Various - Blackwood's Edinburgh Magazine, Volume 58, Number 358, August 1845 стр 9.

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

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

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.

The supposed soliloquy of the martyred poet, which forms the principal portion of Púshkin's elegiac ode, is little else than an amplification, or pathetic and dignified paraphrase, of the exquisite composition actually written by Chénier on the eve of his execution; a composition become classical in the French literature:—

Of the few persons to whom allusion is made in the verses, Abel, Fanny, and the Captive Maid, all that it is necessary to know is, that the first was one of his friends, the companion of his early happiness, and the fellow-labourer of his early studies—"Abel, doux confidant de mes jeunes mystères;" the second, one of his mistresses; and the third, a young lady, Mlle. de Coigny, who was for some time his fellow-prisoner, and the person to whom the poet addressed the touching verses which we have mentioned above. Mlle. de Coigny was the "Jeune Captive."

In justification of the very emphatic tone in which Púshkin has recorded the noble generosity and self-sacrifice which conducted Chénier to the revolutionary scaffold, it will be sufficient to quote the words of De la Touche, and to refer the reader to Chénier's Iambics, which drew down upon his head, and with good cause, the hatred and suspicion of Robespierre and his subordinate demons:—"Chénier avait mérité la haine des factieux. Il avait célébré Charlotte Corday, flétri Collot d'Herbois, attaqué Robespierre. On sait que le Roi avait demandé à l'Assemblée par une lettre pleine de calme et de dignité, le droit d'appeler au peuple du jugement qui le condamnait. Cette lettre, signée dans la nuit du 17 au 18 Janvier, est d'André Chénier."—H. De la Touche.

The unfortunate poet was executed on the 8th of Thermidor; i.e. the day before the fall of Robespierre. The fatal tumbril which bore Chénier to the guillotine, conveyed also to the same scaffold the poet Roucher, his friend:—"Ils parlèrent de la poesie à leurs derniers moments; pour eux, après l'amitiè, c'était la plus belle chose de la terre. Racine fût l'objet de leur entretien et de leur derrière admiration. Ils voulurent réciter ses vers; ils choisirent la prémière scène d'Andromaque."—H. de la Touche.

At the place of execution, Chénier struck his forehead with his hand, and exclaimed—"Pourtant j'avais quelque chose là!"

André Chénier

"Ainsi, triste et captif, ma lyre toutefois S'éveillait."

MARSTON; OR, THE MEMOIRS OF A STATESMAN

PART XVIII

"Have I not in my time heard lions roar?

Have I not heard the sea, puft up with wind

Rage like an angry boar chafed with sweat?

Have I not heard great ordnance in the field,

And Heaven's artillery thunder in the skies?

Have I not in the pitched battle heard

Loud 'larums, neighing steeds, and trumpets clang?"

Shakspeare.

On returning to London I found the world in the "transition state." The spirit of the people was changed; the nature of the war was changed; the principle of the great parties in the legislature was changed. A new era of the contest had arrived; and, in the midst of the general perplexity as to the nature of the approaching events, every one exhibited a conviction, that when they came their magnitude would turn all the struggles of the past into child's play.

I, too, had my share in the change. I had now passed my public novitiate, and had obtained my experience of statesmanship on a scale, if too small for history, yet sufficiently large to teach me the working of the machinery. National conspiracy, the council-chamber, popular ebullition, and the tardy but powerful action of public justice, had been my tutors; and I was now felt, by the higher powers, to be not unfit for trust in a larger field. A seat in the English House of Commons soon enabled me to give satisfactory evidence that I had not altogether overlooked the character of the crisis; and, after some interviews with the premier, his approval of my conduct in Ireland was followed by the proposal of office, with a seat in the cabinet.

I had thus attained, in the vigour of life, a distinction for which hundreds, perhaps thousands, had laboured through life in vain. But mine was no couch of rosy prosperity. The period was threatening. The old days of official repose were past, never to return. The state of Europe was hourly assuming an aspect of the deepest peril. The war had hitherto been but the struggle of armies; it now threatened to be the struggle of nations. It had hitherto lived on the natural resources of public expenditure; it now began to prey upon the vitals of the kingdom. The ordinary finance of England was to be succeeded by demands pressing heavily on the existing generation, and laying a hereditary burden on all that were to follow. The nature of our antagonist deepened the difficulty. All the common casualties of nations were so far from breaking the enemy down, that they only gave him renewed power. Poverty swelled his ranks; confiscation swelled his coffers; bankruptcy gave him strength; faction invigorated his government; and insubordination made him invincible. In the midst of this confusion, even a new terror arose. The democracy of France, after startling Europe, had seemed to be sinking into feebleness and apathy, when a new wonder appeared in the political hemisphere, too glaring and too ominous to suffer our eyes to turn from it for a moment. The Consulate assumed the rule of France. Combining the fiery vigour of republicanism with the perseverance of monarchy, it now carried the whole force of the country into foreign fields. Every foreign capital began to tremble. The whole European system shook before a power which smote it with the force of a cannon-ball against a crumbling bastion. The extraordinary man who now took the lead in France, had touched the string which vibrated in the heart of every native of the soil. He had found them weary of the crimes of the democracy; he told them that a career of universal supremacy was open before them. He had found them degraded by the consciousness of riot and regicide; he told them that they were the chevaliers of the new age, and destined to eclipse the chevaliers of all the ages past. His Italian campaigns, by their rapidity, their fine combinations, and their astonishing success, had created a new art of war. He had brought them romantic triumphs from the land of romance. Day by day the populace of the capital were summoned to see pageants of Italian standards, cannon, and prisoners. Every courier that galloped through the streets brought tidings of some new conquest; and every meeting of the Councils was employed in announcing the addition of some classic province, the overthrow of some hostile diadem, or the arrival of some convoy of those most magnificent of all the spoils of war, the treasures of the Italian arts. France began to dream of the conquest of the world.