A Cynegetic Reading of Turgenev's Fathers and Children

Total Page:16

File Type:pdf, Size:1020Kb

A Cynegetic Reading of Turgenev's Fathers and Children ARTICLES THE "HUNTER IN TERROR OF HUNTERS": A CYNEGETIC READING OF TURGENEV'S FATHERS AND CHILDREN Thomas P.Hodge, Wellesley College Life is a terribleconflict, a grandioseand atro cious confluence.Hunting submergesman delib eratelyin thatformidable mystery and therefore containssomething of religiousrite and emotion inwhich homage is paid towhat is divine, tran scendent,in the laws ofNature. -Ortega y Gasset 112 By the 1840s,the Russian literaryscene- likeFrench and English writing was inundatedby sportingliterature (Alekseev 214-16, Odesskaia 240-43). While IvanTurgenev's entry into the world ofprose fictionwith thestories that became Notes of a Hunter [Zapiski okhotnika] can readily be viewed as part of this trend, I propose thathunting and its codes were so deeply ingrained inTur genev's creativepersonality that important aspects of his laterworks too,even Fathers and Children[Ottsy i deti],were suffusedwith theterminology, tech niques,and moral implicationsof fieldsport as itwas practicedby theRussian gentry.If we approachTurgenev throughthe work of SergeiAksakov and othercontemporaneous sporting writers, I suggest,we findfresh intertextual meaning in thismost canonicalRussian author'smost widely read texts. My goal here is todescribe thesporting world of nineteenth-centuryRus sia and demonstratethe profundity of Turgenev's immersionin it; todiscuss how thisexpertise shaped his view of thenatural world andunderstanding of classicalmythology; and finallyto propose a new readingof Bazarov's fate inFathers and Children based on cynegetic elements in that novel -by this I mean imagesof and referencesto thehunter's pursuit of gamewith theassis tanceof dogs. The etymologyand applicationof theRussian termfor hunting [okhota] departdramatically from most West European linguisticpractice. In French, chasse emphasizespursuit, as does theEnglish termchase, Italiancaccia, SEEJ,Vol. 51,No. 3 (2007):p. 453-p. 473 453 454 Slavic and East European Journal Spanish caza, all ofwhich stressthe seeking of game, thoughthey ultimately derivefrom Latin capere [to take,to seize].English hunt descends fromterms meaning "to take,""to capture."Russian okhota,however, is based on the same root fromwhich we have khotet' [towant] -not tomention pokhot' [lust]- and itdenotes desire, keenness to do something,and can be applied to numerouseveryday activities or hobbies thathave nothingto do with thecap tureor killingof animals(Durkin 72-73).1 Inherentin theRussian conception of hunting,therefore, is a connotationof its sourcewithin thepersonality of thehunter rather than in thenature of his or herphysical activity. Etymolog ically,at least,okhota is a feeling,not a practice. This conceptualdistinction aside, Russian sport-huntersin thenineteenth centuryused the techniquesof English,French and German enthusiastsand essentiallyadhered to thesame distinctionsamong various formsof thehunt by theend of theeighteenth century: hawking, netting, shooting, and cours ing (Munsche 32).2With few exceptions,members of theRussian nobility limitedthemselves to these last two activities,both of which depended en tirelyon theparticipation of well-traineddogs and restedupon a generally recognizedcode ofwhat constituted"sporting" behavior.3 The twoprincipal formsof huntingembraced by thegentry and laterthe middle class were based on twovery different tactics. Because itdid notdepend on theuse of firearms,coursing [psovaia okhota, gon'ba] was by far the older form, dating back at least to ancient Egypt, where gazelleswere chasedby ancestorsof themodem greyhound.Coursing consistedof releasinghounds [gonchiesobaki] thatrelied on theirkeen eye sight(gazehounds) or keen sense of smell to rundown game [dich']while hunters[okhotniki], either mounted or on foot,attempted to catchup while the hounds held the game animal at bay, pinned it to the ground, or less de sirably -killed it. If this last eventuality was avoided, hunters could arrive on thescene and kill theirprey at leisurewith spearsor arrows(the practice up throughthe Middle Ages), or a gun (thepractice from the sixteenth century onward).4The most commonlypursued animals inRussian hound-hunting were wolves, bears,deer and hares. 1. It is probable that the basic German term for "hunt," Jagd, is also derived from an Indo European root that can mean both "to chase" and "to wish for"; see Porkorny. 2. The ancient hunting practices I will refer to throughout this essay are gathered chiefly from two works: Hull and Anderson. A late-eighteenth-century, early-nineteenth-century form of Rus sian hawking is described at length by S. T. Aksakov in "Okhota s iastrebom za perepelkami," in his Rasskazy i vospominaniia okhotnika o raznykh okhotakh inAksakov 1956, 4: 480-503. 3. The norms of sport-hunting made it harder to kill and emphasized the means of killing; subsistence-hunting, inwhich the end is all-important, sought tomake the kill as easy as possi ble (MacKenzie 10). 4. The most famous breed of Russian dog, the Russian wolfhound or borzoi [borzaia sobaka], was a gazehound bred expressly to course wolves; a famous literary example of such sport is fur nished by the wolf-hunt in Lev Tolstoy's War and Peace (I, Vol. 2, Part 4, Chapters 3-5). The "Hunter inTerror of Hunters" 455 For thebagging of birds,and sometimeshares, an entirelydifferent and muchmore recentlydeveloped method was necessary:shooting, also known inEnglish as fowlingor fieldsport [ruzheinaia okhota, polevaia okhota].This formof hunting,which originatedin sixteenth-century Europe, depends on the use of a smooth-borefirearm designed to propel a largenumber of pellets.Be forefiring, hunters must be relativelyclose to theirprey- Turgenevin 1876 consideredone hundredpaces a maximum5-and thereforestalking is essen tial.As an aid in thisstealthy pursuit, dogs trainedto listenfor, sniff out, and communicate the presence of game -field dogs [legavye sobaki] - are indis pensable (PSS (Soch.) 10: 274).When suchdogs detectedhidden quarry, they would stopand takeup a set [stoika]-hence theFrench chiens d'arret [stop ping-dogs]-which communicatedthe locationof the intendedvictim. In his Notes of an Orenburg-ProvinceHunter [1852], SergeiAksakov vividlyde scribed a dog's behavior in taking up a set: Only dedicated sportsmencan appreciateall thecharm of thescene when a dog, pausing fre quently,finally goes rightup to a sittingwoodcock, raises itspaw and standstrembling as ina fever,its eager eyes spellboundand seemingto turngreen, fixed to the spotwhere thebird is sitting.It standsas ifgraven in stone,rooted to thespot, as sportsmensay. (1998, 277) In English parlance, as Turgenevexplained it toRussian readers in 1852, short-haireddogs who "set"by stretchingforward and raisingtheir heads to ward thegame were called pointers;long-haired dogs who "set" by sittingor lyingdown were called setters(PSS (Soch.) 4: 510-11).6 Leonid Sabaneev, themost accomplished late-nineteenth-centuryauthority on Russian field sport, asserted in themid- 1890s thatTurgenev owned some of the firstpoint ers inRussia (Sabaneev 427, 462). Unlike coursing,field sport demanded an extraordinarilyclose relationship betweena highlyskilled hunter and an exceptionallyintelligent dog, a dog who had tounderstand numerous complex verbal commands-inmid-nine teenth-centuryRussia, thesecommands were given inFrench-under often ruggedand tryingcircumstances.7 Aksakov held thatthe field dog completed thehunter and furnishedthe essence of fowling: 5. Turgenev, "Piat'desiat nedostatkov ruzheinogo okhotnika i piat'desiat nedostatkov legavoi sobaki"PSS (Soch.) \0:274. 6. Turgenev, "Zapiski ruzheinogo okhotnika Orenburgskoi gubernii. S. A?va. Moskva. 1852 (Pis'mo k odnomu iz izdatelei Sovremennika)." 1. The basic commands were ? terre! [down], Pille! [seize], Apporte! [fetch], Donne! [give], Derri?re! [heel], Cherche! [seek], Tourne! [turn]. In the late eighteenth century, German imper atives were employed; the fashion for French commands arose in the first third of the nineteenth century. In 1852 Aksakov jokingly described the transition: "formerly inRussia broken German was used, and now Russians mangle French" (1956, 4: 161). Kevin Windle's translation of Ak sakov's treatise (1998) omits the early chapters on hunting equipment and dogs. All translations, unless otherwise noted, are my own. 456 Slavic and East European Journal Every hunterunderstands the need fora fielddog: this is the lifeand soul of shooting[...] a hunterwith a field-piecebut without a dog is somethingdeficient, incomplete [...] a dog's searchingcan be so expressiveand clear thatit's exactly as thoughit is speakingwith thehunter [...].A good dog has an unselfishand naturalpassion forseeking out game andwill devote it self to thiswith selflessness;it will love itsmaster warmly too and, unless forcedto, will part with thehunter neither day nornight [...] (1956, 4: 160, 162) Elzear Blaze, who, alongsideAksakov, was Turgenev's favoritehunting au thor,summed up the human-caninerelationship by frequentlyciting the Frenchhunting proverb, "A good dogmakes a good hunter,and a good hunter makes a good dog."8 In general,nineteenth-century Russian hunters,like theirWest European counterparts,preferred either shooting or coursingand tendednot to engage inboth; Lev Tolstoywas an exception.Aleksei Khomiakovwas an enthusi asticbreeder of borzois and an expertin coursing,9while Nikolai Nekrasov, Afanasy Fet, and Turgenevdevoted themselvesto shooting.Of all these prominentliterary hunters, only one- Turgenev- approachedthe passionate devotionto fieldsport for which his
Recommended publications
  • Afanasy Afanasyevich Fet - Poems
    Classic Poetry Series Afanasy Afanasyevich Fet - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Afanasy Afanasyevich Fet(5 December 1820 - 3 December 1892) Afanasy Afanasyevich Fet, later changed his name to Shenshin was a Russian poet regarded as one of the finest lyricists in Russian literature. <b>Biography</b> <b>Origins</b> The circumstances of Afanasy Fet's birth have been the subject of controversy, and some uncertainties still remain. Even the exact date is unknown and has been cited as either October 29 (old style), or November 23 or 29, 1820. Brief biographies usually maintain that Fet was the son of the Russian landlord Shenshin and a German woman named Charlotta Becker, an that at the age of 14 he had to change his surname from his father's to that of Fet, because the marriage of Shenshin and Becker, registered in Germany, was deemed legally void in Russia. Detailed studies reveal a complicated and controversial story. It began in September 1820 when a respectable 44-year old landlord from Mtsensk, Afanasy Neofitovich Shenshin, (described as a follower of Jean-Jacques Rousseau's ideas) returned to his Novosyolky estate from the German spa resorts where he had spent a year on a recreational trip. There he had rented rooms in the house of Karl Becker and fell for his daughter Charlotta Elizabeth, a married woman with a one-year-old daughter named Carolina, and pregnant with another child. As to what happened next, opinions vary. According to some sources. Charlotta hastily divorced her husband Johann Foeth, a Darmstadt court official, others maintain that Shenshin approached Karl Becker with the idea that the latter should help his daughter divorce Johann, and when the old man refused to cooperate, kidnapped his beloved (with her total consent).
    [Show full text]
  • By Aleksey Konstantinovich Tolstoy Aleksey Tolstoy
    Read Ebook {PDF EPUB} Упырь by Aleksey Konstantinovich Tolstoy Aleksey Tolstoy. Russian poet and playwright (b. 24 August/5 September 1817 in Saint Petersburg; d. 28 September/10 October 1875 at Krasny Rog, in Chernigov province), born Count Aleksey Konstantinovich Tolstoy (Алексей Константинович Толстой). Contents. Biography. Descended from illustrious aristocratic families on both sides, Aleksey was a distant cousin of the novelist Lev Tolstoy. Shortly after his birth, however, his parents separated and he was taken by his mother to Chernigov province in the Ukraine where he grew up under the wing of his uncle, Aleksey Perovsky (1787–1836), who wrote novels and stories under the pseudonym "Anton Pogorelsky". With his mother and uncle Aleksey travelled to Europe in 1827, touring Italy and visiting Goethe in Weimar. Goethe would always remain one of Tolstoy's favourite poets, and in 1867 he made notable translations of Der Gott und die Bajadere and Die Braut von Korinth . In 1834, Aleksey was enrolled at the Moscow Archive of the Ministry of Foreign Affairs, where his tasks included the cataloguing of historical documents. Three years later he was posted to the Russian Embassy at the Diet of the German Confederation in Frankfurt am Main. In 1840, he returned to Russia and worked for some years at the Imperial Chancery in Saint Petersburg. During the 1840s Tolstoy wrote several lyric poems, but they were not published until many years later, and he contented himself with reading them to his friends and acquaintances from the world of Saint Petersburg high society. At a masked ball in the winter season of 1850/51 he saw for the first time Sofya Andreyevna Miller (1825–1895), with whom he fell in love, dedicating to her the fine poem Amid the Din of the Ball (Средь шумного бала), which Tchaikovsky would later immortalize in one of his most moving songs (No.
    [Show full text]
  • THE REVOLUTIONARY TRADITION ENGL 315 Fall 2011 Instructor: Michaela Bronstein, [email protected] Monday/Wednesday 2.00-3.20
    THE REVOLUTIONARY TRADITION ENGL 315 Fall 2011 Instructor: Michaela Bronstein, [email protected] Monday/Wednesday 2.00-3.20, BARR 102 Drop-in office hours: Monday 12-2, Johnson Chapel #5 (Please e-mail to schedule meetings at any other time.) I wish to speak out about several matters even though my artistry goes smash. What attracts me is what has piled up in my mind and heart; let it give only a pamphlet, but I shall speak out. —Fyodor Dostoevsky, letter regarding his novel Demons Revolutionist and reactionary, victim and executioner, betrayer and betrayed, they shall all be pitied together when the light breaks on our black sky at last. Pitied and forgotten … —Natalia Haldin, Under Western Eyes, Joseph Conrad Contrary to the hope Conrad’s character expresses, we have not forgotten either the historical revolutionaries or the works they inspired. While Dostoevsky feared that his novel was too politically pointed to be a lasting work of art, Demons today is more well-known than the incident on which the novel was based. In this course we will analyze the afterlives of nineteenth-century novels about revolutionaries—not just their continuing interest, but their constant reappearance in later works. Dostoevsky’s worries about his novel turning into a “pamphlet” raise a broad issue for the novel form: why would an author who wishes to address pressing social issues write a novel rather than an essay? How do authors reconcile the long aims of literature with the urgent claims of the political present? Revolutionaries often appeal to their authors precisely because they seem to represent much more than the social problem they seek to reform—whether they represent the influence of ideology upon character or the difficulty of human attempts to plot better lives for themselves and others, revolutionaries usually carry the weight of much more abstract ideas than their immediate social purposes.
    [Show full text]
  • Russian Literature from Pushkin to Dostoevsky
    SLAV-R 263 / SLAV-R 563 Professor Jacob Emery Mon/Wed 2:30P-3:45 [email protected] Kirkwood Hall 212 BH 515: MW 4-5 or by appointment Russian Literature from Pushkin to Dostoevsky The course is summarized and its aims are set forth: This course is a literature seminar. It will teach us to become more appreciative, perceptive, and understanding readers, and to communicate our experience of literary texts in a compelling way. In the process, we will touch upon questions of Russian history and culture, literary and intellectual tradition, philosophy and ethics and religion. How do we account for the extraordinary, unprecedented outburst of creativity in 19th century Russia? Why do we read these books more than a hundred years after they were written, and what skills do we need to have as readers if we are to understand and enjoy artworks that were created in a different language and in a different time? How do these works engage philosophy and social thought, and how do these aspects relate to their literary form? Why do we read fiction—which is a polite word for things that are not true, or at least not true in the usual sense—and what can fiction do that other kinds of writing cannot? These questions are just for starters. There will be many more questions, and you will pose most of them yourselves. For some of these questions you will develop good working answers. In other cases you will only open the door onto knotty knotty knots of complex issues. But by the end of the semester you will have read and understood the major prose works of what is called the “Golden Age of Russian Literature,” and you will have a firm foundation in the historical context and literary concepts necessary to understand works like them.
    [Show full text]
  • MAXIM LANDO, Piano
    Candlelight Concert Society Presents MAXIM LANDO, piano Saturday, September 26, 2020, 7:30pm Broadcast Virtually PIOTR ILYICH TCHAIKOVSKY (1840-1893) The Seasons, op. 37a January: At the Fireside February: Carnival March: Song of the Lark April: Snowdrop May: Starlit Nights June: Barcarolle July: Song of the Reaper August: Harvest September: The Hunt October: Autumn Song November Troika December: Christmas NIKOLAI KAPUSTIN (1937-2020) Eight Concert Études, op 40 Prelude Reverie Toccatina Remembrance Raillery Pastorale Intermezzo Finale wine stewards. As a result, the singing and dancing that Program Notes takes place at their parties is always vigorous. Tchaikovsky captures this vitality through rapidly ______________________________ moving chords and arpeggios along with sudden Piotr Ilyich Tchaikovsky (1840-1893) changes from loud to soft. THE SEASONS, OP. 37a March: Chant de l'alouette (Song of In 1875, the editor of the Saint Petersburg music the Lark) magazine Nouvellist, Nikolay Matveyevich The field shimmering with flowers, Bernard, commissioned Tchaikovsky to write twelve the stars swirling in the heavens, short piano pieces, one for each month of the year. The the song of the lark commission came just as Tchaikovsky was enjoying fills the blue abyss. the resounding success of the Boston premiere of his (Apollon Maykov) First Piano Concerto (while simultaneously resenting its lukewarm reception in St. Petersburg). Bernard’s The melody Tchaikovsky creates for this piece imitates plan was to publish the pieces in each of the monthly not only the trilling of the lark through its ornamentation editions of the magazine throughout 1876. Bernard but also the swooping of the bird in flight through its chose the subtitles and epigraphs for the pieces with recurring six-note motif, which alternately rises and an eye to the experiences and emotions that were falls.
    [Show full text]
  • Fathers and Sons Jessica Lee College of Dupage
    ESSAI Volume 14 Article 24 Spring 2016 Fathers and Sons Jessica Lee College of DuPage Follow this and additional works at: http://dc.cod.edu/essai Recommended Citation Lee, Jessica (2016) "Fathers and Sons," ESSAI: Vol. 14 , Article 24. Available at: http://dc.cod.edu/essai/vol14/iss1/24 This Selection is brought to you for free and open access by the College Publications at DigitalCommons@COD. It has been accepted for inclusion in ESSAI by an authorized editor of DigitalCommons@COD. For more information, please contact [email protected]. Lee: Fathers and Sons Fathers and Sons by Jessica Lee (History 2225) he novel Fathers and Sons by Ivan Turgenev showed the differing ideals between the old generation and the young generation and the paths they each felt Russia should be taking. TTurgenev showed through his characters that one does not nor should, as was also the case with Russia as a country, negate the past, thinking that would build a better future. He then showed another option; a happy marriage of the two ideals, where melding of the old Russia and the ideas of a new Russia produced a better and beneficial result. In fact, those characters in the book who represented opposite and far ends of the spectrum did not end with happy lives. In 1861 Alexander II moved forward with the first of many reforms by emancipating the serfs. This huge reform affected eighty-five percent of the population or about fifty-two million people.1 There were groups within Russia that were not happy about these changes, “they insisted on long-established values and fought bitterly to preserve privilege and autocratic rule.”2 The nobles and the Russian Orthodox Church made up the largest group that did not support the emancipation of the serfs.
    [Show full text]
  • Livret Philadelphia
    DMITRI HVOROSTOVSKY RACHMANINOV ROMANCES IVARI ILJA, piano SERGEI RACHMANINOV (1873–1943) 1 We shall rest ( My otdokhnjom) , Op. 26/3 2’32 2 Do you remember the evening? ( Ty pomnish’ li vecher?) (1893) 2’59 3 Oh no, I beg you, do not leave! ( O, net, molju, ne ukhodi!), Op. 4/1 1’49 4 Morning ( Utro) , Op. 4/2 2’28 5 In the silence of the mysterious night ( V molchan’ji nochi tajnoj) , Op. 4/3 2’51 2 6 Oh you, my corn field! ( Uzh ty, niva moja!) , Op. 4/5 4’47 7 My child, you are beautiful as a flower ( Ditja! Kak cvetok ty prekrasna) , Op. 8/2 2’14 8 A dream ( Son) , Op. 8/5 1’30 9 I was with her ( Ja byl u nej) , Op. 14/4 1’28 10 I am waiting for you (Ja zhdu tebja) , Op. 14/1 1’58 11 Do not believe me, my friend ( Ne ver mne drug) , Op. 14/7 1’41 12 She is as beautiful as noon ( Ona, kak polden’, khorosha) , Op. 14/9 3’05 13 Spring waters (Vesennije vody ), Op. 14/11 2’15 14 In my soul (V mojej dushe) , Op. 14/10 3’08 15 It is time! (Pora!), Op. 14/12 1’58 16 They replied (Oni otvechali) , Op. 21/4 1’58 17 An excerpt from Alfred de Musset ( Otryvok iz A. Mjusse) , Op. 21/6 2’17 18 How nice this place is ( Zdes’ khorosho) , Op. 21/7 2’10 19 How much it hurts (Kak mne bol’no) , Op.
    [Show full text]
  • Key of F Minor, German Designation)
    F dur C F Dur C EFF DOOR C (key of F major, German designation) F moll C f Moll C EFF MAWL C (key of f minor, German designation) Fa bemol majeur C fa bémol majeur C fah bay-mawl mah-zhör C (key of F flat major, French designation) Fa bemol mayor C FAH bay-MAWL mah-YAWR C (key of F flat major, Spanish designation) Fa bemol menor C FAH bay-MAWL may-NAWR C (key of f flat minor, Spanish designation) Fa bemol mineur C fa bémol mineur C fah bay-mawl mee-nör C (key of f flat minor, French designation) Fa bemolle maggiore C fa bemolle maggiore C FAH bay-MOHL-lay mahd-JO-ray C (key of F flat major, Italian designation) Fa bemolle minore C fa bemolle minore C FAH bay-MOHL-lay mee-NO-ray C (key of f flat minor, Italian designation) Fa diese majeur C fa dièse majeur C fah deeezz mah-zhör C (key of F sharp major, French designation) Fa diese mineur C fa dièse mineur C fah deeezz mee-nör C (key of f sharp minor, French designation) Fa diesis maggiore C fa diesis maggiore C FAH deeAY-zeess mahd-JO-ray C (key of F sharp major, Italian designation) Fa diesis minore C fa diesis minore C FAH deeAY-zeess mee-NO-ray C (key of f sharp minor, Italian designation) Fa maggiore C fa maggiore C FAH mahd-JO-ray C (key of F major, Italian designation) Fa majeur C fa majeur C fah mah-zhör C (key of F major, French designation) Fa mayor C FAH mah-YAWR C (key of F major, Spanish designation) Fa menor C FAH may-NAWR C (key of f minor, Spanish designation) Fa mineur C fa mineur C fah mee-nör C (key of f minor, French designation) Fa minore C fa minore C FAH mee-NO-ray
    [Show full text]
  • 47Th SEASON PROGRAM NOTES Week 2 July 21–27, 2019
    th SEASON PROGRAM NOTES 47 Week 2 July 21–27, 2019 Sunday, July 21, 6 p.m. The marking for the first movement is of study at the University of California, San Monday, July 22, 6 p.m. unusual: Allegramente is an indication Diego, in the mid-1980s that brought a new more of character than of speed. (It means and important addition to his compositional ZOLTÁN KODÁLY (1882–1967) “brightly, gaily.”) The movement opens palette: computers. Serenade for Two Violins & Viola, Op. 12 immediately with the first theme—a sizzling While studying with Roger Reynolds, Vinko (1919–20) duet for the violins—followed by a second Globokar, and Joji Yuasa, Wallin became subject in the viola that appears to be the interested in mathematical and scientific This Serenade is for the extremely unusual song of the suitor. These two ideas are perspectives. He also gained further exposure combination of two violins and a viola, and then treated in fairly strict sonata form. to the works of Xenakis, Stockhausen, and Kodály may well have had in mind Dvorˇ ák’s The second movement offers a series of Berio. The first product of this new creative Terzetto, Op. 74—the one established work dialogues between the lovers. The viola mix was his Timpani Concerto, composed for these forces. Kodály appears to have been opens with the plaintive song of the man, between 1986 and 1988. attracted to this combination: in addition and this theme is reminiscent of Bartók’s Wallin wrote Stonewave in 1990, on to the Serenade, he wrote a trio in E-flat parlando style, which mimics the patterns commission from the Flanders Festival, major for two violins and viola when he was of spoken language.
    [Show full text]
  • Here Where the Forest Thins, a Kite…’ 24 ‘Why, O Willow, to the River…’ 25 ‘In the Air’S Oppressive Silence…’ 26 ‘Pale Showed the East… Our Craft Sped Gently…’ 27
    FYODOR TYUTCHEV Selected Poems Fyodor Tyutchev Selected Poems Translated with an Introduction and Notes by John Dewey BRIMSTONE PRESS First published in 2014 Translations, Introduction and Notes copyright © John Dewey ISBN 978-1-906385-43-9 All rights reserved. No part of this publication may be reproduced, transmitted or stored in a retrieval system, in any form or by any means, without permission in writing from the publisher. Published by Brimstone Press The Mount, Buckhorn Weston Gillingham, Dorset, SP8 5HT www.brimstonepress.co.uk Printed and bound in Great Britain by imprintdigital.com Contents Introduction xi First Love: Amélie ‘That day remains in memory…’ 2 ‘A golden time still haunts my senses…’ 3 To N. 4 To N.N. 5 Two Sisters: Eleonore, Clotilde To Two Sisters 8 ‘To sort a pile of letters, on…’ 9 ‘Still love torments me with a vengeance…’ 10 K.B. 11 Nature Summer Evening 14 Thunderstorm in Spring 15 Evening 16 Spring Waters 17 Sea Stallion 18 ‘Knee-deep in sand our horses flounder…’ 19 Autumn Evening 20 Leaves 21 ‘What a wild place this mountain gorge is!..’ 23 ‘Here where the forest thins, a kite…’ 24 ‘Why, O willow, to the river…’ 25 ‘In the air’s oppressive silence…’ 26 ‘Pale showed the east… Our craft sped gently…’ 27 Philosophical Reflections Silentium! 30 Mal’aria 31 The Fountain 32 ‘My soul, Elysium of silent shades…’ 33 ‘Nature is not what you would have it…’ 34 ‘Nous avons pu tous deux, fatigués du voyage…’ 36 Columbus 37 Two Voices 38 ‘See on the trackless river, riding…’ 39 Day and Night ‘Just as the ocean’s mantling
    [Show full text]
  • A House of Gentlefolk Ivan Turgenev
    A House of Gentlefolk Ivan Turgenev The Harvard Classics Shelf of Fiction, Vol. XIX, Part 1. Selected by Charles William Eliot Copyright © 2001 Bartleby.com, Inc. Bibliographic Record Contents The Novel in Russia Biographical Note Criticisms and Interpretations I. By Emile Melchior, Vicomte de Vogüé II. By William Dean Howells III. By K. Waliszewski IV. Richard H. P. Curle V. By Maurice Baring List of Characters Chapter I Chapter II Chapter III Chapter IV Chapter V Chapter VI Chapter VII Chapter VIII Chapter IX Chapter X Chapter XI Chapter XII Chapter XIII Chapter XIV Chapter XV Chapter XVI Chapter XVII Chapter XVIII Chapter XIX Chapter XX Chapter XXI Chapter XXII Chapter XXIII Chapter XXIV Chapter XXV Chapter XXVI Chapter XXVII Chapter XXVIII Chapter XXIX Chapter XXX Chapter XXXI Chapter XXXII Chapter XXXIII Chapter XXXIV Chapter XXXV Chapter XXXVI Chapter XXXVII Chapter XXXVIII Chapter XXXIX Chapter XL Chapter XLI Chapter XLII Chapter XLIII Chapter XLIV Chapter XLV Epilogue The Novel in Russia PROSE fiction has a more prominent position in the literature of Russia than in that of any other great country. Turgenev, Dostoevsky, and Tolstoy occupy in their own land not only the place of Dickens, Thackeray, and George Eliot in England, but also to some degree that of Carlyle, Matthew Arnold, or Ruskin. Their works are regarded as not merely diverting tales over which to spend pleasantly an idle hour, but as books full of suggestive and inspiring teaching on moral and social questions. “Fathers and Children” and “Crime and Punishment” are discussed and read not merely for their artistic merit, as reflections of Russian life, but as trenchant criticisms of that life.
    [Show full text]
  • Michael Wachtel Curriculum Vitae
    Michael Wachtel Curriculum Vitae ADDRESS: Home: 294 Western Way, Princeton, NJ, 08540 Tel: (609) 497-3288 Office: Slavic Department, 225 East Pyne, Princeton University, Princeton, NJ 08544 Tel: (609) 258-0114 Fax: (609) 258-2204 E-mail: [email protected] EMPLOYMENT: 1990–96: Assistant Professor, Slavic Department, Princeton University 1996–present: Full Professor, Slavic Department, Princeton University EDUCATION: Harvard University Ph.D. Comparative Literature, degree received November, 1990 M.A. Comparative Literature, degree received March, 1986 Moscow State University, USSR 9/88-6/89 Universität Konstanz, West Germany 10/87-7/88, 10/82-9/83 Pushkin Institute, Moscow, USSR 9/84-12/84 Yale University 9/78-6/82 B.A. Comparative Literature, summa cum laude, departmental distinction, degree received June, 1982. HONORS AND FELLOWSHIPS 2010 Likhachev Foundation fellowship (two weeks in St. Petersburg) 2007–2008 NEH grant Guggenheim Fellowship 1 2002 Awarded AATSEEL prize for best new translation (for Vyacheslav Ivanov, Selected Essays): NB: I was editor of translation, not translator. 1999 Awarded AATSEEL prize for best new book in Literary/Cultural Studies (for The Development of Russian Verse) 9/94-9/97 Princeton University Gauss Preceptorship 7/93-8/93 Princeton University grant (Committee for Research in the Humanities and Social Sciences) for research in Germany, Italy, and Russia 6/91-7/91 Princeton University grant (Committee for Research in the Humanities and Social Sciences) for research in Italy and Russia 9/88-6/89 International Research and Exchanges (IREX) fellowship (and Fulbright-Hays Travel Grant) for dissertation research in the USSR 9/87-6/88 Fulbright fellowship (study and research in Konstanz, Germany) 9/86-6/87 Harvard Merit fellowship and U.S.
    [Show full text]