The reputation of Karamzín is too widely spread throughout Europe to render necessary more than a passing remark as to the additions made by him to the literature of his country in the department of fiction: he commenced a romance, of which he only lived to finish a few of the first chapters.
Naréjniy was the first to paint the real life of Russia—or rather of the South or Little Russia: in his works there is a good deal of vivacity, but as they are deformed by defects both in style and taste, his reputation has become almost extinct. We cannot quit this division of our subject, which refers to romantic fiction anterior to the appearance of the regular historical novel, without mentioning the names of two, among a considerable number of authors, distinguished as having produced short narratives or tales, embodying some historical event—Polevói and Bestónjeff—the latter of whom wrote, under the name of Marlínski, a very large number of tales, which have acquired a high and deserved reputation.
It is with Zagóskin that we may regard the regular historical novel—viewing that species of composition as exemplified in the works of Scott—as having commenced.
With reference to the present state of romance in Russia, the field is so extensive as to render impossible, in this place, more than a cursory allusion to the principal authors and their best-known works: in doing which, we shall attend more exclusively to those productions of which the subject or treatment is purely national.
One of the most popular and prolific writers of fiction is Zagóskin, whose historical romance "Yoúriy Milosláffskiy," met with great and permanent success. The epoch of this story is in 1612, a most interesting crisis in the Russian history, when the valour of Mínin enabled his countrymen to shake off the hated yoke of Poland. His other work, "Roslavleóff," is less interesting: the period is 1812. We may also mention his "Iskonsítel"—"the Tempter"—a fantastic story, in which an imaginary being is represented as mingling with and influencing the affairs of real life.
Of Boulgárin, we may mention, besides his "Ivan Vuíjgin," a romance in the manner of "Gil Blas," the scenery and characters of which are entirely Russian, two historical novels of considerable importance. "The False Dimítri," and "Mazeppa,"—the hero of the latter being a real person, and not, as most readers are aware, a fictitious character invented by Byron.
Next comes the name of Lajétchnikoff, whose "Last Page" possesses a reputation, we believe, tolerably extensive throughout Europe. The action passes during the war between Charles XII. and Peter the Great, and Catharine plays a chief part in it, as servant of the pastor Glück, becoming empress at the conclusion. The "House of Ice," by the same writer, is perhaps more generally known than the preceding work. The last-named romance depicts with great spirit the struggle between the Russian and foreign parties in the reign of Anna Ivánovna. But perhaps the most remarkable work of Lajétchnikoff is the romance entitled "Bassourmán," the scene of which is laid under Iván III., surnamed the Great.9 Another Polevói (Nikolái) produced a work of great merit:—"The Oath at the Tomb of Our Lord," a very faithful picture of the first half of the fifteenth century, and singular from the circumstance that love plays no part in the drama. Besides this, we owe to Polevói a wild story entitled "Abbaddon." Veltman produced, under the title of "Kostshéi the Deathless," a historical study of the manners of the twelfth century, possessing considerable merit. It would be unjust to omit the name of a lady, the Countess Shíshkin, who produced the historical novel "Mikháil Vassílievitch Skópin-Shúisky," which obtained great popularity.
The picturesque career of Lomonósoff gave materials for a romantic biography of that poet, the work of Xenophónt Polevói, resembling, in its mixture of truth and fiction, the "Wahrheit und Dichtung" of Goethe.
Among the considerable number of romances already mentioned, those exhibiting scenes of private life and domestic interest have not been neglected. Kaláshnikoff wrote "The Merchant Jáloboff's Daughter," and the "Kamtchadálka," both describing the scenery and manners of Siberia; the former painting various parts of that wild and interesting country, the latter confined more particularly to the Peninsula of Kamtchátka. Besides Gógol, whose easy and prolific pen has presented us with so many humorous sketches of provincial life, we cannot pass over Begitchéff, whose "Khólmsky Family" possesses much interest; but the delineations of Gógol depend so much for their effect upon delicate shades of manner, &c., that it is not probable they can ever be effectively reproduced in another language.
Mentioning Peróffsky, whose "Monastírka" gives a picture of Russian interior life, we pass to Gretch, an author of some European reputation. His "Trip to Germany" describes, with singular piquancy, the manners of a very curious race—the Germans of St Petersburg; and "Tchérnaia Jénstchina," "the Black Woman," presents a picture of Russian society, which was welcomed with great eagerness by the public.
The object of these pages being to invite the attention of British readers to a very rich field, in a literature hitherto most unaccountably neglected by the English public, the present would not be a fit occasion to enter with any minuteness into the history of Russian letters, or to give, in fact, more than a passing allusion to its chief features; the translator hopes that he will be excused for the meagreness of the present notice.
He will be abundantly repaid for his exertions, by the discovery of any increasing desire on the part of his countrymen to become more accurately acquainted with the character of a nation, worthy, he is convinced, of a very high degree of respect and admiration. How could that acquaintance be so delightfully, or so effectually made, as by the interchange of literature? The great works of English genius are read, studied, and admired, throughout the vast empire of Russia; the language of England is rapidly and steadily extending, and justice, no less than policy, demands, that many absurd misapprehensions respecting the social and domestic character, no less than the history, of Russia, should be dispelled by truth.
The translator, in conclusion, trusts that it will not be superfluous to specify one or two of the reasons which induced him to select the present romance, as the first-fruit of his attempt to naturalize in England the literature of Russia.
It is considered as a very good specimen of the author's style; the facts and characters are all strictly true;10 besides this, the author passed many years in the Caucasus, and made full use of the opportunities he thus enjoyed of becoming familiar with the language, manners, and scenery of a region on which the attention of the English public has long been turned with peculiar interest.
The picturesqueness as well as the fidelity of his description will, it is hoped, secure for the tale a favourable reception with a public always "novitatis avida," and whose appetite, now somewhat palled with the "Bismillahs" and "Mashallahs" of the ordinary oriental novels, may find some piquancy in a new variety of Mahomedan life—that of the Caucasian Tartars.
The Russian language possessing many characters and some few sounds for which there is no exact equivalent in English, we beg to say a word upon the method adopted on the present occasion so to represent the Russian orthography, as to avoid the shocking barbarisms of such combinations as zh, &c. &c., and to secure, at the same time, an approach to the correct pronunciation. Throughout these pages the vowels a, e, i, o, y, are supposed to be pronounced as in French, the diphthong ou as in the word you, the j always with the French sound.
With respect to the combinations of consonants employed, kh has the gutteral sound of the ch in the Scottish word loch, and gh is like a rather rough or coarse aspirate.
The simple g is invariably to be uttered hard, as in gun or gall.
To avoid the possibility of errors, the combination tch, though not a very soft one to
The non-Russian reader must be cautioned not to confuse Iván III. (surnamed Velíkiy, or the Great) with Ivan IV., the Cruel, the latter of whom is to foreigners the most prominent figure in the Russian history. Iván III. mounted the throne in 1462, and his terrible namesake in 1534; the reign of Vassíliy Ivánovitch intervening between these two memorable epochs.
The translator recently met in society a Russian officer, who had served with distinction in the country which forms the scene of "Ammalát Bek." This gentleman had intimately known Marlínski, and bore witness to the perfect accuracy of his delineations, as well of the external features of nature as of the characters of his
