FOOTNOTES:
[5] I take this translation from Sir John Bowring's "Specimens of the Russian Poets," rather than attempt a metrical translation myself. It is reasonably close to the original—as close as most metrical translations are—and gives the spirit extremely well. Sir John Bowring adds the following footnote: "This is the poem of which Golovnin says in his narrative, that it has been rendered into Japanese, by order of the emperor, and hung up, embroidered in gold, in the Temple of Jeddo. I learn from the periodicals that an honor somewhat similar has been done in China to the same poem. It has been translated into the Chinese and Tartar languages, written on a piece of rich silk, and suspended in the imperial palace at Pekin." There are several editions of Sir John's book, the one here used being the second, 1821; but the author admits that in the first edition he stretched the poetic license further than he had a right to do, in this first verse. The book is now rare, but this statement will serve as a warning to those who may happen upon the first edition.
[6] Karamzín's youngest daughter, by his second marriage, was alive when I was in Russia,—a charming old lady. She gave me her own copy of her "favorite book," a volume (in French) by Khomyakóff, very rare and difficult to obtain; and in discussing literary matters, wound up thus: "They may say what they will about the new men, but no one ever wrote such a beautiful style as my dear papa!" I also knew some of Ózeroff's relatives.
[7] Pronounced Alyóg.
[8] A translation of this—which is too long to quote here—may be found in Sir John Bowring's "Specimens of the Russian Poets," Vol. II.
[9] These imperial favors and pensions were continued to his children. His son, an artist, regularly visited Russia as the guest of Alexander III. I met him on two occasions and was enabled to judge of his father's charms of mind and manner.
[10] This building still exists, with its garden alluded to in the "Memories." But though it still bears its name, it is connected by a glazed gallery with the old palace, famous chiefly as Katherine II.'s residence, across the street; and it is used for suites of apartments, allotted for summer residence to certain courtiers. The exact arrangement of the rooms in Púshkin's day is not now known.
[11] "The Stone Guest" is founded on the Don Juan legend, like the familiar opera "Don Giovanni." Músorgsky set it to music, in sonorous, Wagnerian recitative style (though the style was original with him, not copied from Wagner, who came later). It is rarely given in public, but I had the pleasure of hearing it rendered by famous artists, accompanied by the composer Balakíreff, at the house of a noted art and musical critic in St. Petersburg.
[12] The reference is to Godunóff's presumptive share in the murder, at Úglitch, of Iván the Terrible's infant heir, the Tzarévitch Dmítry.