‘Elle etait fille, elle etait amoureuse’— Malfilatre
[Odessa and Mikhailovskoe, 1824.]
I
“Whither away? Deuce take the bard1!”—
“Good-bye, Oneguine, I must go.”—
“I won’t detain you; but ’tis hard
To guess how you the eve pull through.”—
“At Larina’s.”—“Hem, that is queer!
Pray is it not a tough affair
Thus to assassinate2 the eve?”—
“Not at all.”—“That I can’t conceive!
’Tis something of this sort I deem.
In the first place, say, am I right?
A Russian household simple quite,
Who welcome guests with zeal3 extreme,
Preserves and an eternal prattle4
About the rain and flax and cattle.”—
II
“No misery5 I see in that”—
“Boredom, my friend, behold6 the ill —”
“Your fashionable world I hate,
Domestic life attracts me still,
Where —"—“What! another eclogue spin?
For God’s sake, Lenski, don’t begin!
What! really going? ’Tis too bad!
But Lenski, I should be so glad
Would you to me this Phyllis show,
Fair source of every fine idea,
Verses and tears et cetera.
Present me.”—“You are joking.”—“No.”—
“Delighted.”—“When?”—“This very night.
They will receive us with delight.”
III
Whilst homeward by the nearest route
Our heroes at full gallop7 sped,
Can we not stealthily make out
What they in conversation said? —
“How now, Oneguine, yawning still?”—
“’Tis habit, Lenski.”—“Is your ill
More troublesome than usual?”—“No!
How dark the night is getting though!
Hallo, Andriushka, onward8 race!
The drive becomes monotonous9 —
Well! Larina appears to us
An ancient lady full of grace. —
That bilberry wine, I’m sore afraid,
The deuce with my inside has played.”
IV
“Say, of the two which was Tattiana?”
“She who with melancholy11 face
And silent as the maid Svetlana30
Hard by the window took her place.”—
“The younger, you’re in love with her!”
“Well!”—“I the elder should prefer,
Were I like you a bard by trade —
In Olga’s face no life’s displayed.
’Tis a Madonna of Vandyk,
An oval countenance12 and pink,
Yon silly moon upon the brink13
Of the horizon she is like!”—
Vladimir something curtly14 said
Nor further comment that night made.
30 “Svetlana,” a short poem by Joukovski, upon which his fame mainly rests. Joukovski was an unblushing plagiarist15. Many eminent16 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 entirely17 original, though its intrinsic beauty is unquestionable. It undoubtedly18 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 paraphrased21 “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 maiden22 loses her lover in the wars; she murmurs23 at Providence24 and is vainly reproved for such blasphemy25 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 chamber26 the unpleasant bridegroom resorts to the graveyard27 and repairs to his own grave, from which he has recently issued to execute his errand. It is a repulsive28 subject. “Svetlana,” however, is more agreeable than its prototype “Leonora,” inasmuch as the whole catastrophe29 turns out a dream brought on by “sorcery,” during the “sviatki” or Holy Nights (see Canto31 V. st. x), and the dreamer awakes to hear the tinkling32 of her lover’s sledge33 approaching. “Svetlana” has been translated by Sir John Bowring.
V
Meantime Oneguine’s apparition34
At Larina’s abode35 produced
Quite a sensation; the position
To all good neighbours’ sport conduced.
Endless conjectures36 all propound37
And secretly their views expound38.
What jokes and guesses now abound39,
A beau is for Tattiana found!
In fact, some people were assured
The wedding-day had been arranged,
But the date subsequently changed
Till proper rings could be procured41.
On Lenski’s matrimonial fate
They long ago had held debate.
VI
Of course Tattiana was annoyed
By such allusions42 scandalous,
Yet was her inmost soul o’erjoyed
With satisfaction marvellous,
As in her heart the thought sank home,
I am in love, my hour hath come!
Thus in the earth the seed expands
Obedient to warm Spring’s commands.
Long time her young imagination
By indolence and languor43 fired
The fated nutriment desired;
And long internal agitation44
Had filled her youthful breast with gloom,
She waited for — I don’t know whom!
VII
The fatal hour had come at last —
She oped her eyes and cried: ’tis he!
Alas45! for now before her passed
The same warm vision constantly;
Now all things round about repeat
Ceaselessly to the maiden sweet
His name: the tenderness of home
Tiresome46 unto her hath become
And the kind-hearted servitors:
Immersed in melancholy thought,
She hears of conversation nought47
And hated casual visitors,
Their coming which no man expects,
And stay whose length none recollects48.
VIII
Now with what eager interest
She the delicious novel reads,
With what avidity and zest49
She drinks in those seductive deeds!
All the creations which below
From happy inspiration flow,
The swain of Julia Wolmar,
Malek Adel and De Linar,31
Werther, rebellious50 martyr51 bold,
And that unrivalled paragon52,
The sleep-compelling Grandison,
Our tender dreamer had enrolled53
A single being: ’twas in fine
No other than Oneguine mine.
31 The heroes of two romances much in vogue54 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 celebrity56 but now consigned57 to oblivion, will impress the reader with the transitory nature of merely mediocre58 literary reputation. One has now to search for the very names of most of the popular authors of Pushkin’s day and rummage59 biographical dictionaries for the dates of their births and deaths. Yet the poet’s prime was but fifty years ago, and had he lived to a ripe old age he would have been amongst us still. He was four years younger than the late Mr. Thomas Carlyle. The decadence60 of Richardson’s popularity amongst his countrymen is a fact familiar to all.
IX
Dreaming herself the heroine
Of the romances she preferred,
Clarissa, Julia, Delphine — 32
Tattiana through the forest erred61,
And the bad book accompanies.
Upon those pages she descries62
Her passion’s faithful counterpart,
Fruit of the yearnings of the heart.
She heaves a sigh and deep intent
On raptures64, sorrows not her own,
She murmurs in an undertone
A letter for her hero meant:
That hero, though his merit shone,
Was certainly no Grandison.
32 Referring to Richardson’s “Clarissa Harlowe,” “La Nouvelle Heloise,” and Madame de Stael’s “Delphine.”
X
Alas! my friends, the years flit by
And after them at headlong pace
The evanescent fashions fly
In motley and amusing chase.
The world is ever altering!
Farthingales, patches, were the thing,
And courtier, fop, and usurer
Would once in powdered wig65 appear;
Time was, the poet’s tender quill66
In hopes of everlasting67 fame
A finished madrigal68 would frame
Or couplets more ingenious still;
Time was, a valiant69 general might
Serve who could neither read nor write.
XI
Time was, in style magniloquent
Authors replete70 with sacred fire
Their heroes used to represent
All that perfection could desire;
Ever by adverse71 fate oppressed,
Their idols72 they were wont73 to invest
With intellect, a taste refined,
And handsome countenance combined,
A heart wherein pure passion burnt;
The excited hero in a trice
Was ready for self-sacrifice,
And in the final tome we learnt,
Vice74 had due punishment awarded,
Virtue75 was with a bride rewarded.
XII
But now our minds are mystified
And Virtue acts as a narcotic76,
Vice in romance is glorified77
And triumphs in career erotic.
The monsters of the British Muse78
Deprive our schoolgirls of repose79,
The idols of their adoration80
A Vampire81 fond of meditation82,
Or Melmoth, gloomy wanderer he,
The Eternal Jew or the Corsair
Or the mysterious Sbogar.33
Byron’s capricious phantasy
Could in romantic mantle83 drape
E’en hopeless egoism’s dark shape.
33 “Melmoth,” a romance by Maturin, and “Jean Sbogar,” by Ch. Nodier. “The Vampire,” a tale published in 1819, was erroneously attributed to Lord Byron. “Salathiel; the Eternal Jew,” a romance by Geo. Croly.
XIII
My friends, what means this odd digression?
May be that I by heaven’s decrees
Shall abdicate84 the bard’s profession,
And shall adopt some new caprice.
Thus having braved Apollo’s rage
With humble85 prose I’ll fill my page
And a romance in ancient style
Shall my declining years beguile86;
Nor shall my pen paint terribly
The torment88 born of crime unseen,
But shall depict89 the touching90 scene
Of Russian domesticity;
I will descant91 on love’s sweet dream,
The olden time shall be my theme.
XIV
Old people’s simple conversations
My unpretending page shall fill,
Their offspring’s innocent flirtations
By the old lime-tree or the rill,
Their Jealousy92 and separation
And tears of reconciliation93:
Fresh cause of quarrel then I’ll find,
But finally in wedlock94 bind95.
The passionate96 speeches I’ll repeat,
Accents of rapture63 or despair
I uttered to my lady fair
Long ago, prostrate97 at her feet.
Then they came easily enow,
My tongue is somewhat rusty98 now.
XV
Tattiana! sweet Tattiana, see!
What bitter tears with thee I shed!
Thou hast resigned thy destiny
Unto a ruthless tyrant99 dread100.
Thou’lt suffer, dearest, but before,
Hope with her fascinating power
To dire19 contentment shall give birth
And thou shalt taste the joys of earth.
Thou’lt quaff101 love’s sweet envenomed stream,
Fantastic images shall swarm102
In thy imagination warm,
Of happy meetings thou shalt dream,
And wheresoe’er thy footsteps err10,
Confront thy fated torturer!
XVI
Love’s pangs103 Tattiana agonize104.
She seeks the garden in her need —
Sudden she stops, casts down her eyes
And cares not farther to proceed;
Her bosom105 heaves whilst crimson106 hues107
With sudden flush her cheeks suffuse108,
Barely to draw her breath she seems,
Her eye with fire unwonted gleams.
And now ’tis night, the guardian109 moon
Sails her allotted111 course on high,
And from the misty112 woodland nigh
The nightingale trills forth113 her tune114;
Restless Tattiana sleepless115 lay
And thus unto her nurse did say:
XVII
“Nurse, ’tis so close I cannot rest.
Open the window — sit by me.”
“What ails110 thee, dear?”—“I feel depressed116.
Relate some ancient history.”
“But which, my dear? — In days of yore
Within my memory I bore
Many an ancient legend which
In monsters and fair dames117 was rich;
But now my mind is desolate118,
What once I knew is clean forgot —
Alas! how wretched now my lot!”
“But tell me, nurse, can you relate
The days which to your youth belong?
Were you in love when you were young?”—
XVIII
“Alack! Tattiana,” she replied,
“We never loved in days of old,
My mother-inlaw who lately died34
Had killed me had the like been told.”
“How came you then to wed40 a man?”—
“Why, as God ordered! My Ivan
Was younger than myself, my light,
For I myself was thirteen quite;35
The matchmaker a fortnight sped,
Her suit before my parents pressing:
At last my father gave his blessing119,
And bitter tears of fright I shed.
Weeping they loosed my tresses long36
And led me off to church with song.”
34 A young married couple amongst Russian peasants reside in the house of the bridegroom’s father till the “tiaglo,” or family circle is broken up by his death.
35 Marriages amongst Russian serfs used formerly121 to take place at ridiculously early ages. Haxthausen asserts that strong hearty122 peasant women were to be seen at work in the fields with their infant husbands in their arms. The inducement lay in the fact that the “tiaglo” (see previous note) received an additional lot of the communal123 land for every male added to its number, though this could have formed an inducement in the southern and fertile provinces of Russia only, as it is believed that agriculture in the north is so unremunerative that land has often to be forced upon the peasants, in order that the taxes, for which the whole Commune is responsible to Government, may be paid. The abuse of early marriages was regulated by Tsar Nicholas.
36 Courtships were not unfrequently carried on in the larger villages, which alone could support such an individual, by means of a “svakha,” or matchmaker. In Russia unmarried girls wear their hair in a single long plait or tail, “kossa;” the married women, on the other hand, in two, which are twisted into the head-gear.
XIX
“Then amongst strangers I was left —
But I perceive thou dost not heed125 —”
“Alas! dear nurse, my heart is cleft126,
Mortally sick I am indeed.
Behold, my sobs127 I scarce restrain —”
“My darling child, thou art in pain. —
The Lord deliver her and save!
Tell me at once what wilt128 thou have?
I’ll sprinkle thee with holy water. —
How thy hands burn!”—“Dear nurse, I’m well.
I am — in love — you know — don’t tell!”
“The Lord be with thee, O my daughter!”—
And the old nurse a brief prayer said
And crossed with trembling hand the maid.
XX
“I am in love,” her whispers tell
The aged129 woman in her woe130:
“My heart’s delight, thou art not well.”—
“I am in love, nurse! leave me now.”
Behold! the moon was shining bright
And showed with an uncertain light
Tattiana’s beauty, pale with care,
Her tears and her dishevelled hair;
And on the footstool sitting down
Beside our youthful heroine fair,
A kerchief round her silver hair
The aged nurse in ample gown,37
Whilst all creation seemed to dream
Enchanted131 by the moon’s pale beam.
37 It is thus that I am compelled to render a female garment not known, so far as I am aware, to Western Europe. It is called by the natives “doushegreika,” that is to say, “warmer of the soul”— in French, chaufferette de l’ame. It is a species of thick pelisse worn over the “sarafan,” or gown.
XXI
But borne in spirit far away
Tattiana gazes on the moon,
And starting suddenly doth say:
“Nurse, leave me. I would be alone.
Pen, paper bring: the table too
Draw near. I soon to sleep shall go —
Good-night.” Behold! she is alone!
’Tis silent — on her shines the moon —
Upon her elbow she reclines,
And Eugene ever in her soul
Indites132 an inconsiderate scroll133
Wherein love innocently pines.
Now it is ready to be sent —
For whom, Tattiana, is it meant?
XXII
I have known beauties cold and raw
As Winter in their purity,
Striking the intellect with awe134
By dull insensibility,
And I admired their common sense
And natural benevolence135,
But, I acknowledge, from them fled;
For on their brows I trembling read
The inscription136 o’er the gates of Hell
“Abandon hope for ever here!”38
Love to inspire doth woe appear
To such — delightful137 to repel138.
Perchance upon the Neva e’en
Similar dames ye may have seen.
38 A Russian annotator139 complains that the poet has mutilated Dante’s famous line.
XXIII
Amid submissive herds140 of men
Virgins141 miraculous142 I see,
Who selfishly unmoved remain
Alike by sighs and flattery.
But what astonished do I find
When harsh demeanour hath consigned
A timid love to banishment143? —
On fresh allurements145 they are bent147,
At least by show of sympathy;
At least their accents and their words
Appear attuned148 to softer chords;
And then with blind credulity
The youthful lover once again
Pursues phantasmagoria vain.
XXIV
Why is Tattiana guiltier deemed? —
Because in singleness of thought
She never of deception149 dreamed
But trusted the ideal she wrought150? —
Because her passion wanted art,
Obeyed the impulses of heart? —
Because she was so innocent,
That Heaven her character had blent
With an imagination wild,
With intellect and strong volition151
And a determined152 disposition153,
An ardent154 heart and yet so mild? —
Doth love’s incautiousness in her
So irremissible appear?
XXV
O ye whom tender love hath pained
Without the ken120 of parents both,
Whose hearts responsive have remained
To the impressions of our youth,
The all-entrancing joys of love —
Young ladies, if ye ever strove
The mystic lines to tear away
A lover’s letter might convey,
Or into bold hands anxiously
Have e’er a precious tress consigned,
Or even, silent and resigned,
When separation’s hour drew nigh,
Have felt love’s agitated156 kiss
With tears, confused emotions, bliss157 —
XXVI
With unanimity158 complete,
Condemn159 not weak Tattiana mine;
Do not cold-bloodedly repeat
The sneers160 of critics superfine;
And you, O maids immaculate,
Whom vice, if named, doth agitate155
E’en as the presence of a snake,
I the same admonition make.
Who knows? with love’s consuming flame
Perchance you also soon may burn,
Then to some gallant161 in your turn
Will be ascribed by treacherous162 Fame
The triumph of a conquest new.
The God of Love is after you!
XXVII
A coquette loves by calculation,
Tattiana’s love was quite sincere,
A love which knew no limitation,
Even as the love of children dear.
She did not think “procrastination
Enhances love in estimation
And thus secures the prey163 we seek.
His vanity first let us pique164
With hope and then perplexity,
Excruciate the heart and late
With jealous fire resuscitate165,
Lest jaded166 with satiety167,
The artful prisoner should seek
Incessantly168 his chains to break.”
XXVIII
I still a complication view,
My country’s honour and repute
Demands that I translate for you
The letter which Tattiana wrote.
At Russ she was by no means clever
And read our newspapers scarce ever,
And in her native language she
Possessed169 nor ease nor fluency170,
So she in French herself expressed.
I cannot help it I declare,
Though hitherto a lady ne’er
In Russ her love made manifest,
And never hath our language proud
In correspondence been allowed.39
39 It is well known that until the reign171 of the late Tsar French was the language of the Russian court and of Russian fashionable society. It should be borne in mind that at the time this poem was written literary warfare172 more or less open was being waged between two hostile schools of Russian men of letters. These consisted of the Arzamass, or French school, to which Pushkin himself together with his uncle Vassili Pushkin the “Nestor of the Arzamass” belonged, and their opponents who devoted173 themselves to the cultivation174 of the vernacular175.
XXIX
They wish that ladies should, I hear,
Learn Russian, but the Lord defend!
I can’t conceive a little dear
With the “Well–Wisher” in her hand!40
I ask, all ye who poets are,
Is it not true? the objects fair,
To whom ye for unnumbered crimes
Had to compose in secret rhymes,
To whom your hearts were consecrate176 —
Did they not all the Russian tongue
With little knowledge and that wrong
In charming fashion mutilate?
Did not their lips with foreign speech
The native Russian tongue impeach177?
40 The “Blago–Namierenni,” or “Well–Wisher,” was an inferior Russian newspaper of the day, much scoffed178 at by contemporaries. The editor once excused himself for some gross error by pleading that he had been “on the loose.”
XXX
God grant I meet not at a ball
Or at a promenade179 mayhap,
A schoolmaster in yellow shawl
Or a professor in tulle cap.
As rosy180 lips without a smile,
The Russian language I deem vile181
Without grammatical mistakes.
May be, and this my terror wakes,
The fair of the next generation,
As every journal now entreats182,
Will teach grammatical conceits183,
Introduce verse in conversation.
But I— what is all this to me?
Will to the old times faithful be.
XXXI
Speech careless, incorrect, but soft,
With inexact pronunciation
Raises within my breast as oft
As formerly much agitation.
Repentance184 wields185 not now her spell
And gallicisms I love as well
As the sins of my youthful days
Or Bogdanovitch’s sweet lays.41
But I must now employ my Muse
With the epistle of my fair;
I promised! — Did I so? — Well, there!
Now I am ready to refuse.
I know that Parny’s tender pen42
Is no more cherished amongst men.
41 Hippolyte Bogdanovitch — b. 1743, d. 1803 — though possessing considerable poetical186 talent was like many other Russian authors more remarkable187 for successful imitation than for original genius. His most remarkable production is “Doushenka,” “The Darling,” a composition somewhat in the style of La Fontaine’s “Psyche.” Its merit consists in graceful188 phraseology, and a strong pervading189 sense of humour.
42 Parny — a French poet of the era of the first Napoleon, b. 1753, d. 1814. Introduced to the aged Voltaire during his last visit to Paris, the patriarch laid his hands upon the youth’s head and exclaimed: “Mon cher Tibulle.” He is chiefly known for his erotic poetry which attracted the affectionate regard of the youthful Pushkin when a student at the Lyceum. We regret to add that, having accepted a pension from Napoleon, Parny forthwith proceeded to damage his literary reputation by inditing190 an “epic” poem entitled “Goddam! Goddam! par20 un French — Dog.” It is descriptive of the approaching conquest of Britain by Napoleon, and treats the embryo191 enterprise as if already conducted to a successful conclusion and become matter of history. A good account of the bard and his creations will be found in the Saturday Review of the 2d August 1879.
XXXII
Bard of the “Feasts,” and mournful breast,43
If thou wert sitting by my side,
With this immoderate request
I should alarm our friendship tried:
In one of thine enchanting192 lays
To russify the foreign phrase
Of my impassioned heroine.
Where art thou? Come! pretensions193 mine
I yield with a low reverence194;
But lonely beneath Finnish skies
Where melancholy rocks arise
He wanders in his indolence;
Careless of fame his spirit high
Hears not my importunity195!
43 Evgeny Baratynski, a contemporary of Pushkin and a lyric196 poet of some originality197 and talent. The “Feasts” is a short brilliant poem in praise of conviviality198. Pushkin is therein praised as the best of companions “beside the bottle.”
XXXIII
Tattiana’s letter I possess,
I guard it as a holy thing,
And though I read it with distress199,
I’m o’er it ever pondering.
Inspired by whom this tenderness,
This gentle daring who could guess?
Who this soft nonsense could impart,
Imprudent prattle of the heart,
Attractive in its banefulness?
I cannot understand. But lo!
A feeble version read below,
A print without the picture’s grace,
Or, as it were, the Freischutz’ score
Strummed by a timid schoolgirl o’er.
Tattiana’s Letter to Oneguine
I write to you! Is more required?
Can lower depths beyond remain?
’Tis in your power now, if desired,
To crush me with a just disdain200.
But if my lot unfortunate
You in the least commiserate201
You will not all abandon me.
At first, I clung to secrecy202:
Believe me, of my present shame
You never would have heard the name,
If the fond hope I could have fanned
At times, if only once a week,
To see you by our fireside stand,
To listen to the words you speak,
Address to you one single phrase
And then to meditate203 for days
Of one thing till again we met.
’Tis said you are a misanthrope204,
In country solitude205 you mope,
And we — an unattractive set —
Can hearty welcome give alone.
Why did you visit our poor place?
Forgotten in the village lone124,
I never should have seen your face
And bitter torment never known.
The untutored spirit’s pangs calmed down
By time (who can anticipate?)
I had found my predestinate,
Become a faithful wife and e’en
A fond and careful mother been.
Another! to none other I
My heart’s allegiance can resign,
My doom206 has been pronounced on high,
’Tis Heaven’s will and I am thine.
The sum of my existence gone
But promise of our meeting gave,
I feel thou wast by God sent down
My guardian angel to the grave.
Thou didst to me in dreams appear,
Unseen thou wast already dear.
Thine eye subdued207 me with strange glance,
I heard thy voice’s resonance208
Long ago. Dream it cannot be!
Scarce hadst thou entered thee I knew,
I flushed up, stupefied I grew,
And cried within myself: ’tis he!
Is it not truth? in tones suppressed
With thee I conversed209 when I bore
Comfort and succour to the poor,
And when I prayer to Heaven addressed
To ease the anguish210 of my breast.
Nay211! even as this instant fled,
Was it not thou, O vision bright,
That glimmered212 through the radiant night
And gently hovered213 o’er my head?
Was it not thou who thus didst stoop
To whisper comfort, love and hope?
Who art thou? Guardian angel sent
Or torturer malevolent214?
Doubt and uncertainty215 decide:
All this may be an empty dream,
Delusions216 of a mind untried,
Providence otherwise may deem —
Then be it so! My destiny
From henceforth I confide217 to thee!
Lo! at thy feet my tears I pour
And thy protection I implore218.
Imagine! Here alone am I!
No one my anguish comprehends,
At times my reason almost bends,
And silently I here must die —
But I await thee: scarce alive
My heart with but one look revive;
Or to disturb my dreams approach
Alas! with merited reproach.
’Tis finished. Horrible to read!
With shame I shudder219 and with dread —
But boldly I myself resign:
Thine honour is my countersign220!
XXXIV
Tattiana moans and now she sighs
And in her grasp the letter shakes,
Even the rosy wafer dries
Upon her tongue which fever bakes.
Her head upon her breast declines
And an enchanting shoulder shines
From her half-open vest of night.
But lo! already the moon’s light
Is waning221. Yonder valley deep
Looms223 gray behind the mist and morn
Silvers the brook224; the shepherd’s horn
Arouses rustics225 from their sleep.
’Tis day, the family downstairs,
But nought for this Tattiana cares.
XXXV
The break of day she doth not see,
But sits in bed with air depressed,
Nor on the letter yet hath she
The image of her seal impressed.
But gray Phillippevna the door
Opened with care, and entering bore
A cup of tea upon a tray.
“’Tis time, my child, arise, I pray!
My beauty, thou art ready too.
My morning birdie, yesternight
I was half silly with affright.
But praised be God! in health art thou!
The pains of night have wholly fled,
Thy cheek is as a poppy red!”
XXXVI
“Ah! nurse, a favour do for me!”
“Command me, darling, what you choose”
“Do not — you might — suspicious be;
But look you — ah! do not refuse.”
“I call to witness God on high —”
“Then send your grandson quietly
To take this letter to O— Well!
Unto our neighbour. Mind you tell —
Command him not to say a word —
I mean my name not to repeat.”
“To whom is it to go, my sweet?
Of late I have been quite absurd —
So many neighbours here exist —
Am I to go through the whole list?”
XXXVII
“How dull you are this morning, nurse!”
“My darling, growing old am I!
In age the memory gets worse,
But I was sharp in times gone by.
In times gone by thy bare command —”
“Oh! nurse, nurse, you don’t understand!
What is thy cleverness to me?
The letter is the thing, you see —
Oneguine’s letter!”—“Ah! the thing!
Now don’t be cross with me, my soul,
You know that I am now a fool —
But why are your cheeks whitening?”
“Nothing, good nurse, there’s nothing wrong,
But send your grandson before long.”
XXXVIII
No answer all that day was borne.
Another passed; ’twas just the same.
Pale as a ghost and dressed since morn
Tattiana waits. No answer came!
Olga’s admirer came that day:
“Tell me, why doth your comrade stay?”
The hostess doth interrogate226:
“He hath neglected us of late.”—
Tattiana blushed, her heart beat quick —
“He promised here this day to ride,”
Lenski unto the dame55 replied,
“The post hath kept him, it is like.”
Shamefaced, Tattiana downward looked
As if he cruelly had joked!
XXXIX
’Twas dusk! Upon the table bright
Shrill227 sang the samovar at eve,44
The china teapot too ye might
In clouds of steam above perceive.
Into the cups already sped
By Olga’s hand distributed
The fragrant228 tea in darkling stream,
And a boy handed round the cream.
Tania doth by the casement229 linger
And breathes upon the chilly230 glass,
Dreaming of what not, pretty lass,
And traces with a slender finger
Upon its damp opacity231,
The mystic monogram232, O. E.
44 The samovar, i.e. “self-boiler,” is merely an urn30 for hot water having a fire in the center. We may observe a similar contrivance in our own old-fashioned tea-urns which are provided with a receptacle for a red-hot iron cylinder233 in center. The tea-pot is usually placed on the top of the samovar.
XL
In the meantime her spirit sinks,
Her weary eyes are filled with tears —
A horse’s hoofs234 she hears — She shrinks!
Nearer they come — Eugene appears!
Ah! than a spectre from the dead
More swift the room Tattiana fled,
From hall to yard and garden flies,
Not daring to cast back her eyes.
She fears and like an arrow rushes
Through park and meadow, wood and brake,
The bridge and alley222 to the lake,
Brambles she snaps and lilacs crushes,
The flowerbeds skirts, the brook doth meet,
Till out of breath upon a seat
XLI
She sank. —
?“He’s here! Eugene is here!
Merciful God, what will he deem?”
Yet still her heart, which torments235 tear,
Guards fondly hope’s uncertain dream.
She waits, on fire her trembling frame —
Will he pursue? — But no one came.
She heard of servant-maids the note,
Who in the orchards236 gathered fruit,
Singing in chorus all the while.
(This by command; for it was found,
However cherries might abound,
They disappeared by stealth and guile87,
So mouths they stopt with song, not fruit —
Device of rural minds acute!)
The Maidens237’ Song
Young maidens, fair maidens,
Friends and companions,
Disport238 yourselves, maidens,
Arouse yourselves, fair ones.
Come sing we in chorus
The secrets of maidens.
Allure144 the young gallant
With dance and with song.
As we lure146 the young gallant,
Espy239 him approaching,
Disperse240 yourselves, darlings,
And pelt241 him with cherries,
With cherries, red currants,
With raspberries, cherries.
Approach not to hearken
To secrets of virgins,
Approach not to gaze at
The frolics of maidens.
XLII
They sang, whilst negligently242 seated,
Attentive243 to the echoing sound,
Tattiana with impatience244 waited
Until her heart less high should bound —
Till the fire in her cheek decreased;
But tremor245 still her frame possessed,
Nor did her blushes fade away,
More crimson every moment they.
Thus shines the wretched butterfly,
With iridescent246 wing doth flap
When captured in a schoolboy’s cap;
Thus shakes the hare when suddenly
She from the winter corn espies247
A sportsman who in covert248 lies.
XLIII
But finally she heaves a sigh,
And rising from her bench proceeds;
But scarce had turned the corner nigh,
Which to the neighbouring alley leads,
When Eugene like a ghost did rise
Before her straight with roguish eyes.
Tattiana faltered249, and became
Scarlet250 as burnt by inward flame.
But this adventure’s consequence
To-day, my friends, at any rate,
I am not strong enough to state;
I, after so much eloquence251,
Must take a walk and rest a bit —
Some day I’ll somehow finish it.
End of Canto the Third
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1
bard
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| n.吟游诗人 | |
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assassinate
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| vt.暗杀，行刺，中伤 | |
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zeal
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| n.热心，热情，热忱 | |
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prattle
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| n.闲谈；v.（小孩般）天真无邪地说话；发出连续而无意义的声音 | |
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misery
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| n.痛苦，苦恼，苦难；悲惨的境遇，贫苦 | |
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6
behold
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| v.看，注视，看到 | |
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gallop
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| v./n.(马或骑马等)飞奔；飞速发展 | |
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8
onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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monotonous
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| adj.单调的，一成不变的，使人厌倦的 | |
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10
err
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| vi.犯错误，出差错 | |
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11
melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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12
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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13
brink
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| n.(悬崖、河流等的)边缘，边沿 | |
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14
curtly
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| adv.简短地 | |
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15
plagiarist
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| n.剽窃者，文抄公 | |
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16
eminent
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| adj.显赫的，杰出的，有名的，优良的 | |
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17
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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18
undoubtedly
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| adv.确实地，无疑地 | |
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19
dire
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| adj.可怕的，悲惨的，阴惨的，极端的 | |
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20
par
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| n.标准，票面价值，平均数量；adj.票面的，平常的，标准的 | |
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21
paraphrased
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| v.释义，意译( paraphrase的过去式和过去分词 ) | |
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22
maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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23
murmurs
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| n.低沉、连续而不清的声音( murmur的名词复数 )；低语声；怨言；嘀咕 | |
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24
providence
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| n.深谋远虑，天道，天意；远见；节约；上帝 | |
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25
blasphemy
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| n.亵渎，渎神 | |
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26
chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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27
graveyard
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| n.坟场 | |
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28
repulsive
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| adj.排斥的，使人反感的 | |
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29
catastrophe
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| n.大灾难，大祸 | |
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30
urn
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| n.（有座脚的）瓮；坟墓；骨灰瓮 | |
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31
canto
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| n.长篇诗的章 | |
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32
tinkling
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| n.丁当作响声 | |
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33
sledge
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| n.雪橇，大锤；v.用雪橇搬运，坐雪橇往 | |
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34
apparition
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| n.幽灵，神奇的现象 | |
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35
abode
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| n.住处，住所 | |
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36
conjectures
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| 推测，猜想( conjecture的名词复数 ) | |
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37
propound
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| v.提出 | |
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38
expound
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| v.详述；解释；阐述 | |
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39
abound
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| vi.大量存在；(in，with)充满，富于 | |
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40
wed
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| v.娶，嫁，与…结婚 | |
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41
procured
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| v.（努力）取得， （设法）获得( procure的过去式和过去分词 )；拉皮条 | |
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42
allusions
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| 暗指，间接提到( allusion的名词复数 ) | |
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43
languor
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| n.无精力，倦怠 | |
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44
agitation
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| n.搅动；搅拌；鼓动，煽动 | |
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45
alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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46
tiresome
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| adj.令人疲劳的，令人厌倦的 | |
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47
nought
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| n.／adj.无，零 | |
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48
recollects
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| v.记起，想起( recollect的第三人称单数 ) | |
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49
zest
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| n.乐趣；滋味，风味；兴趣 | |
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50
rebellious
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| adj.造反的，反抗的，难控制的 | |
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51
martyr
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| n.烈士，殉难者；vt.杀害，折磨，牺牲 | |
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52
paragon
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| n.模范，典型 | |
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53
enrolled
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| adj.入学登记了的v.[亦作enrol]( enroll的过去式和过去分词 )；登记，招收，使入伍（或入会、入学等），参加，成为成员；记入名册；卷起，包起 | |
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54
Vogue
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| n.时髦，时尚；adj.流行的 | |
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55
dame
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| n.女士 | |
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56
celebrity
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| n.名人，名流；著名，名声，名望 | |
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57
consigned
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| v.把…置于（令人不快的境地）( consign的过去式和过去分词 )；把…托付给；把…托人代售；丟弃 | |
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58
mediocre
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| adj.平常的，普通的 | |
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59
rummage
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| v./n.翻寻，仔细检查 | |
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60
decadence
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| n.衰落，颓废 | |
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61
erred
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| 犯错误，做错事( err的过去式和过去分词 ) | |
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62
descries
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| v.被看到的，被发现的，被注意到的( descried的现在分词 ) | |
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63
rapture
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| n.狂喜；全神贯注；着迷；v.使狂喜 | |
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64
raptures
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| 极度欢喜( rapture的名词复数 ) | |
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65
wig
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| n.假发 | |
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66
quill
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| n.羽毛管；v.给（织物或衣服）作皱褶 | |
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67
everlasting
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| adj.永恒的，持久的，无止境的 | |
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68
madrigal
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| n.牧歌；（流行于16和17世纪无乐器伴奏的）合唱歌曲 | |
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69
valiant
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| adj.勇敢的，英勇的；n.勇士，勇敢的人 | |
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70
replete
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| adj.饱满的，塞满的；n.贮蜜蚁 | |
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71
adverse
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| adj.不利的；有害的；敌对的，不友好的 | |
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72
idols
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| 偶像( idol的名词复数 )； 受崇拜的人或物； 受到热爱和崇拜的人或物； 神像 | |
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73
wont
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| adj.习惯于；v.习惯；n.习惯 | |
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74
vice
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| n.坏事；恶习；[pl.]台钳，老虎钳；adj.副的 | |
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75
virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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76
narcotic
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| n.麻醉药，镇静剂；adj.麻醉的，催眠的 | |
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77
glorified
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| 美其名的，变荣耀的 | |
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78
muse
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| n.缪斯（希腊神话中的女神），创作灵感 | |
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79
repose
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| v.(使)休息；n.安息 | |
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80
adoration
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| n.爱慕，崇拜 | |
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81
vampire
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| n.吸血鬼 | |
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82
meditation
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| n.熟虑，（尤指宗教的）默想，沉思，（pl.）冥想录 | |
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83
mantle
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| n.斗篷，覆罩之物，罩子；v.罩住，覆盖，脸红 | |
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84
abdicate
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| v.让位，辞职，放弃 | |
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85
humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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86
beguile
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| vt.欺骗，消遣 | |
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87
guile
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| n.诈术 | |
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88
torment
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| n.折磨；令人痛苦的东西(人)；vt.折磨；纠缠 | |
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89
depict
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| vt.描画，描绘；描写，描述 | |
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90
touching
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| adj.动人的，使人感伤的 | |
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91
descant
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| v.详论，絮说；n.高音部 | |
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92
jealousy
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| n.妒忌，嫉妒，猜忌 | |
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93
reconciliation
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| n.和解，和谐，一致 | |
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94
wedlock
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| n.婚姻，已婚状态 | |
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95
bind
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| vt.捆，包扎；装订；约束；使凝固；vi.变硬 | |
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96
passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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97
prostrate
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| v.拜倒，平卧，衰竭；adj.拜倒的，平卧的，衰竭的 | |
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98
rusty
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| adj.生锈的；锈色的；荒废了的 | |
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99
tyrant
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| n.暴君，专制的君主，残暴的人 | |
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100
dread
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| vt.担忧，忧虑；惧怕，不敢；n.担忧，畏惧 | |
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101
quaff
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| v.一饮而尽；痛饮 | |
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102
swarm
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| n.(昆虫)等一大群；vi.成群飞舞；蜂拥而入 | |
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103
pangs
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| 突然的剧痛( pang的名词复数 )； 悲痛 | |
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104
agonize
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| v.使受苦，使苦闷 | |
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105
bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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106
crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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107
hues
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| 色彩( hue的名词复数 )； 色调； 信仰； 观点 | |
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108
suffuse
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| v.(色彩等)弥漫，染遍 | |
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109
guardian
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| n.监护人；守卫者，保护者 | |
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110
ails
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| v.生病( ail的第三人称单数 )；感到不舒服；处境困难；境况不佳 | |
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111
allotted
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| 分配，拨给，摊派( allot的过去式和过去分词 ) | |
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112
misty
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| adj.雾蒙蒙的，有雾的 | |
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113
forth
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| adv.向前；向外，往外 | |
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114
tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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115
sleepless
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| adj.不睡眠的，睡不著的，不休息的 | |
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116
depressed
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| adj.沮丧的，抑郁的，不景气的，萧条的 | |
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117
dames
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| n.（在英国）夫人（一种封号），夫人（爵士妻子的称号）( dame的名词复数 )；女人 | |
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118
desolate
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| adj.荒凉的，荒芜的；孤独的，凄凉的；v.使荒芜，使孤寂 | |
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119
blessing
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| n.祈神赐福；祷告；祝福，祝愿 | |
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120
ken
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| n.视野，知识领域 | |
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121
formerly
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| adv.从前，以前 | |
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122
hearty
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| adj.热情友好的；衷心的；尽情的，纵情的 | |
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123
communal
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| adj.公有的，公共的，公社的，公社制的 | |
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124
lone
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| adj.孤寂的，单独的；唯一的 | |
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125
heed
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| v.注意，留意；n.注意，留心 | |
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126
cleft
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| n.裂缝；adj.裂开的 | |
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127
sobs
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| 啜泣（声），呜咽（声）( sob的名词复数 ) | |
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128
wilt
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| v.(使)植物凋谢或枯萎；(指人)疲倦，衰弱 | |
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129
aged
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| adj.年老的，陈年的 | |
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130
woe
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| n.悲哀，苦痛，不幸，困难；int.用来表达悲伤或惊慌 | |
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131
enchanted
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| adj. 被施魔法的，陶醉的，入迷的 动词enchant的过去式和过去分词 | |
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132
indites
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| vt.写（文章，信等）创作，赋诗，创作（indite的第三人称单数形式） | |
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133
scroll
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| n.卷轴，纸卷；(石刻上的)漩涡 | |
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134
awe
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| n.敬畏，惊惧；vt.使敬畏，使惊惧 | |
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135
benevolence
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| n.慈悲，捐助 | |
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136
inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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137
delightful
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| adj.令人高兴的，使人快乐的 | |
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138
repel
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| v.击退，抵制，拒绝，排斥 | |
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139
annotator
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| n.注释者 | |
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140
herds
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| 兽群( herd的名词复数 )； 牧群； 人群； 群众 | |
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141
virgins
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| 处女，童男( virgin的名词复数 )； 童贞玛利亚（耶稣之母） | |
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142
miraculous
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| adj.像奇迹一样的，不可思议的 | |
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143
banishment
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| n.放逐，驱逐 | |
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144
allure
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| n.诱惑力，魅力；vt.诱惑，引诱，吸引 | |
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145
allurements
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| n.诱惑( allurement的名词复数 )；吸引；诱惑物；有诱惑力的事物 | |
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146
lure
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| n.吸引人的东西，诱惑物；vt.引诱，吸引 | |
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147
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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148
attuned
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| v.使协调( attune的过去式和过去分词 )；调音 | |
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149
deception
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| n.欺骗，欺诈；骗局，诡计 | |
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150
wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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151
volition
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| n.意志；决意 | |
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152
determined
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| adj.坚定的；有决心的 | |
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153
disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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154
ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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155
agitate
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| vi.(for,against)煽动，鼓动；vt.搅动 | |
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156
agitated
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| adj.被鼓动的，不安的 | |
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157
bliss
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| n.狂喜，福佑，天赐的福 | |
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158
unanimity
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| n.全体一致，一致同意 | |
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159
condemn
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| vt.谴责，指责；宣判(罪犯)，判刑 | |
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160
sneers
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| 讥笑的表情（言语）( sneer的名词复数 ) | |
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161
gallant
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| adj.英勇的，豪侠的；(向女人)献殷勤的 | |
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162
treacherous
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|
| adj.不可靠的，有暗藏的危险的；adj.背叛的，背信弃义的 | |
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163
prey
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| n.被掠食者，牺牲者，掠食；v.捕食，掠夺，折磨 | |
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164
pique
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| v.伤害…的自尊心，使生气 n.不满，生气 | |
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165
resuscitate
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| v.使复活，使苏醒 | |
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166
jaded
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|
| adj.精疲力竭的；厌倦的；（因过饱或过多而）腻烦的；迟钝的 | |
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167
satiety
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| n.饱和；(市场的)充分供应 | |
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168
incessantly
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| ad.不停地 | |
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169
possessed
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| adj.疯狂的；拥有的，占有的 | |
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170
fluency
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| n.流畅，雄辩，善辩 | |
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171
reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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172
warfare
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| n.战争(状态)；斗争；冲突 | |
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173
devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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174
cultivation
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| n.耕作，培养，栽培（法），养成 | |
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175
vernacular
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| adj.地方的，用地方语写成的；n.白话；行话；本国语；动植物的俗名 | |
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176
consecrate
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| v.使圣化，奉…为神圣；尊崇；奉献 | |
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177
impeach
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| v.弹劾；检举 | |
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178
scoffed
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| 嘲笑，嘲弄( scoff的过去式和过去分词 ) | |
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179
promenade
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| n./v.散步 | |
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180
rosy
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|
| adj.美好的，乐观的，玫瑰色的 | |
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181
vile
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| adj.卑鄙的，可耻的，邪恶的；坏透的 | |
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182
entreats
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| 恳求，乞求( entreat的第三人称单数 ) | |
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183
conceits
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| 高傲( conceit的名词复数 )； 自以为； 巧妙的词语； 别出心裁的比喻 | |
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184
repentance
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| n.懊悔 | |
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185
wields
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| 手持着使用（武器、工具等）( wield的第三人称单数 )； 具有； 运用（权力）； 施加（影响） | |
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186
poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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187
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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188
graceful
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| adj.优美的，优雅的；得体的 | |
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189
pervading
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| v.遍及，弥漫( pervade的现在分词 ) | |
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190
inditing
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| v.写（文章，信等）创作，赋诗，创作( indite的现在分词 ) | |
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191
embryo
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| n.胚胎，萌芽的事物 | |
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192
enchanting
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| a.讨人喜欢的 | |
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193
pretensions
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| 自称( pretension的名词复数 )； 自命不凡； 要求； 权力 | |
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194
reverence
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| n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬 | |
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195
importunity
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| n.硬要，强求 | |
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196
lyric
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| n.抒情诗，歌词；adj.抒情的 | |
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197
originality
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| n.创造力，独创性；新颖 | |
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198
conviviality
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| n.欢宴，高兴，欢乐 | |
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199
distress
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| n.苦恼，痛苦，不舒适；不幸；vt.使悲痛 | |
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200
disdain
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| n.鄙视，轻视；v.轻视，鄙视，不屑 | |
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201
commiserate
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| v.怜悯，同情 | |
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202
secrecy
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| n.秘密，保密，隐蔽 | |
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203
meditate
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| v.想，考虑，（尤指宗教上的）沉思，冥想 | |
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204
misanthrope
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| n.恨人类的人；厌世者 | |
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205
solitude
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| n. 孤独; 独居,荒僻之地,幽静的地方 | |
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206
doom
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| n.厄运，劫数；v.注定，命定 | |
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207
subdued
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| adj. 屈服的，柔和的，减弱的 动词subdue的过去式和过去分词 | |
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208
resonance
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| n.洪亮；共鸣；共振 | |
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209
conversed
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| v.交谈，谈话( converse的过去式 ) | |
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210
anguish
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| n.(尤指心灵上的)极度痛苦，烦恼 | |
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211
nay
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| adv.不；n.反对票，投反对票者 | |
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212
glimmered
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| v.发闪光，发微光( glimmer的过去式和过去分词 ) | |
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213
hovered
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| 鸟( hover的过去式和过去分词 )； 靠近（某事物）； （人）徘徊； 犹豫 | |
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214
malevolent
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| adj.有恶意的，恶毒的 | |
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215
uncertainty
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| n.易变，靠不住，不确知，不确定的事物 | |
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216
delusions
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| n.欺骗( delusion的名词复数 )；谬见；错觉；妄想 | |
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217
confide
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| v.向某人吐露秘密 | |
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218
implore
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| vt.乞求，恳求，哀求 | |
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219
shudder
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| v.战粟，震动，剧烈地摇晃；n.战粟，抖动 | |
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220
countersign
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| v.副署，会签 | |
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221
waning
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| adj.（月亮）渐亏的，逐渐减弱或变小的n.月亏v.衰落( wane的现在分词 )；（月）亏；变小；变暗淡 | |
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222
alley
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| n.小巷，胡同；小径，小路 | |
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223
looms
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| n.织布机( loom的名词复数 )v.隐约出现，阴森地逼近( loom的第三人称单数 )；隐约出现，阴森地逼近 | |
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224
brook
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| n.小河，溪；v.忍受，容让 | |
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225
rustics
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| n.有农村或村民特色的( rustic的名词复数 )；粗野的；不雅的；用粗糙的木材或树枝制作的 | |
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226
interrogate
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| vt.讯问，审问，盘问 | |
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227
shrill
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| adj.尖声的；刺耳的；v尖叫 | |
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228
fragrant
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| adj.芬香的，馥郁的，愉快的 | |
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229
casement
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| n.竖铰链窗；窗扉 | |
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230
chilly
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| adj.凉快的，寒冷的 | |
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231
opacity
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| n.不透明；难懂 | |
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232
monogram
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| n.字母组合 | |
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233
cylinder
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| n.圆筒，柱(面)，汽缸 | |
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234
hoofs
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| n.（兽的）蹄，马蹄( hoof的名词复数 )v.（兽的）蹄，马蹄( hoof的第三人称单数 ) | |
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235
torments
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| （肉体或精神上的）折磨，痛苦( torment的名词复数 )； 造成痛苦的事物[人] | |
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236
orchards
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| （通常指围起来的）果园( orchard的名词复数 ) | |
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237
maidens
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| 处女( maiden的名词复数 )； 少女； 未婚女子； （板球运动）未得分的一轮投球 | |
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238
disport
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| v.嬉戏，玩 | |
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239
espy
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| v.（从远处等）突然看到 | |
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240
disperse
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| vi.使分散；使消失；vt.分散；驱散 | |
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241
pelt
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| v.投掷，剥皮，抨击，开火 | |
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242
negligently
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243
attentive
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| adj.注意的，专心的；关心(别人)的，殷勤的 | |
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244
impatience
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| n.不耐烦，急躁 | |
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245
tremor
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| n.震动，颤动，战栗，兴奋，地震 | |
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246
iridescent
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| adj.彩虹色的，闪色的 | |
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247
espies
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| v.看到( espy的第三人称单数 ) | |
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248
covert
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| adj.隐藏的；暗地里的 | |
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249
faltered
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| （嗓音）颤抖( falter的过去式和过去分词 )； 支吾其词； 蹒跚； 摇晃 | |
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250
scarlet
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| n.深红色，绯红色，红衣；adj.绯红色的 | |
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251
eloquence
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| n.雄辩；口才，修辞 | |
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