious for the poet, who was not
only placed under the surveillance of the police, but expelled from the
Foreign Office by express order of the Tsar “for bad conduct.” A letter on
this subject, addressed by Count Vorontsoff to Count Nesselrode, is an
amusing instance of the arrogance with which stolid mediocrity frequently
passes judgment on rising genius. I transcribe a portion thereof:
Count—Your Excellency is aware of the reasons for which, some time
ago, young Pushkin was sent with a letter from Count Capo d’Istria to
General Inzoff. I found him already here when I arrived, the General
having placed him at my disposal, though he himself was at Kishineff. I
have no reason to complain about him. On the contrary, he is much steadier
than formerly. But a desire for the welfare of the young man himself, who
is not wanting in ability, and whose faults proceed more from the head
than from the heart, impels me to urge upon you his removal from Odessa.
Pushkin’s chief failing is ambition. He spent the bathing season here, and
has gathered round him a crowd of adulators who praise his genius. This
maintains in him a baneful delusion which seems to turn his head—namely,
that he is a “distinguished writer;” whereas, in reality he is but a
feeble imitator of an author in whose favour very little can be said
(Byron). This it is which keeps him from a serious study of the great
classical poets, which might exercise a beneficial effect upon his talents—which
cannot be denied him—and which might make of him in course of time a
“distinguished writer.”
The best thing that can be done for him is to remove him hence….
The Emperor Nicholas on his accession pardoned Pushkin and received him
once more into favour. During an interview which took place it is said
that the Tsar promised the poet that he alone would in future be the
censor of his productions. Pushkin was restored to his position in the
Foreign Office and received the appointment of Court Historian. In 1828 he
published one of his finest poems, Poltava, which is founded on
incidents familiar to English readers in Byron’s Mazeppa. In 1829
the hardy poet accompanied the Russian army which under Paskevitch
captured Erzeroum. In 1831 he married a beautiful lady of the Gontchareff
family and settled in the neighbourhood of St. Petersburg, where he
remained for the remainder of his life, only occasionally visiting Moscow
and Mikhailovskoe. During this period his chief occupation consisted in
collecting and investigating materials for a projected history of Peter
the Great, which was undertaken at the express desire of the Emperor. He
likewise completed a history of the revolt of Pougatchoff, which occurred
in the reign of Catherine II. [Note: this individual having personated
Peter III, the deceased husband of the Empress, raised the Orenburg
Cossacks in revolt. This revolt was not suppressed without extensive
destruction of life and property.] In 1833 the poet visited Orenburg, the
scene of the dreadful excesses he recorded; the fruit of his journey being
one of the most charming tales ever written, The Captain’s Daughter.
[Note: Translated in Russian Romance, by Mrs. Telfer, 1875.]
The remaining years of Pushkin’s life, spent in the midst of domestic
bliss and grateful literary occupation, were what lookers-on style “years
of unclouded happiness.” They were, however, drawing rapidly to a close.
Unrivalled distinction rarely fails to arouse bitter animosity amongst the
envious, and Pushkin’s existence had latterly been embittered by
groundless insinuations against his wife’s reputation in the shape of
anonymous letters addressed to himself and couched in very insulting
language. He fancied he had traced them to one Georges d’Anthés, a
Frenchman in the Cavalier Guard, who had been adopted by the Dutch envoy
Heeckeren. D’Anthés, though he had espoused Madame Pushkin’s sister, had
conducted himself with impropriety towards the former lady. The poet
displayed in this affair a fierce hostility quite characteristic of his
African origin but which drove him to his destruction. D’Anthés, it was
subsequently admitted, was not the author of the anonymous letters; but as
usual when a duel is proposed, an appeal to reason was thought to smack of
cowardice. The encounter took place in February 1837 on one of the islands
of the Neva. The weapons used were pistols, and the combat was of a
determined, nay ferocious character. Pushkin was shot before he had time
to fire, and, in his fall, the barrel of his pistol became clogged with
snow which lay deep upon the ground at the time. Raising himself on his
elbow, the wounded man called for another pistol, crying, “I’ve strength
left to fire my shot!” He fired, and slightly wounded his opponent,
shouting “Bravo!” when he heard him exclaim that he was hit. D’Anthés was,
however, but slightly contused whilst Pushkin was shot through the
abdomen. He was transported to his residence and expired after several
days passed in extreme agony. Thus perished in the thirty-eighth year of
his age this distinguished poet, in a manner and amid surroundings which
make the duel scene in the sixth canto of this poem seem almost prophetic.
His reflections on the premature death of Lenski appear indeed strangely
applicable to his own fate, as generally to the premature extinction of
genius.
Pushkin was endowed with a powerful physical organisation. He was fond of
long walks, unlike the generality of his countrymen, and at one time of
his career used daily to foot it into St. Petersburg and back, from his
residence in the suburbs, to conduct his investigations in the Government
archives when employed on the History of Peter the Great. He was a good
swordsman, rode well, and at one time aspired to enter the cavalry; but
his father not being able to furnish the necessary funds he declined
serving in the less romantic infantry. Latterly he was regular in his
habits; rose early, retired late, and managed to get along with but very
little sleep. On rising he betook himself forthwith to his literary
occupations, which were continued till afternoon, when they gave place to
physical exercise. Strange as it will appear to many, he preferred the
autumn months, especially when rainy, chill and misty, for the production
of his literary compositions, and was proportionally depressed by the
approach of spring. (Cf. Canto VII st. ii.)
He usually left St. Petersburg about the middle of September and remained
in the country till December. In this space of time it was his custom to
develop and perfect the inspirations of the remaining portion of the year.
He was of an impetuous yet affectionate nature and much beloved by a
numerous circle of friends. An attractive feature in his character was his
unalterable attachment to his aged nurse, a sentiment which we find
reflected in the pages of Eugene Onéguine and elsewhere.
The preponderating influence which Byron exercised in the formation of his
genius has already been noticed. It is indeed probable that we owe Onéguine
to the combined impressions of Childe Harold and Don Juan
upon his mind. Yet the Russian poem excels these masterpieces of Byron in
a single particular—namely, in completeness of narrative, the plots
of the latter being mere vehicles for the development of the poet’s
general reflections. There is ground for believing that Pushkin likewise
made this poem the record of his own experience. This has doubtless been
the practice of many distinguished authors of fiction whose names will
readily occur to the reader. Indeed, as we are never cognizant of the real
motives which actuate others, it follows that nowhere can the secret
springs of human action be studied to such advantage as within our own
breasts. Thus romance is sometimes but the reflection of the writer’s own
individuality, and he adopts the counsel of the American poet:
But a further consideration of this subject would here be out of place.
Perhaps I cannot more suitably conclude this sketch than by quoting from
his Ode to the Sea the poet’s tribute of admiration to the genius
of Napoleon and Byron, who of all contemporaries seem the most to have
swayed his imagination.
Note: It may interest some to know that Georges d’Anthés was tried by
court-martial for his participation in the duel in which Pushkin fell,
found guilty, and reduced to the ranks; but, not being a Russian subject,
he was conducted by a gendarme across the frontier and then set at
liberty.
EUGENE ONÉGUINE
Pétri de vanité, il avait encore plus de cette espèce d’orgueil, qui fait
avouer avec la même indifference les bonnes comme les mauvaises actions,
suite d’un sentiment de supériorité, peut-être imaginaire.— Tiré
d’une lettre particulière.
[Note: Written in 1823 at Kishineff and Odessa.]