Update:
Following are a whole slew of Pushkin-related links, thanks to Marlo. Note: I only posted the links from the email to save space.
- From the Penguin Classics edition of Alexander Pushkin’s Eugene Onegin, translated by Charles Johnston [which as copious notes on pages 203-262].
- Footnote XXIX-XXX to Chapter 6 that Judy read to us at the meeting of Nov.13, 2003: "The conditions discussed by the seconds in XXVII (which ought properly to have been set in writing the previous day) are not made explicit; but the general rules according to which this duel is conducted are as follows. At the outset, the opponents face each other at a specified distance, agreed by the seconds. Each stands the same number of paces back from a barrier – a stretch of no man’s land marked out between them, typically ten or twelve paces in length, into which neither party may cross. On the seconds’ instruction to begin (Zaretsky’s ‘Now march’; XXX.r), both approach the barrier, and each may fire his one shot at will. If the first to shoot does not entirely disable his opponent, the latter returns fire: depending upon the severity of the prearranged conditions, either with both combatants remaining where they were when the first shot was fired, or after moving right up to the barrier, to which he may also ‘call’ his adversary. The fundamental tactical decision was therefore whether to risk shooting first, at a moving target from a greater relative distance, or to brave the opponent'’ shot and so have the chance to fire at a static target from the minimum distance. Experienced duellists almost invariably preferred the latter. This sometimes meant that both would reach the barrier before firing – the circumstance most liable to produce a double fatality.
Onegin and Lensky begin at a distance of thirty-two paces (measured out by Zaretsky). Each is therefore ten or eleven paces back from the barrier presumably set at twelve or ten paces – though the unspecified interval, determined by Zaretsky, could conceivably have been less, and more potentially lethal. After four paces each begins to aim, and five paces later (i.e. at a distance of thirty-two minus eighteen or fourteen paces, still moving, and probably a couple of paces from the barrier) Onegin fires first, apparently only marginally forestalling Lensky. Contrary to the opinion of some commentators, everything noted here suggests that this is not the action of a calm, cold-blooded murderer (XXX.I, 3). Onegin’s shot is more likely the result of a loss of self-control, whether from fear or anger at the sight of his opponent’s barrel, and seems indicative of an uncalculated haste, an unsteady hand to an absurd but dangerous situation.
The most noble course for Onegin would have been to allow Lensky, as the injured party, to take his shot, and not return fire. There was, however, not guarantee that Lensky and his second would deem honour satisfied without insisting that Onegin make a serious shot.
Puskin's final duel (This article claims that Pushkin's wife was faithful, a notion that is elsewhere controverted.)
For more data, go to http://www.isidore-of-seville.com/dueling/3.html
Poems by Pushkin are here.
- A CONFESSION
To Alexandra Ivanovna Osipova
I love you - love you, even as I
Rage at myself for this obsession,
And as I make my shamed confession,
Despairing at your feet I lie.
I know, I know - it ill becomes
I am too old, time to be wise...
But how?.. This love - it overcomes me,
A sickness this in passion's guise.
When you are near I'm filled with sadness,
When far, I yawn, for life's a bore.
I must pour out this love, this madness,
There's nothing that I long for more!
When your skirts rustle, when, my angel,
Your girlish voice I hear, when your
Light step sounds in the parlor - strangely,
I turn confused, perturbed, unsure.
You frown - and I'm in pain, I languish;
You smile - and joy defeats distress;
My one reward for a day's anguish
Comes when your pale hand, love, I kiss.
When you sit bent over your sewing,
Your eyes cast down and fine curls blowing
About your face, with tenderness
I childlike watch, my heart o'erflowing
With love, in my gaze a caress.
Shall I my jealousy and yearning
Describe, my bitterness and woe
When by yourself on some bleak morning
Off on a distant walk you go,
Or with another spend the evening
And, with him near, the piano play,
Or for Opochka leave, or, grieving,
Weep and in silence pass the day?..
Alina! Pray relent, have mercy!
I dare not ask for love - with all
My many sins, both great and small,
I am perhaps of love unworthy!..
But if you feigned love, if you would
Pretend, you'd easily deceive me,
For happily would I, believe me,
Deceive myself if but I could!
1826
From Reviews of Alexander Pushkin
- Pushkin is to Russian speakers what Shakespeare is to English speakers. His influence on the prose and poetry of the language is second to no one and writing influences Russian literature to this day. Amazingly Pushkin only lived until the age of 38. Even now you can visit his gravesite (as I did) and still see teenage girls weeping and putting flowers on his grave.
From http://www.cybcity.com/barkov/
- New literary theory suggests the multi-plot inner structure of Pushkin's Eugene Onegin is identical to that of Shakespeare's Hamlet. In both, a hidden Narrator is the principal composition element.
