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diff --git a/41285-0.txt b/41285-0.txt index 2d160e1..913cf82 100644 --- a/41285-0.txt +++ b/41285-0.txt @@ -1,38 +1,4 @@ -The Project Gutenberg EBook of Why we should read, by S. P. B. Mais - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Why we should read - -Author: S. P. B. Mais - -Release Date: November 4, 2012 [EBook #41285] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK WHY WE SHOULD READ *** - - - - -Produced by Jana Srna, Anna Hall and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/American Libraries.) - - - - - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 41285 *** WHY WE SHOULD READ---- @@ -11346,366 +11312,4 @@ unbounded faith in the future, and to stigmatise such a writer as End of the Project Gutenberg EBook of Why we should read, by S. P. B. 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Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. +*** END OF THE PROJECT GUTENBERG EBOOK 41285 *** diff --git a/41285-0.zip b/41285-0.zip Binary files differdeleted file mode 100644 index 4aaf07a..0000000 --- a/41285-0.zip +++ /dev/null diff --git a/41285-h.zip b/41285-h.zip Binary files differdeleted file mode 100644 index 421ea83..0000000 --- a/41285-h.zip +++ /dev/null diff --git a/41285-h/41285-h.htm b/41285-h/41285-h.htm index 7eff8e7..20a4895 100644 --- a/41285-h/41285-h.htm +++ b/41285-h/41285-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Why We Should Read, by S. P. B. Mais. @@ -165,44 +165,7 @@ em.gesperrt </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Why we should read, by S. P. B. Mais - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Why we should read - -Author: S. P. B. Mais - -Release Date: November 4, 2012 [EBook #41285] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK WHY WE SHOULD READ *** - - - - -Produced by Jana Srna, Anna Hall and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/American Libraries.) - - - - - - -</pre> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 41285 ***</div> <p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> @@ -347,7 +310,7 @@ EDINBURGH <li><span class="smcap">Montaigne</span> <span class="label"><a href="#Page_191">191</a></span></li> <li><span class="smcap">Nekrassov</span> <span class="label"><a href="#Page_211">211</a></span></li> <li><span class="smcap">Pushkin</span> <span class="label"><a href="#Page_226">226</a></span></li> -<li><span class="smcap">Lèrmontov</span> <span class="label"><a href="#Page_241">241</a></span></li> +<li><span class="smcap">Lèrmontov</span> <span class="label"><a href="#Page_241">241</a></span></li> <li><span class="smcap">Gogol</span> <span class="label"><a href="#Page_258">258</a></span></li> <li><span class="smcap">Turgenev</span> <span class="label"><a href="#Page_263">263</a></span></li> <li><span class="smcap">Goncharov</span> <span class="label"><a href="#Page_270">270</a></span></li> @@ -628,7 +591,7 @@ great theatre of nature.</p> up!" "Hoity toity!" prefaces to gossip, which is only rivalled and not excelled by her counterpart in Shakespeare, Juliet's nurse; to Partridge, with his pricelessly irrelevant tags from the classics: -"infandum, regina, jubes renovare dolorem," "hinc illæ lachrymæ," +"infandum, regina, jubes renovare dolorem," "hinc illæ lachrymæ," "tempus edax rerum," and so on, we can only give ourselves up whole-heartedly to the enjoyment of them and wish that they may go on talking for ever.</p> @@ -669,7 +632,7 @@ than there is of the credible in <i>events</i>, not in the <i>people</i>, who ar as I have said, only too natural.</p> <p>It is not so much surprising that Partridge should read Erasmus, Ovid, -Pope's <i>Homer</i>, <i>The Spectator</i>, <i>Robinson Crusoe</i> and Thomas à Kempis +Pope's <i>Homer</i>, <i>The Spectator</i>, <i>Robinson Crusoe</i> and Thomas à Kempis as that he should have ever met Tom Jones as he did and when he did.</p> <p>It is not at all surprising that a barber should quote Latin tags @@ -792,7 +755,7 @@ to be taught my grammar at this time of day."</p> <p>Truly Fielding invoked the comic spirit to some purpose: "Come, thou, that hast inspired thy Aristophanes, thy Lucian, thy Cervantes, thy -Rabelais, thy Molière, thy Shakespeare, thy Swift, thy Marivaux, fill my +Rabelais, thy Molière, thy Shakespeare, thy Swift, thy Marivaux, fill my pages with humour; till mankind learn the good nature to laugh only at the follies of others, and the humility to grieve at their<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> own." The creator of Partridge is worthy to hold his own in the kingdom of humour @@ -860,7 +823,7 @@ Russian. Dostoievsky in <i>The Brothers Karamazov</i> has characters in some degree approximating to Heathcliff. In English fiction there is no one in the least like him.</p> -<p>Emily Brontë with her love of life, her passionate adoration of the +<p>Emily Brontë with her love of life, her passionate adoration of the earth, sweeps us off our feet. She plunges us into a world of elemental lusts and hates and cruelties. Heathcliff is treated brutally and revenges himself even more brutally. The frustrated passion of Catherine @@ -868,7 +831,7 @@ for Heathcliff and of Heathcliff for Catherine is scarcely distinguishable from hate; they repay each other with torture for torture, pang for hopeless pang. Judged by his deeds, Heathcliff is as much a monster of evil as Iago, but—and this is what makes Emily -Brontë's genius so amazing—we never for a moment judge him by his +Brontë's genius so amazing—we never for a moment judge him by his deeds. The material event never seems to matter. In fact, so far as material actions go, Heathcliff is completely inert. He lets things take their course. His most striking, almost his only violent, action is his @@ -891,7 +854,7 @@ attempt to sunder the body from the soul.</p> not as a pleasure, any more than I am a pleasure to myself, but as my own being."</p> -<p>But out of the raging discord that Emily Brontë creates in the +<p>But out of the raging discord that Emily Brontë creates in the stupendous passion of Catherine and Heathcliff she wrings a strange and terrible harmony. One cannot help but gasp at the quiet, peaceful ending:</p> @@ -904,7 +867,7 @@ unquiet slumbers for the sleepers in that quiet earth."</p> <p>In the union of the younger Catherine and the redeemed Hareton one is expected to feel that the souls of the two giant characters are appeased, but we are not interested in that. The deaths of Catherine and -Heathcliff matter no more than the death of Cæsar in the play. Catherine +Heathcliff matter no more than the death of Cæsar in the play. Catherine is never so much in the picture as when she has passed out of it physically for ever. The whole tragedy is conducted on an invisible and immaterial plane: it is really all written round one line of Browning @@ -946,7 +909,7 @@ spectre of a hope through eighteen years."</p> <p>It is on reading passages like this that one realises the futility of trying to explain away genius. This could only have been written by one who had been whirled in a maelstrom of passion, racked and tortured on -the wheel of life in a way that we know Emily Brontë was never called +the wheel of life in a way that we know Emily Brontë was never called upon to endure, or—it is the result of a divine inspiration vouchsafed, one knows not how, irrespective of mortal experience.</p> @@ -988,7 +951,7 @@ supposed the lambs were skittish and would not be guided.</p> point of view above good and evil. In her artistry and technique she is thorough. The minor characters all preserve their individuality from Joseph, the bitter, ranting Calvinist, to Nelly Dean, the teller of the -tale. Emily Brontë's accuracy in transcribing the Yorkshire dialect is +tale. Emily Brontë's accuracy in transcribing the Yorkshire dialect is astonishing. She certainly listened to those Haworth rustics to some advantage, even if she rarely exchanged a word with them. She is as well able to paint the civilised, over-refined type who inhabit Thrushcross @@ -1000,13 +963,13 @@ loathing in Heathcliff; the illusion of refinement in Edgar results in the terrible divorce of Catherine's body from her soul.</p> <p>In these two and many other instances we see an unerring psychology in -Emily Brontë. Heathcliff's one solitary human feeling, as Charlotte -Brontë realised, was not his love for Catherine, which was "a sentiment +Emily Brontë. Heathcliff's one solitary human feeling, as Charlotte +Brontë realised, was not his love for Catherine, which was "a sentiment fierce and inhuman," but his "half-confessed regard for Hareton Earnshaw—the young man whom he has ruined."</p> <p>Seldom has the spirit of a place brooded over a book as does the spirit -of the moors over <i>Wuthering Heights</i>. Emily Brontë's descriptions of +of the moors over <i>Wuthering Heights</i>. Emily Brontë's descriptions of scenery are as famous as those of Thomas Hardy: they are even less laboured.</p> @@ -1034,7 +997,7 @@ with her "peruse" and "indite." Nor does Emily's dramatic instinct ever fail her: her scenes of passion follow nature and always ring true.</p> <p>The picture we get of her personality from Mrs Gaskell's <i>Life of -Charlotte Brontë</i>, the tall, the strong, the unconquerable, the lover of +Charlotte Brontë</i>, the tall, the strong, the unconquerable, the lover of the moors and the lover of animals, makes her stand out from that book as of a heroic, lovable but altogether mysterious type.</p> @@ -1089,7 +1052,7 @@ dreamt I was sleeping the last sleep by that sleeper, with my heart stopped, and my cheek frozen against hers," the stark-naked grandeur of its genius.</p> -<p>"<i>Wuthering Heights</i>," says Charlotte Brontë, "was hewn in a wild +<p>"<i>Wuthering Heights</i>," says Charlotte Brontë, "was hewn in a wild workshop, with simple tools, out of homely materials. The statuary found a granite block on a solitary moor; gazing thereon, he saw how from the crag might be elicited a head, savage, swart, sinister; a form moulded @@ -1115,7 +1078,7 @@ CHARLES LAMB</h2> <p>Everything in the end comes back to a question of taste. Why should one prefer a Corona cigar to a "gasper," a turkey to tripe, a magnum of Mumm -to a quart of "swipes," <i>crêpe de Chine</i> and georgette to ninon, Gerald +to a quart of "swipes," <i>crêpe de Chine</i> and georgette to ninon, Gerald du Maurier to a patter comedian in a suburban pantomime, Titian to Kirchner, or a Savile Row suit to a "reach-me-down"?</p> @@ -1373,7 +1336,7 @@ over my head" (what joy it gives one merely to transcribe the well-known words), "and the green turf beneath my feet, a winding road before me, and a three hours' march to dinner—and then to thinking! It is hard if I cannot start some game on these lone heaths. I laugh, I run, I leap, I -sing for joy." He brings just this naïve, fresh-air, healthy enthusiasm +sing for joy." He brings just this naïve, fresh-air, healthy enthusiasm into all his critical work, and it is this quality that calls forth that noble panegyric of Professor Saintsbury which shows once and for all the reason for reading Hazlitt:</p> @@ -1437,7 +1400,7 @@ imagine to be a novel: the value of each of these forms of expression would be considerably enhanced if the writers of either took any pains to learn the technique of their art. Of the ideal diarist two things are pre-eminently required: an all-round interest in life and a complete -self-candour which is poles removed from the anæmic sickness of +self-candour which is poles removed from the anæmic sickness of self-love and an effective antidote against it. No one should dare to keep a diary before reading Pepys from end to end, and few people will dare to do so after reading him.</p> @@ -1581,7 +1544,7 @@ IV.," "Henry VIII. and Anne Boleyn," "Peter the Great and Alexis," "The Dream of Boccaccio," "The Dream of Petrarca."</p> <p>Who is there among the narrators of old-time legends capable of charming -us so much as the man who makes the slave-girl Rhodopè begin her life +us so much as the man who makes the slave-girl Rhodopè begin her life story thus:</p> <p>"Never shall I forget the morning when my father, sitting in the coolest @@ -1629,7 +1592,7 @@ protract an inevitable fall. We may enjoy the present while we are insensible of infirmity and decay: but the present, like a note in music, is nothing but as it appertains to what is past, and what is to come. There are no fields of amaranth on this side of the grave: there -are no voices, O Rhodopè, that are not soon mute, however tuneful: there +are no voices, O Rhodopè, that are not soon mute, however tuneful: there is no name, with whatever emphasis of passionate love repeated, of which the echo is not faint at last."</p> @@ -1725,7 +1688,7 @@ and composure. "Whoever has the power of creating has likewise the inferior power of keeping his creations in order. The best poets are the most impressive, because their steps are regular; for without regularity there is neither strength nor state. Look at Sophocles, look at -Æschylus, look at Homer."</p> +Æschylus, look at Homer."</p> <p>"There are four things requisite to constitute might, majesty and dominion in a poet: these are creativeness, constructiveness, the @@ -2154,7 +2117,7 @@ of brilliant wit, of racy coarseness, of satiric richness, which marked the healthy century that gave it birth.</p> <p>A bigger set of rogues than we here meet with it would be impossible to -imagine, but <i>nos hæc novimus esse nihil</i> and we laugh undisturbed for +imagine, but <i>nos hæc novimus esse nihil</i> and we laugh undisturbed for once by any moral twinges. "All Men are thieves in love, and like a woman the better for being another's property": that is the sort of proverb we like to hear in such a play: the more we hear the merrier we @@ -2537,7 +2500,7 @@ blessed it becomes to find a sphere where limitation is an excellence, where diversity is a beauty, and where every man's ambition is consistent with every other man's and even favourable to it ... with an artist no sane man quarrels, any more than with the colours of a child's -eyes." But he ponders upon the rarity of æsthetic feeling. "Men are +eyes." But he ponders upon the rarity of æsthetic feeling. "Men are habitually insensible to beauty ... moralists are much more able to condemn than to appreciate the effects of the arts ... and beauty (in which he finds a hint of happiness) is something indescribable ... it is @@ -2555,7 +2518,7 @@ added to family life. "If, then, artists and poets are unhappy, it is, after all, because happiness does not interest them; they cannot seriously pursue it, because its components are not components of beauty, and being in love with beauty, they neglect and despise those -unæsthetic social virtues in the operation of which happiness is found." +unæsthetic social virtues in the operation of which happiness is found." On the other hand, those who pursue happiness conceived in terms of money, success, respectability and so on miss more often than not<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> that real and fundamental part of happiness which flows from the senses and @@ -2668,7 +2631,7 @@ nostalgie de la boue</i>." Instead of freeing their intelligence, our enslaved contemporaries elude it. They cannot rise to a detached contemplation of earthly things; they revert to sensibility: having no stomach for the ultimate, they burrow downwards towards the primitive. -"To be so preoccupied with vitality is a symptom of anæmia."</p> +"To be so preoccupied with vitality is a symptom of anæmia."</p> <p><span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span></p> @@ -2806,7 +2769,7 @@ as here:</p> conditions with pleasant conditions that surrounded one's past some time before was part of the stock-in-trade of every so-called war poet. I am not at all concerned to defend, nor am I interested in, the contrast. I -merely chronicle the æsthetic pleasure that I derive from verses four +merely chronicle the æsthetic pleasure that I derive from verses four and five, though neither of these even approaches perfection. But I do maintain that both the poems I have quoted are worth reading. I do maintain that Mr Brett-Young has the instinct of all true poets: he @@ -2957,7 +2920,7 @@ for this:</p> the topmost level of her achievement, and it is an achievement that even so musical a poet as Walter de la Mare would not be ashamed of having written. Where, I would know, has the love of little material things -been so deliciously, so naïvely confessed by any other poet? Listen to +been so deliciously, so naïvely confessed by any other poet? Listen to her in rebellious mood:</p> <div class="poem"><div class="stanza"> @@ -3382,7 +3345,7 @@ God as a fool.</p> gets his laugh, even if we feel that to be facetious it is not necessary to be blasphemous.</p> -<p>He is happier in his rôle of Ninth Philosopher: he here attains a true +<p>He is happier in his rôle of Ninth Philosopher: he here attains a true expression of what is happening in the world of modern art.</p> <div class="poem"><div class="stanza"> @@ -3481,7 +3444,7 @@ some of his old work ...</p> <p>Mr Huxley wastes much satire on avuncular energies in war-time and makes his hero escape from his verbose relatives to walk the streets. Tired of -this, he enters the inevitable café of the intellectual young novelist +this, he enters the inevitable café of the intellectual young novelist and moralises on the nightmare oppressiveness of profane love. He then sits out in the gardens of Leicester Square and finds comfort in regarding each hair and every pore on his hand. This palls soon enough, @@ -3550,7 +3513,7 @@ might expect:</p> vastly prefer to be possessed of an Olympian libido for Leda than to be burdened with John<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span> Ridley's "feebly sceptical, inefficient, profoundly unhappy" emotion for Jenny. Jove was, at any rate, healthy in his lusts: -there is something terribly anæmic about our modern love-making, with +there is something terribly anæmic about our modern love-making, with our one eye on the intellect lest we should do anything without a reason. I am fully aware that this is not criticism: it is merely making a note of the feeling that is uppermost in our minds on finishing the @@ -3921,7 +3884,7 @@ ten years her senior and "with more of the old maid in him than poet."</p> solicitor with an uncanny power of making people do what he wanted (especially the two girls in the novel), who lived in a very different style from that to which Katherine was accustomed. Here is a delightful -description of the Hilbery <i>ménage</i>:</p> +description of the Hilbery <i>ménage</i>:</p> <p>"They were all dressed for dinner, and, indeed, the prettiness of the dinner-table merited that compliment. There was no cloth upon the table, @@ -4000,7 +3963,7 @@ herself, "not the discovery itself at all." When one of Hugh Walpole's heroines begins to say things like that to herself we know that she is going to suffer incredible anguish in the process, but Katherine suffers nothing worse than having to listen to the gossip of an aunt who tells -her that her <i>fiancé</i> (with whom she is not in love) has been flirting +her that her <i>fiancé</i> (with whom she is not in love) has been flirting with another girl. Katherine ought to have been a discarded mistress at least. We feel cheated.</p> @@ -4277,7 +4240,7 @@ at a time.</p> <p>We are content to dawdle with the Spawer in his little, faded, old-world, out-of-the-world room, with its choir of pink roses on the walls and his own books scattered indiscriminately about: Daudet, -Tolstoi, Turgenev, Molière, Swinburne and so on.</p> +Tolstoi, Turgenev, Molière, Swinburne and so on.</p> <p>By the time we reach chapter eight we have forgotten to wish that anything should happen ... and immediately something does. A sudden @@ -4777,7 +4740,7 @@ The cavalcade<span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a> knoll, and her trumpeter blew a turn of notes to demand admission to the castle of Coucy."</p> -<p>We are given every detail of the lives of these mediæval people right +<p>We are given every detail of the lives of these mediæval people right down to the odours that pervaded the court.</p> <p>We see Mr Sorrell sitting down to a first course at dinner of fourteen @@ -4997,7 +4960,7 @@ was born in this room....'</p> <p>"'What does it all mean?' he asked.</p> <p>"'I can't tell,' she answered. 'Do you know, after they trepanned you -for the first time you said suddenly, "Es tu là?" and reached out your +for the first time you said suddenly, "Es tu là ?" and reached out your hand to me, and I took your hand ... and I kept saying to myself, "It is very well with me," which is what the country people about here say when they are glad.'"</p> @@ -5463,7 +5426,7 @@ of "Fury, that does not fail":</p> </div></div> <p>And then Alfred seizes it again and triumphantly, scornfully, sings his -pæan in praise of his own creed:</p> +pæan in praise of his own creed:</p> <div class="poem"><div class="stanza"> <span class="i0">"'But though I lie on the floor of the world,<br /></span> @@ -5901,8 +5864,8 @@ surreptitiously when the tunes come—of course, not so as to disturb the others—or like Helen, who can see heroes and shipwrecks in the music's flood; or like Margaret, who can only see the music; or like Tibby, who is profoundly versed in counterpoint, and holds the full score open on -his knee ... or like Fräulein Mosebach's young man, who can remember -nothing but Fräulein Mosebach: in any case, the passion of your life +his knee ... or like Fräulein Mosebach's young man, who can remember +nothing but Fräulein Mosebach: in any case, the passion of your life becomes more vivid, and you are bound to admit that such a noise is cheap at two shillings."</p> @@ -6076,7 +6039,7 @@ of a piece of land. "'Life is worth while,'" she says, "'in itself, not because of what it gives you.'</p> <p>"'I agree with you there,' said Reuben; 'it's not wot life gives that's -good, it's wot you täake out of it.'"</p> +good, it's wot you täake out of it.'"</p> <p>But in the wrangles which he had with this new type of womanhood he failed ever to convince her of the "worth-whileness" of his aim. @@ -6244,16 +6207,16 @@ rick and barn-roof made pungent by dew."</p> who is not so easy to conquer as the other girls he had made love to.... "'I want her, Clem,'" he says to his brother. "'She's lovely ... her mouth makes my mouth ache ... she smells of grass ... and her eyes in -the shadder—they mäake me want to drownd myself. I wish her eyes wur +the shadder—they mäake me want to drownd myself. I wish her eyes wur water and I could drownd myself in 'em.'"</p> <p>Eventually she gives in to his importunity.</p> <p>"'I love her,' said Robert, 'not because she's sweet, but because I can't help it; surelye ... she'll let me love her—that's all I ask. All -I ask is fur her to täake me and let me love her.... She döan't want a -boy to love<span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span> her—she wants a man.... Hannah wurn't born to mäake men -happy—she wur born to mäake them men.'"</p> +I ask is fur her to täake me and let me love her.... She döan't want a +boy to love<span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span> her—she wants a man.... Hannah wurn't born to mäake men +happy—she wur born to mäake them men.'"</p> <p>Clem, the young brother, is unhappy about Robert and confronts Hannah, who retorts: "'You're afraid of me because I've taught your Bob how to @@ -6282,7 +6245,7 @@ with that head upon her breast."</p> <p>But Robert finds no such happiness with his gipsy love.</p> -<p>"'Nannie, you're cruel—I can't mäake you out. You let me love you, and +<p>"'Nannie, you're cruel—I can't mäake you out. You let me love you, and I'm full of heaven, but in between whiles you're no more'n a lady acquaintance.'"</p> @@ -6300,7 +6263,7 @@ so drives Robert almost out of his mind.</p> <p><span class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a></span></p> -<p>As a reaction he turns to Mabel, an anæmic, town-bred, artificial type +<p>As a reaction he turns to Mabel, an anæmic, town-bred, artificial type of girl who imparted to his "flagging taste a savour as of salt and olives."</p> @@ -6343,7 +6306,7 @@ trying to convert all those who are not yet "saved."<span class="pagenum"><a nam naturally looks on his phase as evidence of lunacy. He gives up smoking and drinking and looks on himself as one of God's chosen.</p> -<p>"'I'm säafe, I'll never go in fear of hell no more.... When I think wot +<p>"'I'm säafe, I'll never go in fear of hell no more.... When I think wot I wur—a very worm and no man, as the Scriptures say—and then I think how He has accepted me.... I reckon I'll give all my life to Him, to serve Him and love Him, and reckon as I'll never drink nor smoke nor @@ -6369,9 +6332,9 @@ I've married a Young Man—a Young Man's Christian Association.'"</p> glamours and ardours she had no response, for its doubts and hesitations she had nothing but contempt. "'I believe you'd make me as big a fool as yourself, if you could,'" she said. The people in the district get to -the point where they "'wöan't täake any more preaching from a chap wot's +the point where they "'wöan't täake any more preaching from a chap wot's bin a byword in the Parish fur loosness this five years.'" So Clem tries -to make him "höald his tongue," but he has come to look upon himself as +to make him "höald his tongue," but he has come to look upon himself as an apostle sent to the Gentiles, so he becomes a tramping Methodist, like the hero of Sheila Kaye-Smith's first book.</p> @@ -6453,10 +6416,10 @@ moons in the night, of dim shapes of villages in a twilight thickened and yellowed by the chaffy mist of harvest, of the spilt glory of big solemn stars, the mystery and the wonder of sounds at night, sounds of animals creeping, sounds of water, sounds of birds.... The fields and -the farms and the sunrise were calling him ... 'I am your God—döan't +the farms and the sunrise were calling him ... 'I am your God—döan't you know me?... Didn't you know that I've bin with you all the time? That every time you looked out on the fields ... you looked on Me? Why -wöan't you look and see how beautiful and homely and faithful and loving +wöan't you look and see how beautiful and homely and faithful and loving I am? I'm plighted to you wud the troth of a mother to her child. You lost Me in the mists of your own mind.' ..."</p> @@ -6464,10 +6427,10 @@ lost Me in the mists of your own mind.' ..."</p> enlighten Clem.</p> <p>"'But now I see as how He's love ... and He's beauty....<span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span> He's in the -fields mäaking the flowers grow and the birds sing and the ponds have +fields mäaking the flowers grow and the birds sing and the ponds have that lovely liddle white flower growing on 'em....'" Again he decides to convert the world despite Clem's protests. "'You can't go every time -you're convarted preaching the Gospel about the pläace.'" But he goes +you're convarted preaching the Gospel about the pläace.'" But he goes ... and Hannah's husband stirs up the roughs to duck him in a mill pond: they are more thorough than they mean to be and he dies of his injuries.</p> @@ -6560,7 +6523,7 @@ but the fun lies in finding out what each age and each individual means or has meant by "genteel" and "low."</p> <p>It is with a certain sense of surprise that those who have never studied -the English Language find that in mediæval times our ancestors gave the +the English Language find that in mediæval times our ancestors gave the alphabet Continental values; those who have a smattering of literary history are equally surprised to find that Chaucer, "the Father of English Literature," did not create the English of Literature; he found @@ -6853,14 +6816,14 @@ re, mi, fa, so, la? They are supposed to be taken from a Latin hymn:</p> <div class="poem"><div class="stanza"> <span class="i0">"<i>Ut</i> (<i>do</i>) queant laxis <i>re</i>sonare fibris<br /></span> <span class="i0"><i>Mi</i>ra questorum <i>fa</i>muli tuorum<br /></span> -<span class="i0"><i>Sol</i>ve polluti <i>la</i>bü reatum<br /></span> +<span class="i0"><i>Sol</i>ve polluti <i>la</i>bü reatum<br /></span> <span class="i0">Sancte Iohannees ..."<br /></span> </div></div> <p>Professor Weekley invites us to watch words as they travel, an amusing game.</p> -<p><i>Apricot</i> starts in mediæval Greek, through vulgar Latin as <i>præcox</i> +<p><i>Apricot</i> starts in mediæval Greek, through vulgar Latin as <i>præcox</i> (early ripe), through Arabia. It first crossed the Adriatic, passed on to Asia Minor or the north coast of Africa, and then travelling along the Mediterranean re-entered Southern Europe. <i>Carat</i> does much the @@ -6920,7 +6883,7 @@ that "to lose the <i>ship</i> for a ha'porth of tar" is merely dialect for things as the derivation of <i>humble-pie</i>,<span class="pagenum"><a name="Page_181" id="Page_181">[Pg 181]</a></span> a pie made from the <i>umbles</i> of a stag; <i>umpire</i> (non per), not equal; <i>ramper</i>, causeway, a doublet of <i>rampart</i>; <i>purley</i>, a strip of disforested woodland from -<i>pour-allée</i>; <i>taffrail</i> from <i>tafel</i>, picture; <i>posthumous</i>, from +<i>pour-allée</i>; <i>taffrail</i> from <i>tafel</i>, picture; <i>posthumous</i>, from <i>postumus</i>, latest-born. <i>Witch-elm</i> has nothing to do with witches; it is for <i>weech-elm</i>, the bent elm.</p> @@ -6983,7 +6946,7 @@ derived from Job, <i>Cradock</i> from Caradoc (Caractacus), <i>Maddox</i> from Madoc, <i>Izzard</i> from Isolt, <i>Rome</i> from Roland.</p> <p>Metronymics, as Professor Weekley hastens to assure us, are not always a -sign of moral depravity: in mediæval times the children of a widow often +sign of moral depravity: in mediæval times the children of a widow often assumed the mother's name.</p> <p><span class="pagenum"><a name="Page_183" id="Page_183">[Pg 183]</a></span></p> @@ -7025,7 +6988,7 @@ fish-name, but corresponds to <i>Delaroche</i>. <i>Pew</i>, if not <i>Ap Hugh</i a <i>Dupuy</i>.</p> <p>Occupative names become a natural surname, but <i>Knight</i> is not always -knightly, for Anglo-Saxon <i>cuiht</i> means servant; <i>Labouchère</i> was the +knightly, for Anglo-Saxon <i>cuiht</i> means servant; <i>Labouchère</i> was the lady butcher, <i>Cordner</i> the worker in Cordovan leather; <i>Muir</i> was <i>le muur</i>, who had charge of the mews in which the hawks were kept while moulting. <i>Reader</i> and <i>Booker</i> have nothing to do<span class="pagenum"><a name="Page_184" id="Page_184">[Pg 184]</a></span> with literature: the @@ -7074,9 +7037,9 @@ informative and interesting of the series.</p> <p>Here we learn of the tendency in English to put the accent on borrowed French words on the first syllable when we decide to pronounce them in our own way: later borrowings are accented according to what we imagine -the native pronunciation to be: so we get <i>gentle</i>, <i>dragon</i>, <i>gállant</i>, +the native pronunciation to be: so we get <i>gentle</i>, <i>dragon</i>, <i>gállant</i>, <i>baron</i>, <i>button</i> and <i>mutton</i> of old time against the newer words -<i>genteel</i>, <i>dragoon</i>, <i>gallânt</i>, <i>buffoon</i>, <i>cartoon</i>, <i>balloon</i>. In +<i>genteel</i>, <i>dragoon</i>, <i>gallânt</i>, <i>buffoon</i>, <i>cartoon</i>, <i>balloon</i>. In like manner words like <i>message</i> and <i>cabbage</i> show their antiquity when compared with <i>massage</i>, <i>mirage</i> and <i>prestige</i>. <i>Police</i> has kept its English accent only in Ireland and Scotland.</p> @@ -7117,7 +7080,7 @@ the rest of the poets put together. To Coverdale and Tindale we owe a great number of new compounds, like <i>loving-kindness</i>, <i>long-suffering</i>, <i>broken-hearted</i>. It is delightful to think that we owe <i>irascibility</i> to Doctor Johnson, <i>persiflage</i> and <i>etiquette</i> to Lord Chesterfield, -<i>bored</i> and <i>blasé</i> to Byron, <i>colonial</i> and <i>diplomacy</i> to Burke, and +<i>bored</i> and <i>blasé</i> to Byron, <i>colonial</i> and <i>diplomacy</i> to Burke, and <i>pessimism</i> to Coleridge. After Keats (whose creations are miniature poems in themselves) there is a remarkable decline in word-creation.</p> @@ -7196,7 +7159,7 @@ prodigall."</p> <p>Though this list is pretty long, it omits the most delightful quality of all. Ingenuous is the first word we apply to Montaigne. His pages -sparkle with naïve statements. "I will follow the best side to the fire, +sparkle with naïve statements. "I will follow the best side to the fire, but not into it, if I can choose. If neede require, let Montaigne my Mannorhouse be swallowed up in publike ruine: but if there be no such necessity, I will acknowledge my selfe beholding unto fortune if she @@ -7262,7 +7225,7 @@ stand upon his guard." In chapter four, on <i>Diverting and Diversions</i>, he dwells on the importance of little things in life: "The remembrance of a farewell, of an action, of a particular grace, or of a last commendation afflict us," when we miss not at all the big thing. -"Cæsar's gowne disquieted all Rome, which his death had not done." ... +"Cæsar's gowne disquieted all Rome, which his death had not done." ... "The teares of a Lacquey, the distributing of my cast sutes, the touch of a knowne hand, an ordinary consolation, doth disconsolate and intender me." Which draws him to the brave and totally unexpected @@ -7337,7 +7300,7 @@ them."</p> <p>There is wisdom in this: "May we not say that there is nothing in us, during this earthly prison, simply corporall, or purely spirituall?" So he would not have the body follow its appetites to the mind's prejudice -or damage and vice versa. He then pronounces a noble pæan in praise of +or damage and vice versa. He then pronounces a noble pæan in praise of love: "I have no other passion that keeps mee in breath ... it restores me the vigilancy, sobriety, grace and care of my person ... assures my countenance against the wrinckled frowns of age ... reduces me to @@ -7643,7 +7606,7 @@ full-fraught, he returnes with a wind-puft conceit; instead of plum-feeding the same, he has only spunged it up with varietie." Montaigne has very little use for such "flim-flam tales" as the succession of kings and "the first preter perfect tense of -τúπτω": "I find Rome to have beene most valiant when it was least +τúπτω": "I find Rome to have beene most valiant when it was least learned."</p> <p>He acknowledges that he himself has "a smacke of everything in generall, @@ -7964,14 +7927,14 @@ They immediately begin to argue over the question of who in Russia is happy and free.</p> <div class="poem"><div class="stanza"> -<span class="i0">"Lukà cries, 'The Pope,'<br /></span> -<span class="i0">And Romàn, 'the Pomyèschick.'<br /></span> +<span class="i0">"Lukà cries, 'The Pope,'<br /></span> +<span class="i0">And Romà n, 'the Pomyèschick.'<br /></span> <span class="i0">And Prov shouts, 'The Tsar,'<br /></span> -<span class="i0">And Demyàn, 'The official.'<br /></span> +<span class="i0">And Demyà n, 'The official.'<br /></span> <span class="i0">'The round-bellied merchant,'<br /></span> <span class="i0">Bawl both brothers Goobin,<br /></span> -<span class="i0">Mitròdor and Ìvan.<br /></span> -<span class="i0">Pakhòm shrieks, 'His Lordship,<br /></span> +<span class="i0">Mitròdor and ÃŒvan.<br /></span> +<span class="i0">Pakhòm shrieks, 'His Lordship,<br /></span> <span class="i0">His most mighty Highness,<br /></span> <span class="i0">The Tsar's chief adviser.'"<br /></span> </div></div> @@ -8067,7 +8030,7 @@ and concludes on this note:</p> <span class="i0">Their only support.<br /></span> <span class="i0">You pray by the dead,<br /></span> <span class="i0">Words of comfort you utter,<br /></span> -<span class="i0">To calm the bereavèd ones;<br /></span> +<span class="i0">To calm the bereavèd ones;<br /></span> <span class="i0">And then the old mother<br /></span><span class="pagenum"><a name="Page_215" id="Page_215">[Pg 215]</a></span> <span class="i0">Comes tottering towards you,<br /></span> <span class="i0">And stretching her bony<br /></span> @@ -8127,7 +8090,7 @@ and concludes on this note:</p> <span class="i0">Like wind-ruffled corn."<br /></span> </div></div> -<p>They then accost the pomyèschick (the landowner) and inquire of him +<p>They then accost the pomyèschick (the landowner) and inquire of him whether he is not the happiest of all the Russians, to which he answers:</p> <div class="poem"><div class="stanza"> @@ -8172,7 +8135,7 @@ whether he is not the happiest of all the Russians, to which he answers:</p> <span class="i0">My God ...'<br /></span> </div><div class="stanza"> <span class="i14">The afflicted<br /></span> -<span class="i0">Pomyèschick broke down here,<br /></span> +<span class="i0">Pomyèschick broke down here,<br /></span> <span class="i0">And hastened to bury<br /></span> <span class="i0">His face in the cushion....<br /></span> <span class="i0">[And now—] 'What has happened?<br /></span> @@ -8186,7 +8149,7 @@ whether he is not the happiest of all the Russians, to which he answers:</p> <span class="i0">But you cannot prevent it.'"<br /></span> </div></div> -<p>Part II. deals charmingly with the story of the last pomyèschick:</p> +<p>Part II. deals charmingly with the story of the last pomyèschick:</p> <div class="poem"><div class="stanza"> <span class="i0">"A very old man<br /></span> @@ -8208,7 +8171,7 @@ whether he is not the happiest of all the Russians, to which he answers:</p> <span class="i0">Are in the boat too."<br /></span> </div></div> -<p>This venerable barin Prince Yutiàtin believes that the old regime still +<p>This venerable barin Prince Yutià tin believes that the old regime still exists and his serfs have agreed to humour him in order to keep him alive.</p> @@ -8237,7 +8200,7 @@ sing.</p> <span class="i0">In velvety grasses<br /></span> <span class="i0">Astray, like spring raindrops<br /></span> <span class="i0">That kiss the young leaves,<br /></span> -<span class="i0">And it soothes the Pomyèschick,<br /></span> +<span class="i0">And it soothes the Pomyèschick,<br /></span> <span class="i0">The feeble old man:<br /></span> <span class="i0">He is falling asleep now ...<br /></span> <span class="i0">And gently they carry him<br /></span> @@ -8248,7 +8211,7 @@ sing.</p> <span class="i0">A big green umbrella,<br /></span> <span class="i0">The faithful old servant,<br /></span><span class="pagenum"><a name="Page_219" id="Page_219">[Pg 219]</a></span> <span class="i0">His other hand guarding<br /></span> -<span class="i0">The sleeping Pomyèschick<br /></span> +<span class="i0">The sleeping Pomyèschick<br /></span> <span class="i0">From gnats and mosquitoes.<br /></span> <span class="i0">The oarsmen are silent,<br /></span> <span class="i0">The faint-sounding music<br /></span> @@ -8259,7 +8222,7 @@ sing.</p> <p>In Part III., having failed to elicit a satisfactory answer to their question from the men, they decide to try the women. They go to the -woman Matròna</p> +woman Matròna</p> <div class="poem"><div class="stanza"> <span class="i0">[Who] "Is tall, finely moulded,<br /></span> @@ -8409,8 +8372,8 @@ woman Matròna</p> </div></div> <p>A baby is born to her, and her life becomes more and more of a burden to -her: one friend alone of Philip's relatives, an old man called Savyèli, -has pity on her. Savyèli has been branded as a convict for burying a +her: one friend alone of Philip's relatives, an old man called Savyèli, +has pity on her. Savyèli has been branded as a convict for burying a German alive. She relates now the story of his life and more particularly the account of his crime:</p> @@ -8454,10 +8417,10 @@ particularly the account of his crime:</p> <span class="i0">And we looked at each other."'"<br /></span> </div></div> -<p>Matròna gets Savyèli to look after her infant Djòma, and while she is +<p>Matròna gets Savyèli to look after her infant Djòma, and while she is away the pigs attacked and killed him. The country police as the custom is in Russia threatened to hold an inquest unless they were bribed: this -Matròna could not afford.</p> +Matròna could not afford.</p> <div class="poem"><div class="stanza"> <span class="i0">"'"My God, give me patience,<br /></span> @@ -8470,7 +8433,7 @@ Matròna could not afford.</p> <span class="i0">I conquered myself,<br /></span> <span class="i0">For I knew why they lay there.<br /></span> <span class="i0">I answered him trembling,<br /></span><span class="pagenum"><a name="Page_224" id="Page_224">[Pg 224]</a></span> -<span class="i0">"I loved little Djòma,<br /></span> +<span class="i0">"I loved little Djòma,<br /></span> <span class="i0">I would not have harmed him."<br /></span> <span class="i0">"And did you not poison him,<br /></span> <span class="i0">Give him some powder?"'"<br /></span> @@ -8505,7 +8468,7 @@ Matròna could not afford.</p> <span class="i0">Of my little dead baby."<br /></span> </div></div> -<p>Her husband is taken for the army, and Matròna goes, although her time +<p>Her husband is taken for the army, and Matròna goes, although her time is on her to bring to birth another baby, to plead for him to the Governor's lady. Somewhat to our surprise she wins her cause and gets her husband back again, but the peasants are cured after hearing her @@ -8569,7 +8532,7 @@ requires in his readers an equal open-heartedness and nothing else.</p> <p>He was brought up as a boy in an atmosphere of that sparkling elegance which we associate with the French, and himself wrote verses in that tongue, by the age of twelve acquiring a real taste in French -literature. He revelled in Plutarch, Voltaire, Rousseau and Molière, +literature. He revelled in Plutarch, Voltaire, Rousseau and Molière, imitated the French comedies and acted them before his sister. As was customary in Russia, he was, as a boy, allowed free access to the society of the literary and artistic people who frequented his father's @@ -8582,14 +8545,14 @@ time.</p> Russian folklore.</p> <p>For five years, from twelve to seventeen, he was at the Lyceum, just -then opened at the Tsàrskoye Selò, which<span class="pagenum"><a name="Page_227" id="Page_227">[Pg 227]</a></span> reflected among its youthful +then opened at the Tsà rskoye Selò, which<span class="pagenum"><a name="Page_227" id="Page_227">[Pg 227]</a></span> reflected among its youthful pupils the same passions of illicit amours, drink, and literature which characterised the parents. They became a sort of jovial anarchists. Like the Elizabethans, they were as often intoxicated with poetry as with wine. Pushkin early became the leader, as was only natural: he was already the best-read man in Russia; he was enthusiastic over the work of his younger contemporaries; he was an ideal companion. Like Milton -and most other geniuses of a high order, he recognised his <i>métier</i> very +and most other geniuses of a high order, he recognised his <i>métier</i> very early in his life. He wrote in his teens:</p> <div class="poem"><div class="stanza"> @@ -8613,13 +8576,13 @@ just as fearless honesty was the keystone of his personality.</p> <p>It was at the public examination of the Lyceists in Russian literature in 1815 that he first came before the public eye. Together with other -competitors he had to read his work before the old ode-writer D'erjàvin, -who was so thrilled by <i>The Reminiscences of the Tsàrskoye Selò</i> that he +competitors he had to read his work before the old ode-writer D'erjà vin, +who was so thrilled by <i>The Reminiscences of the Tsà rskoye Selò</i> that he wanted to rush forward and embrace the young poet.</p> -<p>Jukòvski, then at the height of his fame, would read his verses to -Pushkin and rely on his judgment. When in return Pushkin read <i>Ruslàn -and Ludmìla</i>, Jukòvski gave the boy his portrait with this inscription: +<p>Jukòvski, then at the height of his fame, would read his verses to +Pushkin and rely on his judgment. When in return Pushkin read <i>Ruslà n +and Ludmìla</i>, Jukòvski gave the boy his portrait with this inscription: "To the victorious pupil from his conquered teacher."</p> <p>Such treatment might well be expected to turn the head of the youth, but @@ -8639,14 +8602,14 @@ fenced and walked to keep himself fit, twice in his nineteenth and twentieth years he nearly lost his health. Nor did his riotous living prevent him from working hard at his poetry.</p> -<p>In 1820 the long fairy tale <i>Ruslàn and Ludmìla</i> appeared. The nearest +<p>In 1820 the long fairy tale <i>Ruslà n and Ludmìla</i> appeared. The nearest approach to it in England is <i>Hero and Leander</i>—sensuous yet cold. Everywhere it was read, copied out and learnt by heart by tradesman and noble alike. The story was founded on the national folklore. A wicked, humped dwarf carries away the only daughter of Prince Vladimir of Kiev -from her nuptial bed to his castle: Ruslàn, the bridegroom, and three +from her nuptial bed to his castle: Ruslà n, the bridegroom, and three disappointed lovers give chase. The adventures of the four warriors, -Ludmìla's seclusion in the wizard's castle and Ruslàn's ultimate victory +Ludmìla's seclusion in the wizard's castle and Ruslà n's ultimate victory by hanging on to the long beard of the dwarf as he flies over seas and forests form the plot of the story.</p> @@ -8657,13 +8620,13 @@ the whole race. Russia always loves the natural—but she did not yet recognise why it was that Pushkin especially appealed to her: there had been hitherto no realistic school.</p> -<p>No one realised, Pushkin least of all, that <i>Ruslàn and Ludmìla</i> laid +<p>No one realised, Pushkin least of all, that <i>Ruslà n and Ludmìla</i> laid the foundation-stone of all future Russian literature.</p> <p>The two schools then in existence, the pseudo-classical and the romantic, debated savagely as to which category Pushkin belonged. They were unable to grasp the significance of this bubbling over of human -fun, this directness of detail; indignation at such ideas as "Ruslàn's +fun, this directness of detail; indignation at such ideas as "Ruslà n's tickling<span class="pagenum"><a name="Page_229" id="Page_229">[Pg 229]</a></span> with his spear the nostrils of the giant's head," as bringing the national element into poetry at all, and so on, spread fast.</p> @@ -8695,18 +8658,18 @@ of the manners of the Circassians especially attracting them. In another poem Pushkin uses a legend which he came across while visiting the ancient capital of the Crimean Tartars.</p> -<p>The young Tartar Khan, Givèy, captures in a raid on Poland a young +<p>The young Tartar Khan, Givèy, captures in a raid on Poland a young Christian princess, Mary, and conceals her in his harem. Her purity and saintly beauty so work upon him that he remains in awe before her. -Another beauty, Zarèma, once a favourite of Givèy, implores Mary to make -her man come back to her: failing, of course, Zarèma kills her and is +Another beauty, Zarèma, once a favourite of Givèy, implores Mary to make +her man come back to her: failing, of course, Zarèma kills her and is herself drowned. The Khan in despair leaves his harem and goes out to wage wars, and returns in the end to<span class="pagenum"><a name="Page_230" id="Page_230">[Pg 230]</a></span> build a fountain in memory of Mary, over which he erects a crescent crowned with a cross.</p> <p>It was at this time that Pushkin fell under the influence of Byron and learned English to do so: not that he imitated Byron, but he was braced -up to do something equally good in another way. This was in Kishinòv, a +up to do something equally good in another way. This was in Kishinòv, a hot-bed of noisy, passionate freethinking blended with Asiatic aboriginality. He fought three duels, one of them resulting from a quarrel at a ball as to whether a waltz or a mazurka should be next on @@ -8725,13 +8688,13 @@ enough of people in cities.</p> <span class="i0">They ask for chains and money still."<br /></span> </div></div> -<p>The gipsies admit him into their careless, free, happy life. Alèko, as +<p>The gipsies admit him into their careless, free, happy life. Alèko, as they call him, falls in love with the only child of a very wise old man and is happy, just loving, lying about in the sun and taking round for show a tame bear.</p> -<p>Zemphìra, the girl, after bearing a son to Alèko, gets tired of him and -falls in love with another gipsy. Alèko feels this very much and +<p>Zemphìra, the girl, after bearing a son to Alèko, gets tired of him and +falls in love with another gipsy. Alèko feels this very much and complains to her father, who tells him that he too in his youth lost his love in a similar way.</p> @@ -8745,7 +8708,7 @@ replies:</p> <span class="i0">What has been once comes ne'er again.'"<br /></span> </div></div> -<p>This does not satisfy Alèko, who kills Zemphìra and her lover, after +<p>This does not satisfy Alèko, who kills Zemphìra and her lover, after which the old father implores him to leave their free, kind world and return to civilisation.</p> @@ -8854,23 +8817,23 @@ from him...."</p> <p>The reading public got to know of it and devoured it ... officially it led to his banishment to the estate of his parents. His father bullied -him so that he begged to be sent to a fortress. Jukòvski intervened and +him so that he begged to be sent to a fortress. Jukòvski intervened and his parents left him to the care of his nurse, and he had two years of quiet, learning more and more of the old folklore. He wrote six long -fairy tales of the school of <i>Ruslàn and Ludmìla</i>. He wrote the long -historical poem <i>Poltàva</i>, the novel in verse, <i>Evgèni Onyègin</i>, the -historical drama in blank verse, <i>Borìs Godunòv</i>, the story in verse, +fairy tales of the school of <i>Ruslà n and Ludmìla</i>. He wrote the long +historical poem <i>Poltà va</i>, the novel in verse, <i>Evgèni Onyègin</i>, the +historical drama in blank verse, <i>Borìs Godunòv</i>, the story in verse, <i>The Bronze Horsemen</i>, and dozens of shorter poems. He abandoned Byron for Shakespeare.</p> <p>"Shakespeare," he wrote about this time—"what a man! I am overwhelmed. What a nonentity Byron is with his travesty of tragedy, as compared to -Shakespeare." We can trace this influence in <i>Borìs Godunòv</i>.</p> +Shakespeare." We can trace this influence in <i>Borìs Godunòv</i>.</p> <p>Shakespeare helped him to develop his power of realism: even his wonderland becomes a matter of course—Russia.</p> -<p><i>Evgèni Onyègin</i> swept the country off its feet. Society suddenly saw +<p><i>Evgèni Onyègin</i> swept the country off its feet. Society suddenly saw the greatness of the simple beauty of Russia, the dignified, lovable Russian woman: in the hero he reflects his own education, tastes and manners: it is the first work of a consciously psychological analysis in @@ -8885,11 +8848,11 @@ society life. Then only, being honestly told by her that she still loves him, but is going to remain true to her husband, he flies from the capital, tortured by his first deep heart pain. Here the story ends. At the beginning he kills a romantic poet, Lensky, in a duel, a man of -whom<span class="pagenum"><a name="Page_234" id="Page_234">[Pg 234]</a></span> he is genuinely fond, but to whose <i>fiancée</i>, Olga, who is simple, +whom<span class="pagenum"><a name="Page_234" id="Page_234">[Pg 234]</a></span> he is genuinely fond, but to whose <i>fiancée</i>, Olga, who is simple, fresh, blue-eyed, with a round face like the foolish moon, he pays court out of sheer devilry. The elder sister, Tatiana, shy and dreamy, and yet clean-cut in character and iron-willed, is the girl who has given her -heart to Onyégin and afterwards rejects him. She is as real as Diana +heart to Onyégin and afterwards rejects him. She is as real as Diana Middleton or Sophia Western, as sensible as Portia, as resolute as Juliet. She is the type of all that is best in the Russian woman, taken straight from life, the crowning glory of Russian life. Mr Baring puts @@ -8976,7 +8939,7 @@ Moscow:</p> <span class="i0">"O'er the snow-humps the sleigh is dashing,<br /></span> <span class="i0">Alongside in the streets are flashing<br /></span> <span class="i0">Shops, convents, palaces, mean shacks,<br /></span> -<span class="i0">Peasantry, country-wives, cozàcks,<br /></span> +<span class="i0">Peasantry, country-wives, cozà cks,<br /></span> <span class="i0">Gardens of kitchen-stuff and flowers,<br /></span><span class="pagenum"><a name="Page_236" id="Page_236">[Pg 236]</a></span> <span class="i0">Street-boys, lamps, chemists, fashion-stores,<br /></span> <span class="i0">Churches, stone lions at house doors,<br /></span> @@ -8985,7 +8948,7 @@ Moscow:</p> <span class="i0">And on the crosses many a crow."<br /></span> </div></div> -<p>As you can see even from these few extracts, the realism in <i>Onyégin</i> is +<p>As you can see even from these few extracts, the realism in <i>Onyégin</i> is the realism of Jane Austen—meticulous, correct, amazingly sketched in.</p> <p>He imitated the Koran, blending sensuality with religious enthusiasm and @@ -8994,7 +8957,7 @@ the Eastern Law.</p> <p>Equally brilliant are his <i>Imitations of Dante</i> ... the Divine Comedy lives again for us in Pushkin's rendering: again, in <i>The Journeying of -Cæsar</i>, we seem to be reading the Latin classics themselves. But his +Cæsar</i>, we seem to be reading the Latin classics themselves. But his prose-work as a whole is perhaps below his poetry, though Baring does not think so. Unfortunately in England it is on these very prose works that we have for the most part to rely, because so few of his poems are @@ -9010,7 +8973,7 @@ frivolous of all the frivolous children of the world. The former characteristic predominated, but the people, his readers, preferred his latter mood; they like the dazzling colours, the sensuousness of his early poems—they could not appreciate the nobler, simpler and more -majestic harmonies of <i>Borìs Godunòv</i> and <i>Onyégin</i>.</p> +majestic harmonies of <i>Borìs Godunòv</i> and <i>Onyégin</i>.</p> <p>It is this two-sidedness that makes for his all-embracing humanity—Dostoievsky called him πανανδρωπος—this capacity for @@ -9024,8 +8987,8 @@ fighter, which explains the coldness of much of his work.</p> <p>He was no innovator of forms in his verse: he was content to follow the accepted types; nor did he ever fly too high ... he does not try to -unlock the gates of the Unknown: the old iambic introduced by Lomonòsov -was good enough for him. Only in <i>Borìs Godunòv</i> does he break out into +unlock the gates of the Unknown: the old iambic introduced by Lomonòsov +was good enough for him. Only in <i>Borìs Godunòv</i> does he break out into an imitation of Shakespearean form: the play is rather like <i>Henry VIII.</i> in its plan: it is a succession of isolated scenes, not a coherent drama; there is no definite beginning or end.</p> @@ -9080,7 +9043,7 @@ little entirely happy, but he had overestimated the extent of his freedom. Gradually he realised that he was not allowed even to read aloud his writings without submitting them to his censor.</p> -<p><i>Borìs Godunòv</i> was refused on the plea that it would have been better +<p><i>Borìs Godunòv</i> was refused on the plea that it would have been better if the author had rewritten it in prose, turning it into a historical novel like those of Sir Walter Scott. Consequently the drama did not appear till 1831, much polished and toned down.</p> @@ -9175,10 +9138,10 @@ light with my word to the hearts of the people.'"</p> <h2>IV<br /> -LÈRMONTOV (1814-1841)</h2> +LÈRMONTOV (1814-1841)</h2> -<p>Lèrmontov was descended from a Scotsman, George Learmonth, who was +<p>Lèrmontov was descended from a Scotsman, George Learmonth, who was present at the siege of a small Polish town in 1613.</p> <p>He had always been connected with the army: his father was an officer, @@ -9203,7 +9166,7 @@ in search of health. It is, I think, worth while to dwell on the beauties of this country in order to see quite what sort of scenery it was that so fascinated the child's mind.</p> -<p>In his fifteenth and sixteenth year Lèrmontov was educated at the +<p>In his fifteenth and sixteenth year Lèrmontov was educated at the University Pension at Moscow, and filled all his exercise-books with poetry, all of which betrayed a deeply impressionable, passionate, highly strung nature, permeated with views quite extraordinary in one so @@ -9243,15 +9206,15 @@ the author's prayer in dedicating a girl to the Virgin. It was so sincere and simple in its religious tone that some of his critics declared that it was merely a pose of his. They failed to realise that his sanctuary was his supreme elation of love for a girl who answered -his feelings by friendship. Lèrmontov loathed the idea of the marriage -bond—real love was to him something far higher: his Vàrenka, who +his feelings by friendship. Lèrmontov loathed the idea of the marriage +bond—real love was to him something far higher: his Và renka, who married another, was his kindred spirit. She it was whom he dedicated to the Virgin, and this relationship finds expression in several of his poems.</p> <p>For five years he remained in his regiment, and during this time translated Byron, Heine and Goethe ... then in 1837 came the blow of -Pushkin's death, which stung Lèrmontov to such a pitch of fury that he +Pushkin's death, which stung Lèrmontov to such a pitch of fury that he wrote his immortal ode, <i>On the Death of Pushkin</i>, which became at once known and repeated throughout the length and<span class="pagenum"><a name="Page_243" id="Page_243">[Pg 243]</a></span> breadth of Russia by people who repeated it to, and copied it from, one another:</p> @@ -9280,56 +9243,56 @@ Caucasus, which again acted, as in his childhood, as a direct inspiration. New poems came flying to Petrograd full of human passions, and descriptions of a Nature prodigal and passionate as her devoted lover. No geography book could ever give such a vivid picture of the -Caucasus as Lèrmontov's verse and prose. As the Arabs say: "They turn +Caucasus as Lèrmontov's verse and prose. As the Arabs say: "They turn our hearing into seeing." Fame at last descended upon him. Then appeared -the "<i>Song of the Tsar Ivàn Vasìlyevich, the young Opriknik, and the -Brave Merchant Kalàshinkov</i>," in which the Opriknik insults the +the "<i>Song of the Tsar Ivà n Vasìlyevich, the young Opriknik, and the +Brave Merchant Kalà shinkov</i>," in which the Opriknik insults the merchant's wife, and the merchant challenges him to fight with his fists, kills him and is executed for it. The poem is written as a folk-song, in the style of the <i>Byliny</i>: as an epic there is nothing in modern Russian literature to compare with it for simplicity, appropriateness of tone, vividness, truth to nature and terseness.</p> -<p>Every line begins with an anapæst, followed by some odd dactyls, and +<p>Every line begins with an anapæst, followed by some odd dactyls, and ends in a dactyl unrhymed. It has been translated by Madame Voynich admirably, and is published by Elkin Mathews.</p> -<p>While in the Caucasus, his age being now twenty-three,<span class="pagenum"><a name="Page_244" id="Page_244">[Pg 244]</a></span> Lèrmontov +<p>While in the Caucasus, his age being now twenty-three,<span class="pagenum"><a name="Page_244" id="Page_244">[Pg 244]</a></span> Lèrmontov finished <i>The Demon</i>, on which he had been at work for so long.</p> <p>The personality of this Demon, the Spirit of Exile, is quite different from the Satanic Mephistopheles or Lucifer. With all his contempt for -Earth, Lèrmontov's Demon is fascinating in every way. He is always +Earth, Lèrmontov's Demon is fascinating in every way. He is always musing over his former days in Heaven, and vainly seeking some relief in the desert of time and space into which he is cast out <i>alone</i>; he is the embodiment of the idea of loneliness in a proud soul. His sudden -love for the Grùzian girl Tamàra inflames him with the desire of +love for the Grùzian girl Tamà ra inflames him with the desire of abandoning his pride, of opening his heart to Good, of making peace with Heaven ... we are never allowed to forget that the Angel and the Demon had been brothers. Moved by his love, the Demon is on the verge of humility and of opening his heart to Goodness when his pride and hatred return upon him, due entirely to the tone of enmity which the Angel adopts on meeting him. The Angel is a good hater and thorough in his -scornfulness. Being Tamàra's celestial guardian, he becomes quite human +scornfulness. Being Tamà ra's celestial guardian, he becomes quite human and understandable when he meets the Demon (whom he might have conquered by greeting him with Heavenly grace) with icy contempt and threats. Here we have a perfect delineation of the kinship between the spirits of good and evil.</p> -<p>The Demon's wooing of Tamàra is irresistibly bewitching, one of the most +<p>The Demon's wooing of Tamà ra is irresistibly bewitching, one of the most passionate love declarations ever written, in couplets of sonorous iambics that glow like jewels and tremble like the strings of a harp. -Tamàra yields to him (what human girl could have done otherwise?) and +Tamà ra yields to him (what human girl could have done otherwise?) and forfeits her life, but her soul is borne off to Heaven by the Angel: by death she has expiated her offence, and the Demon is left as before desolate in a loveless universe.</p> -<p>Owing to his grandmother's persistence Lèrmontov was recalled before one +<p>Owing to his grandmother's persistence Lèrmontov was recalled before one of his five years' exile had elapsed, and we see him again in Petrograd with his old regiment, a tremendous source of interest to all society, half of whom hated, while half loved him.</p> -<p>In 1838 <i>Duma</i> appeared, in which Lèrmontov gave to the world his view +<p>In 1838 <i>Duma</i> appeared, in which Lèrmontov gave to the world his view of his contemporaries: it was the severest indictment imaginable, far saner and truer than Byron's, not of the great Russian nation of course, but of<span class="pagenum"><a name="Page_245" id="Page_245">[Pg 245]</a></span> the shallow side of that human nature to which he had allied @@ -9345,14 +9308,14 @@ satirist, but of a deep and profound thinker, of a Shelley rather than a Byron.</p> <p>In 1840 he was challenged to a duel by a son of the French ambassador, -in which Lèrmontov fired his shot in the air and received himself a +in which Lèrmontov fired his shot in the air and received himself a slight scratch. For this he was again arrested and banished as before to the Caucasus. This, the last year of his life, he spent at Patigorsk, a town forming the centre of a fashionable healing-springs district, at the foot of a mountain range. Here he wrote his only novel in prose, <i>The Hero of Our Times</i>, as great a piece of artistry as anything that he did in poetry. It is the first psychological novel in Russia. The -hero, Pechorin by name, was undoubtedly Lèrmontov himself, although he +hero, Pechorin by name, was undoubtedly Lèrmontov himself, although he said, and quite probably thought, that he was merely creating a type.</p> <p>This Pechorin is an officer in the Caucasus, who analyses his own @@ -9387,7 +9350,7 @@ die I shall not leave behind me one soul who understood me. Some think I am better, others that I am worse than I am. Some will say he was a good fellow: others he was a blackguard."</p> -<p>From this it may be easily seen that Lèrmontov must have been a most +<p>From this it may be easily seen that Lèrmontov must have been a most trying companion. He had an impossible temperament, proud, exasperated, filled with a savage amour-propre: he took a childish delight in annoying: he was envious of that which was least enviable in his @@ -9400,29 +9363,29 @@ of giving himself up to love—if he chose.</p> the fighting with the Circassian tribes, showing striking courage combined with perfect modesty.</p> -<p>This experience was the direct inspiration of <i>Valèrik</i>, one of the most +<p>This experience was the direct inspiration of <i>Valèrik</i>, one of the most beautiful of his long poems on the Caucasus.</p> <p>After this came his second duel. On this occasion he somehow contrived to offend a somewhat posing officer called Major Martỳnov, who could -not bear Lèrmontov's jokes in the presence of ladies. As before, -Lèrmontov fired his pistol into the air, but Martỳnov aimed so long +not bear Lèrmontov's jokes in the presence of ladies. As before, +Lèrmontov fired his pistol into the air, but Martỳnov aimed so long that the seconds began to remonstrate. He then fired and killed -Lèrmontov immediately.</p> +Lèrmontov immediately.</p> <p>As a result Martỳnov only escaped the anger of the mob by being arrested.</p> <p><span class="pagenum"><a name="Page_247" id="Page_247">[Pg 247]</a></span></p> -<p>In 1909 Merejkòvski produced a little book on Lèrmontov as a -counterblast to one by Solovyòv in which Martỳnov was hailed as +<p>In 1909 Merejkòvski produced a little book on Lèrmontov as a +counterblast to one by Solovyòv in which Martỳnov was hailed as "Heaven's weapon sent to punish blood-thirstiness and devilish lust." It -is a blessing indeed that Solovyòv should have been led to attack -Lèrmontov, for Merejkòvski was thus brought to criticise Lèrmontov with +is a blessing indeed that Solovyòv should have been led to attack +Lèrmontov, for Merejkòvski was thus brought to criticise Lèrmontov with an amazingly accurate insight. He loved the poet and so his appreciation -is the more perfect. "Something like Solovyòv's attitude towards -Lèrmontov," he says, "must have been in the minds of the poet's +is the more perfect. "Something like Solovyòv's attitude towards +Lèrmontov," he says, "must have been in the minds of the poet's contemporaries and successors. Even Dostoievski mentions him as the 'spirit of wrath.' Nicholas I. expressed grim pleasure at his death. He has been up till now the scapegoat of Russian literature. All Russian @@ -9430,12 +9393,12 @@ writers preach humility, even those who began by heading revolts—Pushkin, Gogol, Dostoievski, Tolstoi ... here is the one single man who never gave in and never submitted to his last breath ... he is the Cain of Russian literature and has been killed by Abel, the spirit -of humility. Solovyòv's cry of 'Devilish superman' is only another proof +of humility. Solovyòv's cry of 'Devilish superman' is only another proof of the fact that the struggle between superhumanism and deo-humanism is -the eternal problem of life." Merejkòvski's idea is that Lèrmontov could +the eternal problem of life." Merejkòvski's idea is that Lèrmontov could remember the past of his eternity ... from the ordinary human mind this previous existence is excluded, we dwell on the eternity to come ... but -Lèrmontov never did: his mind was concentrated on what he saw left +Lèrmontov never did: his mind was concentrated on what he saw left behind him. From the very first his poetry attracts you uneasily: you may—Russian youths often are—be taught to hate him as a "spring of poison" ... he knew the harrowing threat of fruitless ages. Even as a @@ -9443,7 +9406,7 @@ boy he frequently said: "If only I could forget the unforgettable." His Demon is never permitted to forget the past. He lives by what is death to others.</p> -<p>Pechorin, in <i>The Hero of our Days</i>, speaks as Lèrmontov when he says: +<p>Pechorin, in <i>The Hero of our Days</i>, speaks as Lèrmontov when he says: "I never forget anything—anything."</p> <p>In one of his poems he laments that his despair is that no love lasts @@ -9452,14 +9415,14 @@ existence which is neither this life, nor death as promised by Christianity. That existence is not deprived of love: his idea is that the less earthly, the deeper and greater the passion becomes. The difference<span class="pagenum"><a name="Page_248" id="Page_248">[Pg 248]</a></span> between Wordsworth's <i>Ode on the Intimations</i> and -Lèrmontov's is that Wordsworth speaks of these intimations coming to him -from outside this world and Lèrmontov speaks from the outside world +Lèrmontov's is that Wordsworth speaks of these intimations coming to him +from outside this world and Lèrmontov speaks from the outside world himself, as one belonging to it, while realising his temporary existence in this world to which he does not belong. This attitude was a continual torment to him; it made him feel very much of a stranger.</p> -<p>"Usually," says Merejkòvski, "artists find their creation beautiful -because nothing like it has existed before." Lèrmontov feels the beauty +<p>"Usually," says Merejkòvski, "artists find their creation beautiful +because nothing like it has existed before." Lèrmontov feels the beauty just where it had been always. That is why there is something so individual and inimitable in him when he speaks of Nature: 'For several moments spent among the wilderness of rocks where I played as a child I @@ -9468,7 +9431,7 @@ would give Paradise and Eternity.'</p> <p>"He is in love with Nature. He longs to blend in an embrace with the storm and Shelley-like catches of lightnings with his hands. It is the only non-earthly love for earth to be found in poetry. Christianity is a -movement from here—thither: Lèrmontov's poetry is from there—hither. +movement from here—thither: Lèrmontov's poetry is from there—hither. He was not-quite-a-man encased in a man's shell. He tried to conceal this, because people do not forgive anyone for being unlike them. Hence his reticence, which people mistook for pride. They thought he was @@ -9482,8 +9445,8 @@ contemporaries.</p> and the icy horror of eternity and the inane temporarily forgotten in the warmth of human vulgarity."</p> -<p>This, Merejkòvski thinks, accounts for that amazing child-likeness in -Lèrmontov which dwelt side by side with his pessimism, sadness, +<p>This, Merejkòvski thinks, accounts for that amazing child-likeness in +Lèrmontov which dwelt side by side with his pessimism, sadness, bitterness, flippancy and sarcasm. He could always play children's games to the state of self-forgetfulness and had no fear of death, because he <i>knew</i> that there was no death.</p> @@ -9491,23 +9454,23 @@ to the state of self-forgetfulness and had no fear of death, because he <p>"His Demon never laughs and never lies; he has something of the child-like in him. He is always genuine, as<span class="pagenum"><a name="Page_249" id="Page_249">[Pg 249]</a></span> far removed as possible from Gogol's spirit of mischief or Dostoievsky's wicked, sneering Devil. -Lèrmontov's Devil is beautiful, because he is not thought out, but +Lèrmontov's Devil is beautiful, because he is not thought out, but suffered out by the poet himself; he is hardly a devil at all."</p> <p>There is a legend that once there was a fight between God and Satan and some of the angels were undecided which side to take. In order to help them to make up their mind they were sent to be born on earth, where -they should dwell for a little in a limited world: the soul of Lèrmontov +they should dwell for a little in a limited world: the soul of Lèrmontov had been in his past one of these. That is why his duality was always -such a burden to him. This explains many queer things about Lèrmontov: +such a burden to him. This explains many queer things about Lèrmontov: his amazingly deep passion for a girl of nine when he was ten ("I did not know whence she came") and his having drawn a detailed picture of his death many times before his final duel: most strange of all is -Merejkòvski's idea that Lèrmontov remembered the future of eternity. -Pushkin is the day-luminary of Russian poetry and Lèrmontov is the +Merejkòvski's idea that Lèrmontov remembered the future of eternity. +Pushkin is the day-luminary of Russian poetry and Lèrmontov is the night-luminary: "It is high time to rise after our final stage of humility and start on our last revolt, and remember that besides Pushkin -we have Lèrmontov and his message to the world.... Because in the end +we have Lèrmontov and his message to the world.... Because in the end Satan will make peace with God."</p> <p>He owed nothing to his contemporaries, little to his predecessors and @@ -9573,7 +9536,7 @@ of magic in its poignancy:</p> <span class="i0">To her it doesn't signify.'"<br /></span> <span class="pagenum"><a name="Page_251" id="Page_251">[Pg 251]</a></span></div></div> -<p>It is such a poem that led Baring to apply to Lèrmontov what Arnold said +<p>It is such a poem that led Baring to apply to Lèrmontov what Arnold said about Byron and Wordsworth: "there are moments when Nature takes the pen from his hand and writes for him." When one passes in review the vast output of his short life, we are struck by the lyrical inspiration, the @@ -9624,7 +9587,7 @@ Gruzia:</p> <span class="i0">Between them, rose-trees where the birds<br /></span> <span class="i0">Sing love-songs, while the ivy girds<br /></span> <span class="i0">The stems, and crowns the foliage-temples<br /></span> -<span class="i0">Of green chinàra; and the herds<br /></span> +<span class="i0">Of green chinà ra; and the herds<br /></span> <span class="i0">Of timid red-deer seek the boon<br /></span> <span class="i0">Of mountain eaves in sultry noon;<br /></span> <span class="i0">And sparkling life, and rustling leaves,<br /></span> @@ -9633,23 +9596,23 @@ Gruzia:</p> <span class="i0">Voluptuous heat of skies sun-laden,<br /></span> <span class="i0">Caressive dew of gorgeous night,<br /></span> <span class="i0">And stars—as clear as eyes of maiden,<br /></span> -<span class="i0">As glance of Grùzian maiden bright!<br /></span> +<span class="i0">As glance of Grùzian maiden bright!<br /></span> <span class="i0">But all this brilliancy of Nature<br /></span> <span class="i0">Awoke not in the Demon's soul<br /></span> <span class="i0">A moment's joy, nor tender feeling."<br /></span> </div></div> -<p>We are now introduced to the heroine, Tamàra, whose wedding feast is +<p>We are now introduced to the heroine, Tamà ra, whose wedding feast is being prepared:</p> <div class="poem"><div class="stanza"> <span class="i0">"Amid her friends, the whole day long<br /></span> -<span class="i0">Tamàra spent in play and song.<br /></span> +<span class="i0">Tamà ra spent in play and song.<br /></span> <span class="i0">The sun, behind a far-off mountain,<br /></span> <span class="i0">Is half set in a sea of gold.<br /></span> <span class="i0">The maidens in a round are sitting<br /></span> <span class="i0">And, to a lilting tune they're singing<br /></span> -<span class="i0">They clap in time. Tamàra takes<br /></span> +<span class="i0">They clap in time. Tamà ra takes<br /></span> <span class="i0">Her tambourine, and nimbly shakes<br /></span> <span class="i0">It o'er her head; with fleeting motion<br /></span> <span class="i0">Now trips it lighter than a bird,<br /></span> @@ -9678,7 +9641,7 @@ being prepared:</p> <span class="i0">Nor he forgetfulness accept."<br /></span> </div></div> -<p>Tamàra's bridegroom-elect is foully done to death on his way to the +<p>Tamà ra's bridegroom-elect is foully done to death on his way to the wedding. The bride, fallen on her bed, sobs with a lorn and piteous feeling until she suddenly hears a voice of magic sweetness urging her to cease.</p> @@ -9725,7 +9688,7 @@ dreams. The Devil follows:</p> <span class="i0">To give up his hell-dark device."<br /></span> </div></div> -<p>He catches a glimpse of the glimmering lamplight in Tamàra's window and +<p>He catches a glimpse of the glimmering lamplight in Tamà ra's window and hears a song in the far distance, a song for earth in heaven born and nourished.</p> @@ -9739,9 +9702,9 @@ nourished.</p> <span class="i0">In sudden fear, he thought to fly ...<br /></span> <span class="i0">But in that first, heart-rending anguish<br /></span> <span class="i0">His wing was stayed—he had no power!<br /></span> -<span class="i0">And, marvel! from his veilèd eye<br /></span> +<span class="i0">And, marvel! from his veilèd eye<br /></span> <span class="i0">There dropped a tear.... This very hour<br /></span> -<span class="i0">There lieth by Tamàra's tower<br /></span> +<span class="i0">There lieth by Tamà ra's tower<br /></span> <span class="i0">A stone burnt through by flame-like tear—<br /></span> <span class="i0">Inhuman tear: a sign for aye!..."<br /></span> </div></div> @@ -9758,7 +9721,7 @@ reproaches the Demon, and bids him begone.</p> </div></div> <p>The guardian angel departs and the Demon is left victor of the field to -plead his cause. In answer to Tamàra's question, "'But who art thou? +plead his cause. In answer to Tamà ra's question, "'But who art thou? Who?... Answer me,'" he replies:</p> <p><span class="pagenum"><a name="Page_255" id="Page_255">[Pg 255]</a></span></p> @@ -9778,7 +9741,7 @@ Who?... Answer me,'" he replies:</p> <span class="i0">My boundless realm, when I am lonely?'"<br /></span> </div></div> -<p>Tamàra then asks him why he loves her, to which he replies:</p> +<p>Tamà ra then asks him why he loves her, to which he replies:</p> <div class="poem"><div class="stanza"> <span class="i0">"'Why do I, fair? I do not know.<br /></span> @@ -9799,7 +9762,7 @@ Who?... Answer me,'" he replies:</p> <span class="i0">The ne'er forgotten to forget.'"<br /></span> </div></div> -<p>Tamàra is gradually won to listen to his passionate pleading.</p> +<p>Tamà ra is gradually won to listen to his passionate pleading.</p> <div class="poem"><div class="stanza"> <span class="i0">"'Whoe'er thou art, my friend so mystic,<br /></span> @@ -9869,7 +9832,7 @@ Who?... Answer me,'" he replies:</p> <span class="i0">I'll give thee every earthly treasure—<br /></span> <span class="i0">But love me ...'<br /></span> <span class="i20">Closely o'er her bending,<br /></span> -<span class="i0">He gently touched Tamàra's trembling<br /></span> +<span class="i0">He gently touched Tamà ra's trembling<br /></span> <span class="i0">Lips with his lips burning like fire,<br /></span> <span class="i0">Words overwhelming with temptation<br /></span> <span class="i0">Were to her pleading his reply....<br /></span> @@ -9907,7 +9870,7 @@ whole of it for yourselves.</p> GOGOL (1809-1852)</h2> -<p>Nicholas Gogol was born in 1809 near Poltàva and brought up in affluence +<p>Nicholas Gogol was born in 1809 near Poltà va and brought up in affluence by a Cossack grandmother: at school he did but little work, but devoted himself with enthusiasm to drawing and the theatre. In 1829 he obtained a Government office in Petrograd. He then tried the stage, @@ -9930,7 +9893,7 @@ Russia. The Little Russians have also preserved numerous traditions and epic poems from the time when they were free Cossacks, fighting against the Poles in the north and the Turks in the south. In Gogol we see a merging of the Great and the Little, for though Little by birth and -breeding, he yet wrote in the language of Pushkin and Lèrmontov. From +breeding, he yet wrote in the language of Pushkin and Lèrmontov. From his very first days we feel the richness of his laughter and the whimsical, Puck-like vein of wit which is characteristically Little Russian. It was only later that we feel the unseen tears behind the @@ -10028,7 +9991,7 @@ remarked: "God! what a sad country Russia is!"—a queer comment, you may think, for the most humorous book that Russia has produced. But the truth is that, comic as the best chapters are, Gogol refuses to flatter either his country or the people who inhabit it, and in Chichikov, just -as in Oblòmov, most readers find themselves wondering whether after all +as in Oblòmov, most readers find themselves wondering whether after all there is not a good deal of the character there portrayed in themselves, some such scoundrelly ideas, at any rate in embryo. But Chichikov is so shameless, so entertaining, so magnificent a liar, so plausible, so @@ -10113,13 +10076,13 @@ repeated endeavour to show Turgenev's superiority over Dostoievsky.</p> <p>As a matter of fact, there is no comparison possible.</p> <p>Turgenev came of noble birth and began by writing verse, but soon found -his proper <i>métier</i> in prose.</p> +his proper <i>métier</i> in prose.</p> <p>For two years he was exiled to his country estate for his quite harmless defence of Gogol. After this term was over he left Russia for Baden and Paris, which accounts to some extent for his aloofness from the problems which perturbed his countrymen, and makes him more a Cosmopolitan than -National, like Dostoievsky. His five great novels, <i>Rúdin</i>, <i>The Nest of +National, like Dostoievsky. His five great novels, <i>Rúdin</i>, <i>The Nest of Gentlefolk</i>, <i>On the Eve</i>, <i>Fathers and Sons</i> and <i>Smoke</i>, all appeared in the eleven years between 1856 and 1867 and he was at once appraised by all European critics, who discovered in him Russia for the first @@ -10141,7 +10104,7 @@ fair to neither genius.</p> <p>For Turgenev has an amazing insight into men's motives and actions which we do not commonly associate with those who are shut off from the world.</p> -<p>Rúdin is a picture of a type that peculiarly appealed to Turgenev, the +<p>Rúdin is a picture of a type that peculiarly appealed to Turgenev, the Hamlet type of man who can only unpack his heart with words, but breaks down when he is asked to translate his theories into action: he is passionately devoted to Liberty in his eloquent talk and makes Natasha, @@ -10153,20 +10116,20 @@ tells her to submit.</p> <p>He is eventually killed in '48 on a barricade in Paris. In the epilogue we get his character beautifully unfolded to us.</p> -<p>"'I know him well,' continued Lézhneff, 'I am aware of his faults. They +<p>"'I know him well,' continued Lézhneff, 'I am aware of his faults. They are the more conspicuous because he is not to be regarded on a small scale.'</p> -<p>"'His is a character of genius!' cried Bassístoff.</p> +<p>"'His is a character of genius!' cried BassÃstoff.</p> -<p>"'Genius very likely he has!' replied Lézhneff, 'but as for character +<p>"'Genius very likely he has!' replied Lézhneff, 'but as for character ... That's just his misfortune: there's no force of character in him.... But I want to speak of what is good, of what is rare in him. He has enthusiasm; and, believe me, who am a phlegmatic person enough, that is the most precious quality in our times. We have all become insufferably reasonable, indifferent, and slothful; we are asleep and cold, and thanks to any one who will wake us up and warm us! It is high time! Do -you remember, Sásha, once when I was talking to you about him, I blamed +you remember, Sásha, once when I was talking to you about him, I blamed him for coldness? I was right, and wrong too, then. The coldness is in his blood—that is not his fault—and not in his head. He is not an actor, as I called him, nor a cheat, nor a scoundrel; he lives at other @@ -10177,9 +10140,9 @@ no vital force, no blood; but who has the right to say that he has not been of use,<span class="pagenum"><a name="Page_265" id="Page_265">[Pg 265]</a></span> that his words have not scattered good seeds in young hearts, to whom Nature has not denied, as she has to him, powers for action, and the faculty of carrying out their own ideas? Indeed, I -myself, to begin with, have gained all that I have from him. Sásha knows -what Rúdin did for me in my youth. I also maintained, I recollect, that -Rúdin's words could not produce an effect on men; but I was speaking +myself, to begin with, have gained all that I have from him. Sásha knows +what Rúdin did for me in my youth. I also maintained, I recollect, that +Rúdin's words could not produce an effect on men; but I was speaking then of men like myself, at my present age, of men who have already lived and been broken in by life. One false note in a man's eloquence, and the whole harmony is spoiled for us; but a young man's ear, happily, @@ -10187,12 +10150,12 @@ is not so over-fine, not so trained. If the substance of what he hears seems fine to him, what does he care about the intonation? The intonation he will supply for himself!'</p> -<p>"'Bravo, bravo!' cried Bassístoff, 'that is justly spoken! And as -regards Rúdin's influence, I swear to you, that man not only knows how +<p>"'Bravo, bravo!' cried BassÃstoff, 'that is justly spoken! And as +regards Rúdin's influence, I swear to you, that man not only knows how to move you, he lifts you up; he does not let you stand still, he stirs you to the depths and sets you on fire!'"</p> -<p>In <i>A Nobleman's Retreat</i> we find a man, Lavrètsiy by name, separated +<p>In <i>A Nobleman's Retreat</i> we find a man, Lavrètsiy by name, separated from his wife, who meets a good, honest girl, by name Liza: they fall in love with one another: for a moment they are led to believe that his wife is dead, but she reappears and Liza goes to a convent.</p> @@ -10315,7 +10278,7 @@ to entertain."</p> <p>And what is Bazarov? Let us listen again to Turgenev: "I dreamed of a sombre, savage and great figure, only half emerged from barbarism, -strong, méchant, and honest, and nevertheless doomed to perish because +strong, méchant, and honest, and nevertheless doomed to perish because it is always in advance of the future."</p> <p>Mr Garnett calls him the bare mind of Science first applied to politics. @@ -10375,14 +10338,14 @@ GONCHAROV (1812-1891)</h2> <p>Goncharov is important from the English point of view through one book -alone. But this novel, <i>Oblòmov</i>, far transcends in value many far more +alone. But this novel, <i>Oblòmov</i>, far transcends in value many far more famous books that we should do better to leave unread until we have appreciated this most Russian of the Russian works of art.</p> -<p>Oblòmov, the hero of the novel, is a nobleman whose main characteristic +<p>Oblòmov, the hero of the novel, is a nobleman whose main characteristic is lack of initiative, due primarily to the indolence caused by riches.</p> -<p>"'From my earliest childhood,'" Oblòmov asks, "'have I myself ever put +<p>"'From my earliest childhood,'" Oblòmov asks, "'have I myself ever put on my socks?'"</p> <p>We see him first in his lodgings in Petrograd in bed: he is too lazy to @@ -10423,7 +10386,7 @@ trouble of moving.</p> <p>Later he meets a young girl called Olga, in some ways curiously reminiscent of Turgenev's heroines. She devotes herself to the cause of -curing Oblòmov, with whom she falls in love, of his laziness. She tries +curing Oblòmov, with whom she falls in love, of his laziness. She tries by every means in her power to rouse him to exert himself in art and literature. At first she seems to succeed: they are about to marry: but his slackness comes over him again; he cannot even take the first @@ -10442,7 +10405,7 @@ he would carry it, into what he would put that paltry remnant. After having pondered over it painfully, he seized the pen, dragged a book out of the corner, and in one hour wanted to read, write, and think all that he had neglected to read, write, and think in ten years. What was he to -do now? To go ahead, or to remain? This Oblòmov question was of more +do now? To go ahead, or to remain? This Oblòmov question was of more import to him than Hamlet's. To go ahead—that would mean at once doffing his comfortable dressing gown, not only from the shoulders, but from the soul and mind; together with<span class="pagenum"><a name="Page_272" id="Page_272">[Pg 272]</a></span> the cobweb on the walls to sweep @@ -10451,14 +10414,14 @@ should be made for this? Where begin? 'I do not know—I cannot—no, I begging the question, I do know, and—— And here is Stoltz by my side; he will tell me. What will he tell me? "In a week," he will say, "you must sketch a detailed instruction for your plenipotentiary and send him -into the village. Get your Oblòmovka mortgaged, buy some more land, send +into the village. Get your Oblòmovka mortgaged, buy some more land, send a plan of new buildings, give up your house, procure a passport, and go abroad for six months, to get rid of your surplus fat, to throw off the weight, to refresh the soul with the atmosphere of which you have dreamed long ago with your friend, to live without a dressing gown, without Zakhar and Tarantev, to put on your own socks and take off your own boots, sleep only at night, travel where all travel, on railroads, -steamboats, and then—— Then to settle in Oblòmovka, to find out what +steamboats, and then—— Then to settle in Oblòmovka, to find out what sowing and threshing is, why peasants are poor or well-to-do, walk over the fields, go to elections, to the factory, to the mill, the docks. At the same time you are to read newspapers, books, and become excited why @@ -10473,22 +10436,22 @@ less about anything, never to finish the <i>Voyage to Africa</i>, to grow peacefully old in these chambers, at the house of Tarantev's lady friend.'</p> -<p>"'Now or never!' 'To be or not to be!' Oblòmov was about to rise from +<p>"'Now or never!' 'To be or not to be!' Oblòmov was about to rise from his chair, but his foot did not at once find its way into the slipper, and he sat down again."</p> <p>The publication of this novel in 1859 produced an instantaneous effect: everyone in Russia who read it recognised something of himself in -Oblòmov, and felt the disease of Oblòmovism in his veins.</p> +Oblòmov, and felt the disease of Oblòmovism in his veins.</p> <p>It is to miss out quite one of the major characteristics of the nation to discount this inertia which pervades every side of life. It is universal in that it expresses ultra-conservative<span class="pagenum"><a name="Page_273" id="Page_273">[Pg 273]</a></span> fights to preserve -old customs: Oblòmov is remarkable for his inability to put up any sort +old customs: Oblòmov is remarkable for his inability to put up any sort of resistance to anything; he is frightened of everything, even of love: love is disquieting, restless.</p> -<p>There have been many Oblòmovs in real life among even great Russian +<p>There have been many Oblòmovs in real life among even great Russian writers, though it seems paradoxical to think that any man who achieves fame could ever be preternaturally lazy. Krylov is a case in point.</p> @@ -10498,10 +10461,10 @@ over the sofa was loose, and that the picture would probably fall on his head. "No," said Krylov, "the picture will fall just beyond the sofa. I know the angle."</p> -<p>It must not be forgotten that Oblòmov was in all respects save one +<p>It must not be forgotten that Oblòmov was in all respects save one entirely excellent: he had a heart of gold, a chaste mind and clear soul: it was just that his will was sapped: Olga, even after her -marriage with her really splendid husband, continued to love Oblòmov +marriage with her really splendid husband, continued to love Oblòmov till the end. It was simply that he had forfeited her respect.</p> <hr class="chap" /> @@ -10556,7 +10519,7 @@ all those who found it worth while to take advantage of him. Tolstoy, as you will remember, was thrifty and domestic, while Dostoievsky was profuse and a houseless vagabond. Yet another point of divergence. Tolstoy thinks that he hates money, but money loves him. Dostoievsky -thinks that he loves money, and money flees from him. As Merejkòvski so +thinks that he loves money, and money flees from him. As Merejkòvski so neatly puts it, all worldly advantages in Tolstoy are centripetal, in Dostoievsky centrifugal. Tolstoy was careful in spite of the apparent passionateness of his impulses never to overstep the mark; Dostoievsky @@ -10617,7 +10580,7 @@ cosmopolitan, ended by living more completely limited by place and time and nationality than almost any other writer we know. The enthusiasm for the distant simply did not exist for him:<span class="pagenum"><a name="Page_277" id="Page_277">[Pg 277]</a></span> every fibre and root in him is fixed in the present. He visited Italy and brought therefrom no -impressions. He is unable to appreciate either Æschylus, Sophocles, +impressions. He is unable to appreciate either Æschylus, Sophocles, Euripides, Dante, Milton, Shakespeare, Wagner or Beethoven. He even comes to regard all his own work as bad art, with the exception of two tales which are easily his weakest. He was never a man of letters as @@ -10750,7 +10713,7 @@ hear.</p> <p><span class="pagenum"><a name="Page_280" id="Page_280">[Pg 280]</a></span></p> <p>Then, too, we lose all sense of time in Dostoievsky: in the events of a -single day he can make us feel that we have lived through æons.</p> +single day he can make us feel that we have lived through æons.</p> <p>Added to this is the strange ethereal quality that marks out his characters from the normal. In Tolstoy we feel that the air is rare; we @@ -10912,14 +10875,14 @@ mankind," and this might be taken as the text of all his work.</p> TOLSTOY (1828-1910)</h2> -<p>Tolstoy was born in the estate of Yàsnaya Polyàna: after the death of +<p>Tolstoy was born in the estate of Yà snaya Polyà na: after the death of his father in Moscow, where they went when he was nine, the novelist returned to his home and graduated at the University of Petrograd in 1848, and shortly afterwards entered the army, and was stationed in the Caucasus, where he began his literary career. He took part in the Crimean War and afterwards settled in Petrograd, where he grew more and more dissatisfied with existing conditions. In 1862 he married and -returned once more to Yàsnaya Polyàna. Here he devoted himself to the +returned once more to Yà snaya Polyà na. Here he devoted himself to the education of the peasants and edited an educational paper: soon afterwards he assumed a negative attitude to all progress and wrote many novels. Later he urged men to occupy themselves in manual labour, and in @@ -10927,7 +10890,7 @@ the year of his death left his home to put his theories more completely into practice, but died at a wayside railway station. Everything that Tolstoy wrote is autobiographical, so it is unnecessary to dwell further on the bare facts of his life. Like all Russians, he acts upon impulse; -unlike Oblòmov, he is first of all the man of action: he asks himself +unlike Oblòmov, he is first of all the man of action: he asks himself with unwearying persistence, "What is the purpose of my life?" and his answer is: "The purpose of my life is to understand, and as far as possible to do, the will of that Power which has sent me here, and which @@ -10946,7 +10909,7 @@ may not," was her contention.</p> <p>No man ever more truly exemplified the meaning of Bacon's aphorism that "he that is married hath given hostages to fortune."</p> -<p>He had the pride of Lucifer or Lèrmontov's Demon, and yet he spent his +<p>He had the pride of Lucifer or Lèrmontov's Demon, and yet he spent his life searching for the ideal humility of Dostoievsky's Myshkin, the pure fool, the divine idiot.</p> @@ -11050,7 +11013,7 @@ property. Not wishing to oppose his wife by force, he began to assume towards his property an attitude of ignoring its existence; renounced his income, proceeded to shut his eyes to what became of it, and ceased to make use of it, except in so far as to go on living under the roof of -the house at Yàsnaya Polyàna."</p> +the house at Yà snaya Polyà na."</p> <p>His wife continues to look after his wants and turns a blind eye to his doctrines; she is always ready to help him. Even if he seems ungrateful @@ -11082,8 +11045,8 @@ asseveration that he always confesses everything, this is the one trait he dare not divulge, even to himself.</p> <p>Dostoievsky calls him "an ordinary Moscow fop of the upper class," "an -empty and chaotic soul," <i>fainéantise</i> ... but he was more, much more -than this. As Merejkòvski says, he came very near to solving the supreme +empty and chaotic soul," <i>fainéantise</i> ... but he was more, much more +than this. As Merejkòvski says, he came very near to solving the supreme mystery, to lifting the veil in the Holy of Holies.... In the end despairingly he has to cry: "I am a fallen fledgling lying on my back and crying in the high grass." He finds nothing, no faith, no God, for @@ -11097,17 +11060,17 @@ human body. He is accurate, simple and as short as possible, selecting only the few small unnoticed facial or personal features, and producing them gradually he distributes them over the whole course of the story.</p> -<p>The wife of Prince Andreï in <i>Peace and War</i> is for ever recurring to +<p>The wife of Prince Andreï in <i>Peace and War</i> is for ever recurring to our memory owing to the fact that we are constantly reminded of her -short downy upper lip. Prince Andreï's sister, too, is always fixed in +short downy upper lip. Prince Andreï's sister, too, is always fixed in our minds owing to her trick of flushing in patches and walking heavily. There are countless instances of this. There is the long thin neck of -Verestchagin, the swollen neck of Prince Andreï, the rotundity of Platon +Verestchagin, the swollen neck of Prince Andreï, the rotundity of Platon Karataev, the little white hand of Napoleon. All these details are impressed upon us with unwearying insistence until we come to realise that this is Tolstoy's peculiar method of unfolding before us the psychology of his characters. He has the gift of insight into the body -of his <i>dramatis personæ</i>. Think for a moment of Anna Karènina. Trait is +of his <i>dramatis personæ</i>. Think for a moment of Anna Karènina. Trait is added to trait, feature to feature ... she has red lips, flashing grey eyes, and most noticeable of all, her hands are made to express her more even<span class="pagenum"><a name="Page_289" id="Page_289">[Pg 289]</a></span> than her face. In them lies the whole charm of her person, the @@ -11186,7 +11149,7 @@ eternal mother, triumphantly waving "swaddling clothes, with a yellow stain instead of a green," the divine animal. The swallowing up of the human individual in the universal is Tolstoy's unvarying theme. Natures swallows up Uncle Yeroshka ("I die and—the grass grows"), child-bearing -absorbs Natasha, sinful, destroying<span class="pagenum"><a name="Page_291" id="Page_291">[Pg 291]</a></span> love swallows up Anna Karènina. She +absorbs Natasha, sinful, destroying<span class="pagenum"><a name="Page_291" id="Page_291">[Pg 291]</a></span> love swallows up Anna Karènina. She is all compact of love. Her words are poor: Tolstoy is always poor in dialogue. His excellence lies, as may have been guessed, in descriptions. One might almost say that his characters only speak @@ -11206,7 +11169,7 @@ human. He brings the likeness of God to the image of the beast.</p> <p>There are in Tolstoy's books no heroes, no characters, no personalities ... and hence there is no tragedy, no catastrophe, no redeeming horror, no redeeming laughter. The principals are all clever, honourable, good, -simple, naïve or kindly, yet we never feel at home with them. There is +simple, naïve or kindly, yet we never feel at home with them. There is always present that feeling with us that he lacks spiritual liberty, as Turgenev said. It is due entirely to his too great sense of the body, too little sense of the spirit.</p> @@ -11239,7 +11202,7 @@ playing vint.</p> <p>Turgenev painted the generation before, a generation that strove hard to evolve something out of life; Tchehov portrays a generation which had -sunk back into torpor: the disease of Oblòmovism had a firm grip of +sunk back into torpor: the disease of Oblòmovism had a firm grip of them.</p> <p>He was born in South Russia, the son of a serf: luckily he was given a @@ -11427,7 +11390,7 @@ that there is nothing to be done but to continue working as cheerfully as we may, but in doing so he fulfilled the first condition of all great writing: he never failed to interest, and consequently his plays are, in spite of their sombreness, a never-failing fount of inspiration and -æsthetic delight.</p> +æsthetic delight.</p> <p>As a short story-writer he has certainly no equal in Russia and few in any other country.</p> @@ -11787,7 +11750,7 @@ clearer for them than for us. Life will be good in fifty years' time.'"</p> <p><i>Ionitch</i> shows us Tchehov in another characteristic vein.<span class="pagenum"><a name="Page_306" id="Page_306">[Pg 306]</a></span> Here he indulges in one of his favourite tricks, that of divulging the -foolishness of his <i>dramatis personæ</i> through their idiotic +foolishness of his <i>dramatis personæ</i> through their idiotic conversation. Ivan Petrovitch is an irritating buffoon whose idea of wit is to repeat <i>ad nauseam</i> phrases like "How do you do, if you please?" and "Not badsome."</p> @@ -12016,391 +11979,10 @@ unbounded faith in the future, and to stigmatise such a writer as <p class="transnote">Transcriber's Note:<br /> Inconsistent hyphenation has been left as written.<br /> -Dialect has been left as written, e.g. täake. However obvious typos (outside of speech) have +Dialect has been left as written, e.g. täake. However obvious typos (outside of speech) have been corrected. </p> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Why we should read, by S. P. B. Mais - -*** END OF THIS PROJECT GUTENBERG EBOOK WHY WE SHOULD READ *** - -***** This file should be named 41285-h.htm or 41285-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/2/8/41285/ - -Produced by Jana Srna, Anna Hall and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/American Libraries.) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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