Blackwood's Edinburgh Magazine, Vol 58, No. 357, July 1845. Various

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.;

      and the second from Chiabrera's sublime Ode on the Siege of Vienna—

      "E fino a quanto inulti

      Sian, Signore, i tuoi servi? E fino a quanto

      Dei barbarici insulti

      Orgogliosa n'andrà l'empia baldanza?

      Dov'è, dov'è, gran Dio, l'antico vanto

      Di tua alta possanza?" &c. &c.

      In the two passages here quoted, it will be observed that all the lines end with two syllables, in both of which the rhyme is engaged; and an English version of the above verses, however faithful in other respects, which should omit to use the same species of double termination, and content itself with the monosyllable rhyme, would indubitably lose some of the harmony of the original. These double rhymes are far from abundant in our monosyllabic language; but we venture to affirm, that their conscientious employment would be found so valuable, as to amply repay the labour and difficulty attending their search.

      We trust that our readers will pardon the apparent technicality of these remarks, for the sake of the consideration which induced us to make them. In all translation, even in the best, there is so great a loss of spirit and harmony, that the conscientious labourer in this most difficult and ungrateful art, should never neglect even the most trifling precaution that tends to hinder a still further depreciation of the gold of his original; not to mention the principle, that whatever it is worth our while to do at all, it is assuredly worth our while to do as well as we can.

      The first specimen of Púshkin's lyric productions which we shall present to our countrymen, "done into English," as Jacob Tonson was wont to phrase it, "by an eminent hand," is a production considered by the poet's critics to possess the very highest degree of merit in its peculiar style. We have mentioned some details respecting the nature and history of the Imperial Lyceum of Tsarskoë Seló, in which Púshkin was educated, and we have described the peculiar intensity of feeling with which all who quitted its walls looked back upon the happy days they had spent within them, and the singular ardour and permanency of the friendships contracted beneath its roof. On the anniversary of the foundation (by the Emperor Alexander) of the institution, it is customary for all the "old Lyceans" to dine together, in the same way as the Eton, Harrow, or Rugby men are accustomed to unite once a-year in honour of their school. On many of these occasions Púshkin contributed to the due celebration of the event by producing poems of various lengths, and different degrees of merit; we give here the best of these. It was written during the poet's residence in the government of Pskoff, and will be found, we think, a most beautiful and touching embodiment of such feelings as would be suggested in the mind of one obliged to be absent from a ceremony of the nature in question. Of the comrades whose names Púshkin has immortalized in these lines, it is only necessary to specify that the first, Korsákoff, distinguished among his youthful comrades for his musical talents, met with an early death in Italy; a circumstance to which the poet has touchingly alluded. Matiúshkin is now an admiral of distinction, and is commanding the Russian squadron in the Black Sea. Of the two whom he mentions as having passed the anniversary described in this poem (October 19, 1825) in his company, the first was Pústchin, since dead, and the second the Prince Gortchakóff, whom he met by accident, travelling in the neighbourhood of his (the poet's) seclusion. Our readers cannot fail, we think, to be struck with the beautiful passage consecrated to his friendship with Délvig; and the only other personal allusion which seems to stand in need of explanation, is that indicated by the name Wilhelm, towards the end of the poem. This is the Christian name of his friend Küchelbecher, since dead, and whose family name was hardly harmonious enough to enter Púshkin's line, and was therefore omitted on the Horatian principle – "versu quod dicere nolim." We now hasten to present the lines.