Eugene Onegin. A Romance of Russian Life in Verse

Capers applauds with clap of hands,

With hisses Cleopatra scares,

Moina recalls for this alone

That all may hear his voice's tone.

XV

Thou fairy-land! Where formerly

Shone pungent Satire's dauntless king,

Von Wisine, friend of liberty,

And Kniajnine, apt at copying.

The young Simeonova too there

With Ozeroff was wont to share

Applause, the people's donative.

There our Katenine did revive

Corneille's majestic genius,

Sarcastic Shakhovskoi brought out

His comedies, a noisy rout,

There Didelot became glorious,

There, there, beneath the side-scene's shade

The drama of my youth was played.(10)

[Note 10: Denis Von Wisine (1741-92), a favourite Russian dramatist. His first comedy "The Brigadier," procured him the favour of the second Catherine. His best, however, is the "Minor" (Niedorosl). Prince Potemkin, after witnessing it, summoned the author, and greeted him with the exclamation, "Die now, Denis!" In fact, his subsequent performances were not of equal merit.

Jacob Borissovitch Kniajnine (1742-91), a clever adapter of French tragedy.

Simeonova, a celebrated tragic actress, who retired from the stage in early life and married a Prince Gagarine.

Ozeroff, one of the best-known Russian dramatists of the period; he possessed more originality than Kniajnine. "Oedipus in Athens," "Fingal," "Demetrius Donskoi," and "Polyxena," are the best known of his tragedies.

Katenine translated Corneille's tragedies into Russian.

Didelot, sometime Director of the ballet at the Opera at St. Petersburg.]

XVI

My goddesses, where are your shades?

Do ye not hear my mournful sighs?

Are ye replaced by other maids

Who cannot conjure former joys?

Shall I your chorus hear anew,

Russia's Terpsichore review

Again in her ethereal dance?

Or will my melancholy glance

On the dull stage find all things changed,

The disenchanted glass direct

Where I can no more recollect?—

A careless looker-on estranged

In silence shall I sit and yawn

And dream of life's delightful dawn?

XVII

The house is crammed. A thousand lamps

On pit, stalls, boxes, brightly blaze,

Impatiently the gallery stamps,

The curtain now they slowly raise.

Obedient to the magic strings,

Brilliant, ethereal, there springs

Forth from the crowd of nymphs surrounding

Istomina(*) the nimbly-bounding;

With one foot resting on its tip

Slow circling round its fellow swings

And now she skips and now she springs

Like down from Aeolus's lip,

Now her lithe form she arches o'er

And beats with rapid foot the floor.

[Note: Istomina—A celebrated Circassian dancer of the day, with whom the poet in his extreme youth imagined himself in love.]

XVIII

Shouts of applause! Oneguine passes

Between the stalls, along the toes;

Seated, a curious look with glasses

On unknown female forms he throws.

Free scope he yields unto his glance,

Reviews both dress and countenance,

With all dissatisfaction shows.

To male acquaintances he bows,

And finally he deigns let fall

Upon the stage his weary glance.

He yawns, averts his countenance,

Exclaiming, "We must change 'em all!

I long by ballets have been bored,

Now Didelot scarce can be endured!"

XIX

Snakes, satyrs, loves with many a shout

Across the stage still madly sweep,

Whilst the tired serving-men without

Wrapped in their sheepskins soundly sleep.

Still the loud stamping doth not cease,

Still they blow noses, cough, and sneeze,

Still everywhere, without, within,

The lamps illuminating shine;

The steed benumbed still pawing stands

And of the irksome harness tires,

And still the coachmen round the fires(11)

Abuse their masters, rub their hands:

But Eugene long hath left the press

To array himself in evening dress.

[Note 11: In Russia large fires are lighted in winter time in front of the theatres for the benefit of the menials, who, considering the state of the thermometer, cannot be said to have a jovial time of it. But in this, as in other cases, "habit" alleviates their lot, and they bear the cold with a wonderful equanimity.]

XX

Faithfully shall I now depict,

Portray the solitary den

Wherein the child of fashion strict

Dressed him, undressed, and dressed again?

All that industrial London brings

For tallow, wood and other things

Across the Baltic's salt sea waves,

All which caprice and affluence craves,

All which in Paris eager taste,

Choosing a profitable trade,

For our amusement ever made

And ease and fashionable waste,—

Adorned the apartment of Eugene,

Philosopher just turned eighteen.

XXI

China and bronze the tables weight,

Amber on pipes from Stamboul glows,

And, joy of souls effeminate,

Phials of crystal scents enclose.

Combs of all sizes, files of steel,

Scissors both straight and curved as well,

Of thirty different sorts, lo! brushes

Both for the nails and for the tushes.

Rousseau, I would remark in passing,(12)

Could not conceive how serious Grimm

Dared calmly cleanse his nails 'fore him,

Eloquent raver all-surpassing,—

The friend of liberty and laws

In this case quite mistaken was.