The translator wishes it therefore to be distinctly understood that he by no means intends to offer, in the character of a complete poetical portrait, the few pieces contained in these pages, but rather as an attempt, however imperfect, to daguerreotype—by means of the most faithful translation consistent with ease—one of the various expressions of Púshkin's literary physiognomy; to represent one phase of his developement.
That physiognomy is a very flexible and a varying one; Púshkin (considered only as a poet) must be allowed to have attained very high eminence in various walks of his sublime art; his works are very numerous, and as diverse in their form as in their spirit; he is sometimes a romantic, sometimes a legendary, sometimes an epic, sometimes a satiric, and sometimes a dramatic poet;—in most, if not in all, of these various lines he has attained the highest eminence as yet recognised by his countrymen; and, consequently, whatever impression may be made upon our readers by the present essay at a transfusion of his works into the English language, will be necessarily a very imperfect one. In the prosecution of the arduous but not unprofitable enterprise which the translator set before himself three years ago—viz. the communication to his countrymen of some true ideas of the scope and peculiar character of Russian literature—he met with so much discouragement in the unfavourable predictions of such of his friends as he consulted with respect to the feasibility of his project, that he may be excused for some degree of timidity in offering the results of his labours to an English public. So great, indeed, was that timidity, that not even the very flattering reception given to his two first attempts at prose translation, has entirely succeeded in destroying it; and he prefers, on the present occasion, to run the risk of giving only a partial and imperfect reflection of Púshkin's intellectual features, to the danger that might attend a more ambitious and elaborate version of any of the poet's longer works.
Púshkin is here presented solely in his lyrical character; and, it is trusted, that, in the selection of the compositions to be translated—selections made from a very large number of highly meritorious works—due attention has been paid not only to the intrinsic beauty and merit of the pieces chosen, but also to the important consideration which renders indispensable (in cases where we find an embarras de richesses, and where the merit is equal) the adoption of such specimens as would possess the greatest degree of novelty for an English reader.
The task of translating all Púshkin's poetry is certainly too dignified a one, not to excite our ambition; and it is meditated, in the event of the accompanying versions finding in England a degree of approbation sufficiently marked to indicate a desire for more specimens, to extend our present labours so far, as to admit passages of the most remarkable merit from Púshkin's longer works; and, perhaps, even complete versions of some of the more celebrated. Should, therefore, the British public give the fiat of its approbation, we would still further contribute to its knowledge of the great Russian author, by publishing, for example, some of the more remarkable places in the poem of "Evgénii Oniégin," the charming "Gypsies," scenes and passages from the tragedy of "Bóris Godunóff," the "Prisoner of the Caucasus," "Mazépa," &c. &c.
With respect to the present or lyrical specimens, we shall take the liberty to make a few remarks, having reference to the principles which have governed the translator in the execution of the versions; and we shall afterwards preface each poem with a few words of notice, such as may appear to be rendered necessary either by the subject or by the form of the composition itself.
Of the poetical merit of these translations, considered as English poems, their writer has no very exalted idea; of their faithfulness as versions, on the contrary, he has so deep a conviction, that he regrets exceedingly the fact, that the universal ignorance prevailing in England of the Russian language, will prevent the possibility of that important merit—strict fidelity—being tested by the British reader. Let the indulgent, therefore, remember, if we have in any case left an air of stiffness and constraint but too perceptible in our work, that this fault is to be considered as a sacrifice of grace at the altar of truth. It would have been not only possible, but easy, to have spun a collection of easy rhymes, bearing a general resemblance to the vigorous and passionate poetry of Púshkin; but this would not have been a translation, and a translation it was our object to produce. Bowring's Russian Anthology (not to speak of his other volumes of translated poetry) is a melancholy example of the danger of this attractive but fatal system; while the names of Cary, of Hay, and of Merivale, will remain as a bright encouragement to those who have sufficient strength of mind to prefer the "strait and narrow way" of masterly translation, to the "flowery paths of dalliance" so often trodden by the paraphraser.
In all cases, the metre of the original, the musical movement and modulation, has, as far as the translator's ear enabled him to judge, been followed with minute exactness, and at no inconsiderable expense, in some cases, of time and labour. It would be superfluous, therefore, to state, that the number of lines in the English version is always the same as in the original. It has been our study, wherever the differences in the structure of the two languages would permit, to include the same thoughts in the same number of lines. There is also a peculiarity of the Russian language which frequently rendered our task still more arduous; and the conquest of this difficulty has, we trust, conferred upon us the right to speak of our triumph without incurring the charge of vanity. We allude to the great abundance in the Russian of double terminations, and the consequent recurrence of double rhymes, a peculiarity common also to the Italian and Spanish versification, and one which certainly communicates to the versification of those countries a character so marked and peculiar, that no translator would be justified in neglecting it. As it would be impossible, without the use of Russian types, to give our readers an example of this from the writings of Púshkin, and as they would be unable to pronounce such a quotation even if they saw it, we will give an illustration of what we mean from the Spanish and the Italian.
The first is from the fourth book of the Galatea of Cervantes—
"Venga á mirar á la pastora mia
Quien quisiere contar de gente en gente
Que vió otro sol, que daba luz al dia
Mas claro, que el que sale del oriente," &c.;