Blackwood's Edinburgh Magazine — Volume 55, No. 340, February, 1844. VariousЧитать онлайн книгу.
daughter of Obrazétz glanced at her with eyes full of tears, and shook her head.
"'Confide in me, as I have confided in thee,' continued Selínova, taking her hand and pressing it to her bosom. 'I have lived longer in the world than thou ... believe me, 'twill give thee ease ... 'tis clear from every symptom, my love, what thou ailest.'
"And Anastasia, sobbing, exclaimed at last—'O, my love, my dearest friend, Praskóvia Vladimírovna, take a sharp knife, open my white breast, look what is the matter there!'
"'And wherefore need we take the sharp knife, and wherefore need we open the white breast, or look upon the rebellious heart? Surely, by thy fair face all can tell, my child, how that fair face hath been darkened, how the fresh bloom hath faded, and bright eyes grown dull. After all, 'tis clear thou lovest some wandering falcon, some stranger youth.'
"Anastasia answered not a word; she could not speak for tears; and hid her face in her hands. At last, softened by Selínova's friendly sympathy, and her assurances that she would be easier if she would confide her secret to such a faithful friend, she related her love for the heretic. The episode of the crucifix was omitted in this tale, which finished, of course, with assurances that she was enchanted, bewitched.
"Poor Anastasia!
"Snowdrop! beautiful flower, thou springest up alone in the bosom of thy native valley! And the bright sun arises every day to glass himself in thy morning mirror; and the beaming moon, after a sultry day, hastens to fan thee with her breezy wing, and the angels of God, lulling thee by night, spread over thee a starry canopy, such as king never possessed. Who can tell from what quarter the tempest may bring from afar, from other lands, the seeds of the ivy, and scatter them by thy side, and the ivy arises and twines lovingly around thee, and chokes thee, lovely flower! This is not all: the worm has crawled to thy root, hath fixed its fang therein, and kills ye both, if some kind hand save ye not."
These extracts will enable our readers to judge for themselves of the merits of M. Lajétchnikoff's style as it appears in Mr Shaw's translation. A better selection might have been made, had we not been desirous to avoid any such anticipation of the development of the story as light diminish its interest; but we are inclined to believe that most of our readers will agree with us in thinking, that if M. Lajétchnikoff has succeeded in faithfully illustrating the manners of the age of Iván the Great, he has also shown that he possesses brilliancy of fancy, fervour of thought, and elevation of sentiment, as well as knowledge of the movements of the heart, revealed only to the few who have been initiated into nature's mysteries.
He does not appear to be largely gifted with the power of graphic description, of placing the scenes of nature, or the living figures that people them, vividly before us—he loves rather to indulge, even to excess, mystical or passionate thoughts that are born in his own breast, and to adorn them with garlands woven from the flowers of his fancy; but these flowers are of native growth, the indigenous productions of the Russian soil. His images often sound to our ears homely, sometimes even familiar and mean, but they may be dignified in their native dress. He has no lively perception of the beauties of external nature; his raptures are reserved for the wonders of art, for what the human mind can create or achieve; and, curiously enough, it is architecture that seems to excite in him the greatest enthusiasm. In illustration of this feeling, we must still extract an eloquent discourse on the life of the artist, which the author puts into the mouth of Fioraventi Aristotle—a passage of much feeling, and, we fear, of too much truth:—
"Thou knowest not, Antony, what a life is that of an artist! While yet a child, he is agitated by heavy incomprehensible thoughts: to him the sphynx, Genius, hath already proposed its enigmas; in his bosom the Promethean vulture is already perched, and groweth with his growth. His comrades are playing and making merry; they are preparing for their riper years recollections of childhood's days of paradise—childhood, that never can be but once: the time cometh, and he remembereth but the tormenting dreams of that age. Youth is at hand; for others 'tis the time of love, of soft ties, of revelry—the feast of life; for the artist, none of these. Solitary, flying from society, he avoideth the maiden, he avoideth joy; plunging into the loneliness of his soul, he there, with indescribable mourning, with tears of inspiration, on his knees before his Ideal, imploreth her to come down upon earth to his frail dwelling. Days and nights he waiteth, and pineth after unearthly beauty. Woe to him if she doth not visit him, and yet greater woe to him if she doth! The tender frame of youth cannot bear her bridal kiss; union with the gods is fatal to man; and the mortal is annihilated in her embrace. I speak not of the education, of the mechanic preparation. And here at every step the Material enchaineth thee, buildeth up barriers before thee: marketh a formless vein upon thy block of marble, mingling soot with thy carmine, entangling thy imagination in a net of monstrous rules and formulas, commandeth thee to be the slave of the house-painter or of the stone-cutter. And what awaiteth thee, when thou hast come forth victorious from this mechanic school—when thou hast succeeded in throwing off the heavy sum of a thousand unnecessary rules, with which pedantry hath overwhelmed thee—when thou takest as thy guide only those laws which are so plain and simple? ... What awaiteth thee then? Again the Material! Poverty, need, forced labour, appreciators, rivals, that ever-hungry flock which flieth upon thee ready to tear thee in pieces, as soon as it knoweth that thou art a pure possessor of the gift of God. Thy soul burneth to create, but thy carcass demandeth a morsel of bread; inspiration veileth her wing, but the body asketh not only to clothe its nakedness with a decent covering, but fine cloth, silk, velvet, that it may appear before thy judges in a proper dress, without which they will not receive thee, thou and thy productions will die unknown. In order to obtain food, clothes, thou must work: a merchant will order from thee a cellar, a warehouse; the signore, stables and dog kennels. Now at last thou hast procured thyself daily bread, a decent habit for thy bones and flesh: inspiration thirsteth for its nourishment, demanding from thy soul images and forms. Thou createst, thou art bringing thy Ideal to fulfilment. How swiftly move the wheels of thy being! Thy existence is tenfold redoubled, thy pulse is beating as when thou breathest the atmosphere of high mountains. Thou spendest in one day whole months of life. How many nights passed without sleep, how many days in ceaseless chain, all filled with agitation! Or rather, there is nor day nor night for thee, nor seasons of the year, as for other men. Thy blood now boileth, then freezeth; the fever of imagination wasteth thee away. Triumph setteth thee on fire, the fear of failure maddeneth thee, tearing thee to pieces, tormenting thee with dread of the judgments of men; then again ariseth the terror of dying with thy task unfinished. Add, too, the inevitable shade of glory, which stalketh ever in thy footsteps, and giveth thee not a moment of repose. This is the period of creation! While creating, thou hast been dwelling at the footstool of God. Crushed by thy contact with the hem of his garment, overwhelmed by inspiration from Him whom the world can scarcely bear, a poor mortal, half alive, half dead, thou descendest upon earth, and carriest with thee what thou hast created there, in His presence! Mortals surround thy production, judging, valuing, discussing it in detail; the patron laudeth the ornaments, the grandeur of the columns, the weight of the work; the distributors of favour gamble away thy honour, or creep like mice under thy plan, and nibble at it in the darkness of night. No, my friend, the life of an artist is the life of a martyr."
We are so much accustomed to see virtue rewarded and vice punished, that we might perhaps have been better pleased to have seen this kind of poetical justice more equitably dispensed; but the cause of virtue is perhaps as effectually served by making it attractive as by making it triumphant, and vice is as much discouraged by making it odious or contemptible as by making it unsuccessful.
It only remains to say a few words of the translator's labours; and although we do not pretend to decide on the fidelity of the version he has given us, or how much his author may have lost or gained in his hands, we cannot but think that we perceive internal evidence of efforts to be faithful, even at the hazard of losing perhaps something of more value in the attempt. However this may be, it is plain that Mr Shaw is himself a vigorous and eloquent writer of his own language, as the extracts we have given may vouch. We feel greatly indebted to him for unlocking to us the stores of Russian fiction, which, if they contain many such works as The Heretic, will well repay the labour of a careful examination. There is about every thing Russian an air of orientalism which gives a peculiar