Various - Blackwood's Edinburgh Magazine, Volume 58, Number 358, August 1845 стр 8.

To the Sea

The following lines we think elegantly and prettily expressed.

Echo

There are few things more curious than to observe how universally the same legends are to be found in the popular traditions of very distant ages and nations, under circumstances which render it extremely difficult for the most acute investigator to trace how, when, and where they were communicated, or even to give any plausible account of the origin of the legend itself. So difficult indeed is this task, that we are almost driven to account for so singular a phenomenon, by attributing to the human mind an exceedingly small endowment of originality; and by supposing that, however the details of these ancient traditions may have been modified and adapted to suit the peculiar nature, the scenery of each particular country, or the manners, customs, and character of its inhabitants—the fundamental idea, and the leading incident, remaining the same under the most dissimilar conditions of time and place, must have a common and a single origin. This doctrine, if carried to its legitimate consequences, would lead us to consider the number of the original legends common to all times and many races, as singularly limited; and that a very short list indeed might be made to embrace the root-stories—the uhrsagen, as a German might call them. And really when we reflect that many of the most threadbare jests which figure in the recondite tomes of Mr Joseph Miller are to be found, crystallized in attic salt, in the pages of Hierocles, and represented as forming part of the "Hundred merye Talis and Jeastis" which delectated the citizens of ancient Greece; when we reflect, we repeat, that the same buffooneries, still retailed by after-dinner cits in the Sunday shades of Clapham or Camden-Town, may have raised the easy laugh of the merry Greek beneath the portico and in the Agora; it makes us entertain a very humble idea respecting the amount of creative power given to man, even for the production of so small a matter as a pleasantry, not to speak of pleasantries so very small as some of these mysterious and time-honoured jokes. If we remember, still further, that the pedigree of these trifling insects of the brain, these children of the quip, does not stop even in the venerable pages of Hierocles—that Greek "Joe"—but loses itself, like a Welsh genealogy in the darkest gloom of antiquity, we ought not to be surprised that ancient legends, being often shattered fragments and dim shadowings-forth of mystic and hierophantic philosophy, should be found, with many of their principal features unaltered, in the popular traditions of different ages and countries.

The tale embodied in the "Lay of Olég the Wise," is identical in all its essentials with the legend still extant upon the tomb of an ancient Kentish family, in the church of (we believe) Minster, in the Isle of Sheppey. The inimitable Ingoldsby has made the adventure the subject of one of his charming "Legends," and has shown how the Knight came by his death in consequence of wounding his foot in the act of contemptuously kicking the fatal horse's skull, thus accomplishing the prophecy many years after the death of the faithful steed. The reader will perceive, that in the Russian form of the legend the hero dies by the bite of a serpent, and not by the less imposing consequences of mortification in the toe; but the identity of the leading idea in the two versions of the old tale, is too striking not to be remarked. It is only necessary to observe that Olég is still one of the popular heroes of Russian legendary lore, and that the feast, to which allusion is made at the end of the poem, is the funeral banquet customary among the ancient Slavons at the burial of their heroes; and resembling the funeral games of the heroic age in Greece. The Slavonians, however, had the habit, on such occasions, of sacrificing a horse over the tumulus or barrow of the departed brave. The Perún mentioned in the stanzas was the War-God of this ancient people.

The Lay of the Wise Olég

We know not whether our readers will be attracted or repelled by the somewhat exaggerated tone of thought, and the strangeness and novelty of the metre, in the following little piece. The gloom of the despondency expressed in the lines is certainly Byronian—and haply "something more." It is to be hoped, however, that they may find favour in the eyes of the English reader—always so "novitatis avidus,"—if only on the score of the singularity of the versification:—

Remembrance

There is another little composition in the same key.

"I have outlived the hopes that charm'd me."

The following is a somewhat new version of the famous "E pur si muove" of Galileo.

Motion

In the spirited lines addressed to "The Slanderers of Russia," Púshkin has recorded a sufficiently conclusive reply to the hackneyed calumnies against his country, repeated with such a nauseating uniformity, and through so long a period of time, in wretched verse, or more wretched prose, in the leading articles of obscure provincial newspapers, and on the scaffolding of obscure provincial hustings. Whatever may be the merits or demerits, in a moral point of view, of the part played by Russia in the events alluded to by the poet, events which form the stock subject of the scribblings and spoutings we speak of, these tiresome tirades do not come with a very good grace from either England or France. There is a very excellent and venerable proverb which expresses the imprudence of the practice of throwing stones, when indulged in by the inhabitant of an abode composed of a vitreous substance, not to mention a still more greybearded and not less wise saw, specifying, in terms rather forcible than dignified, the impolicy of the pot alluding in an opprobrious manner to the blackness which characterizes the sitting part of its fellow-utensil, the kettle; and the "wisdom of ages" might, in the present instance, be very reasonably adduced to moderate the excessive moral susceptibilities of the aforesaid writers and declaimers, and to restrain the feeble flood of words—the dirty torrent of shallow declamation, so incessantly poured forth against Russia on the subject of Poland. "Judge not, that ye be not judged!" is an excellent precept for the guidance of nations as well as of individuals; and, we think, a Russian, wearied by the tiresome repetition of the same accusations against his native country, can hardly be blamed for asking, in language even more energetic than that here employed by Púshkin, whether England or France have hands so clean, or a conscience so clear, as to justify them in their incessant and insolent attempt to sit in judgment upon their European sister. We certainly think that the recollection of the Affghan war, the bombardment of Copenhagen, of the splendid exploits of Whig policy and Whig non-intervention in Spain, might make England a little more modest, and a little less inclined to declaim against the wickedness of other nations—and as to France, her whole history, from the Republic to the present day, is nothing but a succession of lessons which might teach la grande nation to abstain from exhibiting herself in the character of a moral instructress to the world.

To the Slanderers of Russia

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.