Friday, January 10, 2025

Translations, The Bestest of the Best: FOUR, Aleksandr Blok, "Ночь, улица, фонарь, аптека," "Night. Street. Lamplight. Pharmacy."

 

Blok's Poem on Wall of Building in The Netherlands


Aleksandr Blok

(1880-1921)

 

Ночь, улица, фонарь, аптека,
Бессмысленный и тусклый свет.
Живи еще хоть четверть века -
Все будет так. Исхода нет.

Умрешь - начнешь опять сначала
И повторится все, как встарь:
Ночь, ледяная рябь канала,
Аптека, улица, фонарь.

                                                                                  Oct. 10, 1912

 

d

 

Literary Translation/Adaptation by U.R. Bowie

 

Night. Street. Lamplight. Pharmacy. 

A dim senseless glow all about.

Live twenty more years, look around,

What’s to see?

Nothing will change.

No way out.

 

Then die—and all begins over

To breathe and to be,    

And the same bleary haze

Hovers over the damp

Night, icy ripples on canal,

And floating debris,

The pharmacy, the street, the lamp.

                                                                  July, 2018

 

d

Translator’s Note

According to Korney Chukovsky, Blok had a real Petersburg setting in mind for this poem: the beginning of Officer Street (Офицерская улица, later renamed улДекабристов, Decembrist St.), next to the Marinsky Theatre. The pharmacy was that of a man named Vinnikov, and the canal was the Kryukov Canal. Blok himself lived at the other end of Officer/Decembrist Street.

The apartment where he lived, at No. 57, is now a museum dedicated to Blok’s life and works. 
He had moved into this apartment on Oct. 6, 1912, only four days before he wrote this poem. On Oct. 10, 2012, exactly one hundred years after the poem was written, workers at the museum laid out the manuscript, plus the printed version, on the same desk where Blok wrote the poem. The desk belonged originally to his grandmother, the well-known translator Elizaveta Beketova.

Scholars, literary critics and lovers of Blok’s poetry have argued over exactly which pharmacy in St. Petersburg was the prototype for the one in the poem. There is (1) Chukovsky’s variant, the Vinnikov Pharmacy on Blok’s own street (see above), but you cannot see the canal from this location; (2) a pharmacy on the embankment of Krestovsky Island, which, some object, is too far away; and (3) a pharmacy just opposite the Marinsky Theater, which is still there to this day.

 

Here's another take on the poem, by the famous academician D.S. Likhachev (taken from the Facebook site (in Russian) "Best Poems of Beloved Poets"):

Вот что писал об этом произведении академик Дмитрий Лихачев:

 «В аптеке на углу Большой Зелениной и набережной (ныне набережной Адмирала Лазарева, дом 44) часто оказывалась помощь покушавшимся на самоубийство. Это была мрачная, захолустная аптека. Знаком аптеки служили большие вазы с цветными жидкостями (красной, зеленой, синей и желтой), позади которых в темную пору суток зажигались керосиновые лампы, чтобы можно было легче найти аптеку.

 Берег, на котором стояла аптека, был в те времена низким (сейчас былой деревянный мост заменен на железобетонный, подъезд к нему поднят и окна бывшей аптеки наполовину ушли в землю; аптеки тут уже нет).

 Цветные огни аптеки и стоявший у въезда на мост керосиновый фонарь отражались в воде Малой Невки. «Аптека самоубийц» имела опрокинутое отражение в воде; низкий берег без гранитной набережной как бы разрезал двойное тело аптеки: реальное и опрокинутое в воде, «смертное».

 Стихотворение «Ночь, улица…» состоит из двух четверостиший. Второе четверостишие (отраженно-симметричное к первому) начинается словом «Умрёшь». Если первое четверостишие, относящееся к жизни, начинается словами «Ночь, улица, фонарь, аптека», то второе, говорящее о том, что после смерти «повторится всё, как встарь», заканчивается словами, как бы выворачивающими наизнанку начало первого: «Аптека, улица, фонарь». В этом стихотворении содержание его удивительным образом слито с его построением. Изображено отражение в опрокинутом виде улицы, фонаря, аптеки. Это отражение отражено (я намеренно повторяю однокоренные слова — «отражение отражено») в построении стихотворения, а тема смерти оказывается бессмысленным обратным отражением прожитой жизни: «Исхода нет»».

 Лихачев Д. С. , Литература — реальность — литература. Л., 1984. С. 149-155

 

 


Monday, January 6, 2025

Translations. The Bestest of the Best, THREE: Goethe, Lermontov, Bowie, "Über allen Gipfeln," "Горные вершины," ALPINE MEADOWS

 



I sometimes think that Mikhail Lermontov's most beautiful poem is not his; it is his translation of a poem by Goethe: "Nightsong of a Wanderer, II." 

In The New Yorker (Nov. 13, 2017) the American poet Rita Dove took a stab at that same poem:


                                                   ABOVE THE MOUNTAINTOPS


Above the mountaintops

all is still.
Among the treetops
you can feel
barely a breath--
birds in the forest, stripped of song.
Just wait: before long
you, too, shall rest.

Here's the original German, side by side with D. Smirnov-Sadovsky's translation into Russian:



Д. Смирнов-Садовский:

Smirnov-Sadovsky:

Ночная песня странника II


На вершине горной
 
Покой.
 
Зефир проворный
 
В лес густой
 
Бег не стремит.
Птиц смолкли игривые споры,
 
И нас уж скоро
 
Сон осенит.

<22 декабря 2006>

Гёте:

Goethe:

Wanderers Nachtlied II


Über allen Gipfeln
Ist Ruh,
In allen Wipfeln
Spürest du
Kaum einen Hauch;
Die Vögelein schweigen im Walde.
Warte nur, balde
Ruhest du auch.

1780




And here is the Lermontov free translation from 1840:





ИЗ ГЁТЕ

Горные вершины
Спят во тьме ночной;
Тихие долины
Полны свежей мглой;
Не пылит дорога,
Не дрожат листы…
Подожди немного,
Отдохнёшь и ты.
 
1840

 

 

Rita Dove's translation, for me, is barely even poetry. Lermontov's somewhat free translation is wonderful beyond words, probably even better than the original. Goethe's poem is rhymed; so are  Lermontov's and Smirnov-Sadovsky's. Modern poets often assume they need never use rhyme, that rhyme and meter are dated devices. But is that always true? No.


Age-old arguments about literary translation come to mind. Just how close is the translator obliged to stay with the original? When translating rhymed and metered poetry, should you strive for a rhymed and metered poem in the target language? While straining to maintain meter and rhyme, how does the translator avoid awkward passages in the target language? Etc.


Here's a literal translation of the Lermontov free translation from Goethe:




Mountain peaks,
Sleep in the dark of night.
Quiet meadowlands (valleys)
Full of fresh haze (mist).
No dust rises from the road,
The leaves do not shake. 
Wait just a moment,
You, too, will rest.
 

Here is Smirnov-Sadovsky's near-literal translation into English of the Lermontov:

 

 



The mountain heights
Sleep in the darkness of night.
The quiet valleys
Are filled with a dewy haze.
The road has no dust,
The leaves do not shake…
Wait awhile
And you will have rest.

1840 (Transl. 14 March 2008, St Albans)

 

And here is U.R. Bowie's attempt to do, roughly, with Lermontov what Lermontov did with Goethe:



Alpine peaks quiescent
Sleep in the murk of night.
Meadow vapors deliquescent,
Bathed in mute moonlight.
Air on roads devoid of dust,
Leaves to silence acquiesced.
Hang on, ye of rot and lust,
Soon you, too, can rest.
 
                         February 6, 2018, Gainesville, Florida
 



Saturday, January 4, 2025

Translations: The Bestest of the Best, TWO, Eduard Bagritsky, "Я сладко изнемог от тишины и снов," SO SWEETLY ENERVATED I

 



[Note from U.R. Bowie: I am reposting what I consider the best of my translations of Russian poetry]


Eduard Bagritsky
(1895-1934)

 

 Я сладко изнемог от тишины и снов,
От скуки медленной и песен неумелых,
Мне любы петухи на полотенцах белых
И копоть древняя суровых образов.
 
Под жаркий шорох мух проходит день за днем,
Благочестивейшим исполненный смиреньем,
Бормочет перепел под низким потолком,
Да пахнет в праздники малиновым вареньем.
 
А по ночам томит гусиный нежный пух,
Лампада душная мучительно мигает,
И, шею вытянув, протяжно запевает
На полотенце вышитый петух.
 
Так мне, о господи, ты скромный дал приют,
Под кровом благостным, не знающим волненья,
Где дни тяжелые, как с ложечки варенье,
Густыми каплями текут, текут, текут.
 
                                                                                       1919
 
 
                     Literal Translation
 
Silence and dreams, and a languid boredom
Have left me sweetly enervated,
I’m fond of the roosters on white dishtowels
And of ancient soot on austere icons.
 
Day after day goes by to the hot rustle of flies,
Each day replete with the most pious humility,
A quail murmurs beneath the low ceiling,
And on festive days there’s the aroma of raspberry jam.
 
And at night you languish in soft goose-down feathers,
The stifling icon lamp blinks agonizingly,
And the embroidered rooster on the dishtowel
Stretches out his neck and crows at length.
 
And so, O Lord, you’ve given me a modest hideaway,
Beneath a soothing roof that knows not agitation,
Where the heavy [oppressive] days, as jam from a spoon,
In thick droplets go dripping, dripping, dripping.
 
 
 
 
 
                                                                Literary Translation/Adaptation by U.R. Bowie
 
 
So sweetly enervated I, by silence and by dreams,
By boredom creeping slowly past, and songs ineptly sung,
I love the crowing roosters on the dishtowel barnyard scenes,
The ancient soot on icons, in the parlor corner hung.
 
Day follows day, the flies toil on, exacerbating rustle,
My life abounds with piety, with actions cautionary,  
Beneath the placid eaves above the cooing pigeons bustle,
On festive days the air is rife with jam of lingonberry.
 
With night’s unease I turn and writhe in goose-down feathers soft,
The stifling icon lamp’s aglitter, blinking misery,
Then one embroidered rooster in the dishtowel barnyard loft
Extends his scrawny neck, exults, and crows his reveille.
 
O Lord, thou hast provided me a modest warm cocoon,
Beneath a tranquil roof that holds my life in trusteeship,  
Where day by viscous day seeps by, as jam from kitchen spoon
In thick and gooey droplets falls,
With drip . . .  and drip . . . and drip.
 
 

 

Translator’s Notes
 
                                      Biographical Information on Bagritsky, from the Internet

(Translation of Highlights Here, Full Text in Russian Below)
 
Eduard Georgievich Bagritsky, whose real surname was Dzjubin or Dzjuban), was born on October 22 (Nov. 3, NS), 1895, in Odessa to a Jewish family that practiced its religion seriously. He studied to be a land surveyor but never worked at that profession.
Beginning in 1915, he published his verses under various pseudonyms, both male and female (Eduard Bagritsky, Nina Voskresenskaja), and soon he had become one of the most remarkable of the young Odessa writers who were later to be stars in the pantheon of Soviet Literature: Yury Olesha, Ilya Il’f, Valentin Kataev, Vera Inber, and others.

In 1918 he joined the Red Army during the Civil War, working in the political arm of the partisan movement, writing politically motivational verses. After the war he worked in Odessa as a poet and artist, publishing his works in newspapers and humor magazines under various pseudonyms: A Guy Named Vasya, Nina Voskresenskaja (again), and The People’s Correspondent Gortsev.

In 1925 he moved to Moscow and joined various literary circles then in mode, including the Constructivists. In 1928 his verse collection titled “Southwest” came out, and a second collection, “The Victors,” appeared in 1932.
Beginning with the year 1930 his asthma intensified—a disease from which he had suffered since childhood; he died on February 16, 1934, in Moscow. His widow, Lidia Suok, was arrested in 1937 and sent to a labor camp; she was released only in 1956. Their son Vsevolod fought in The Great Patriotic War (WW II), died at the front in 1942.

                dddfffffffffddddddddd

Эдуард Георгиевич Багрицкий (настоящая фамилия Дзюбин (Дзюбан); 1895—1934) — русский поэт, переводчик и драматург, родился 22 октября (3 ноября) 1895 г. в Одессе в буржуазной еврейской семье с сильными религиозными традициями. Окончил землемерные курсы, но по профессии не работал.

С 1915 г. под псевдонимом «Эдуард Багрицкий» и женской маской «Нина Воскресенская» начал публиковать свои стихи в одесских литературных альманахах и вскоре стал одной из самых заметных фигур в группе молодых одесских литераторов, впоследствии ставших крупными советскими писателями (Юрий Олеша, Илья Ильф, Валентин Катаев, Лев Славин, Семён Кирсанов, Вера Инбер).

В 1918 г., во время Гражданской войны, добровольцем вступил в Красную Армию, работал в политотделе особого партизанского отряда имени ВЦИК, писал агитационные стихи.
После войны работал в Одессе, сотрудничая, как поэт и художник, в ЮгРОСТА (Южное бюро Украинского отделения Российского телеграфного агентства) вместе с Ю. Олешей, В. Нарбутом, С. Бондариным, В. Катаевым. Публиковался в одесских газетах и юмористических журналах под псевдонимами «Некто Вася», «Нина Воскресенская», «Рабкор Горцев».

В 1925г. Багрицкий приехал в Москву и стал членом литературной группы «Перевал», через год примкнул к конструктивистам. В 1928г. у него вышел сборник стихов «Юго-запад». Второй сборник, «Победители», появился в 1932г.
С начала 1930г.  у Багрицкого обострилась астма — болезнь, от которой он страдал с детства. Он умер 16 февраля 1934г. в Москве. Вдова поэта, Лидия Густавовна Суок, была репрессирована в 1937 (вернулась из заключения в 1956). Сын Всеволод погиб на фронте в 1942 г.
 



Wednesday, January 1, 2025

Translation of Poem by Sasha Chorny, САША ЧЁРНЫЙ, TO ALL AND SUNDRY, HAPPY NEW YEAR!

 


ОБЩЕЕ ПОЗДРАВЛЕНИЕ

САША ЧЁРНЫЙ
(1880-1932)
 
Мне визиты делать недосуг:
Как ко всем друзьям собраться вдруг?
Что ни час, то разные делишки…
Нет ни смокинга, ни фрака, ни манишки.
 
Мир велик, а я, как мышь в подвале, —
Так и быть, поздравлю всех в журнале:
Всех детей, всех рыбок, всех букашек,
Страусов и самых мелких пташек,
 
Пчел, слонов, газелей и мышат,
Сумасшедших резвых жеребят,
Всех тюленей из полярных стран,
Муравьев, ползущих на банан,
 
Всех, кто добр, кто никого не мучит,
Прыгает, резвится и мяучит, —
В эту ночь пред солнечным восходом
Поздравляю с добрым Новым годом!
 
1925 г.
 
                                       Literary Translation/Adaptation/Imitation by U.R. Bowie


                                                    New Year Greetings to All and Sundry!
 
Have no time to visit all my mates,
time’s a matter fraught with cares, and sticky.
Come what may, just too much on my plates . . .
Ain’t got no tux or frockcoat, got no dickey.
 
The world is wide, and I’m a basement mouse;
I’ll send good wishes through these words wee-bouncyest:
to all the children, fishies, and one louse,
to ostriches, to birdies teeny-tonceyiest,
 
to bees and baby elephants, gazelles and baby meece,
to crazy-in-the-head, hot-snorting stallions,
to all the seals resident in polar lands (and geese),
to ants that crawl, to dolphins (gay rapscallions),
 
to any animal who’s kind, unspiteful, open, caring,
to all who leap, who romp and mewl, chase ballses,
as sun arises on a new world bright and un-despairing,
Happy New Year is my wish to all of youse and y’all’es!
 

 



Thursday, December 26, 2024

Translations. The Bestest of the Best, ONE: Pushkin, "Пора, мой друг, пора!" NOW IS THE TIME

 

[Note from U.R. Bowie: I'm reposting what I consider the very best of translations that I've done from Russian poetry into English]

Aleksandr Pushkin
(1799-1837)

 

Пора, мой друг, пора! покоя сердце просит —
Летят за днями дни, и каждый час уносит
Частичку бытия, а мы с тобой вдвоем
Предполагаем жить, и глядь — как раз умрем.
Давно завидная мечтается мне доля —
Давно, усталый раб, замыслил я побег
В обитель дальную трудов и чистых нег.
На свете счастья нет, но есть покой и воля.

1834


d

                                            Literary Translation/Adaptation by U.R. Bowie
 
Now is the time, my friend! The heart pleads for repose;
One day flies by, one more, and with each moment goes
A piece of each of us, while you and I persist
In planning how to live; then death comes—we desist.
Though happiness can’t be man’s lot, we treasure will and calm.
I’ve long dreamed of idyllic life without tumult or qualm;
Poor slave, I’ve long nursed weary dreams of making one last flight
To some remote safe haven steeped in toil and sheer delight.  

                                                                                  d

 

Note from Wikipedia

Обращено к жене. Написано, вероятно, летом 1834 г. в связи с неудавшейся попыткой выйти в отставку (см. письма к Бенкендорфу от 25 июня, 3 и 4 июля и письмо к Жуковскому от 4 июля; т. 10) и уехать в деревню. То же душевное состояние отразилось в письмах этого времени к жене.

The “my friend” of the poem is Pushkin’s wife Natalya; the poem is addressed to her. Written apparently in the summer of 1834 and unpublished in Pushkin’s lifetime, it addresses his wish to leave St. Petersburg and the life of high society and court, to go into retirement and move to the countryside.

 


Friday, December 20, 2024

Translation of Poem by Joseph Brodsky, Иосиф Бродский, "Рождество," CHRISTMAS

 



Иосиф Бродский
(1940-1996)


Рождество

Не важно, что было вокруг, и не важно,
о чем там пурга завывала протяжно,
что тесно им было в пастушьей квартире,
что места другого им не было в мире.

Морозное небо над ихним привалом
с привычкой большого склоняться над малым
сверкало звездою — и некуда деться
ей было отныне от взгляда младенца.

Во-первых, они были вместе. Второе,
и главное, было, что их было трое,
и всё, что творилось, варилось, дарилось
отныне, как минимум, на три делилось.

Костер полыхал, но полено кончалось;
все спали. Звезда от других отличалась
сильней, чем свеченьем, казавшимся лишним,
способностью дальнего смешивать с ближним.

1990

d

 

                                          Literary Translation/Adaptation by U.R. Bowie
 
                                      
                                 Christmas
 
No matter what lay all around them, no matter
the haboob that blew long and plangently wailed;
no matter their hovel—amidst dreck and foul spatter,
their no-where-to-go-ness, by malice assailed.   

On high loomed the sky over their humble hostel;
leaning as caretaker leans over child,
The Star gazed intently at truth that was gospel,
but lowered its eyes from the gaze of the Child.
 
The first thing of note was their being together,
the second, and foremost, their being a triad;
the whole of the saga, farsighted, unblighted, 
from henceforth would be into three parts divided.
 
The log burned its last, though the fire was still blazing;
all slept. The stellar orbs paled, feeling quelled by The Star, 
the candlelight waned, now subdued, faintly quailing;  
The Star in its brilliance merged near with afar.
 

 


 


Translation of Poem by Joseph Brodsky, Иосиф Бродский, "Рождественская звезда," THE STAR OF THE NATIVITY

 


Joseph Brodsky
 
Иосиф Бродский
(1940-1996)


Рождественская звезда

В холодную пору в местности, привычной скорее к жаре,
чем к холоду, к плоской поверхности более, чем к горе,
Младенец родился в пещере, чтоб мир спасти;
мело, как только в пустыне может зимой мести.

Ему все казалось огромным: грудь матери, желтый пар
из воловьих ноздрей, волхвы Балтазар, Гаспар,
Мельхиор; их подарки, втащенные сюда.
Он был всего лишь точкой. И точкой была звезда.

Внимательно, не мигая, сквозь редкие облака,
на лежащего в яслях ребенка издалека,
из глубины Вселенной, с другого ее конца,
звезда смотрела в пещеру. И
это был взгляд Отца.

24 декабря 1987

 

      d

                                           Literary Translation/Adaptation by U.R. Bowie

                                                           The Star of the Nativity

In dankness and cold in a region
accustomed to heat,
to sea-level flatness
sans hillocks and crags indiscrete, 
a Child was born in a cave
for the whole world to save;
the desert wind raged as
only in winter a haboob can rage.
 
Everything seemed to Him vast:
the breast of his mother, the yellowish
steam from nostrils of oxen abashed,
the wisemen: Melchior, Caspar,
Balthazar; the frankincense, myrrh.
He was naught but a dot, a small speck,
and a small speck as well
was the Star.
 
Unblinking, not twinkling,
through clouds ill-defined,
from the far-distant depths of the Universe,
from the end of the ends of the Time out of Mind,
the Star peered into the cave bathed in love,
at the Child who lay in the manger;
and that look was the Gaze
of the Father Above.
 

 


 

Tuesday, December 17, 2024

On Gogol's DEAD SOULS: ПРАВДОПОДОБИЕ, The Swindle, the Time Frame, Verisimilitude

 


On Dead Souls: Мертвые души

ПРАВДОПОДОБИЕ

THE SWINDLE: COULD IT WORK? THE TIME FRAME, VERISIMILITUDE

 Gogol waits until the final Ch. 11—which is a sort of coda chapter, added on after the basic action of the book is over—to explain how Chichikov’s swindle works. At a low point in his life, after Chichikov’s machinations as a customs official are discovered, he barely escapes going to prison. After that he lands a job as a lowly legal agent, “arranging for the mortgage of several hundred peasants to the Trustee Council.” Here he discovers that such a process involves winning over a number of bureaucratic officials: “a bottle of Madeira, at least, must be poured down each throat concerned.”

At this point, for the first time it dawns on Chichikov that dead peasants may have value. Since they remain on the tax rolls until the next census they are, in one sense, still alive. Landowners, opines Chichikov “will be only too glad to let me have their dead souls, if only to save them paying the serf-tax on them . . . True enough, one can neither buy nor mortgage peasants without owning land. But then I’ll buy them for resettlement, that’s it! Nowadays tracts of land are given away, free and for the asking, in the provinces of Tauris and Kherson, just as long as you settle serfs there. So that’s exactly where I’ll resettle all my dead souls! Off with them to the province of Kherson; let them live there!”

The way the plot of DS goes, Chichikov’s idea is treated as totally novel; no one else has thought of it, and that’s why the town officials of N and the local landowners are so stupefied when they hear about Chichikov’s purchases. The story of how DS began is that Pushkin gave the idea for the plot about buying dead souls to Gogol. But in her handbook to the novel (p. 188-89) Smirnova-Chikina provides examples proving that speculators had engaged in buying dead souls long before the idea dawned on Pushkin, or Gogol, or Chichikov.

Furthermore, in his introduction to the Pevear/Volokhonsky English translation of DS, Richard Pevear quotes a distant relation of Gogol, Maria Grigorievna Anisimo-Yanovskaja, who links the idea of purchasing dead souls to distilling vodka in the Ukraine.

“The thought of writing DS was taken by Gogol from my uncle Pivinsky. Pivinsky had a small estate, some thirty peasant souls (that is, adult male serfs), and five children. Life could not be rich, and so the Pivinskys lived by distilling vodka. Many landowners at that time had distilleries, there were no licenses. Suddenly officials started going around gathering information about everyone who had a distillery. The rumor spread that anyone with less than fifty souls had no right to distill vodka. The small landowners fell to thinking; without distilleries they might as well die. But Kharlampy Petrovich Pivinsky slapped himself on the forehead and said: ‘Aha! Never thought of it before!’ He went to Poltava and paid the quitrent for his dead peasants as if they were alive. And since even with the dead ones he was still far short of fifty, he filled his britzka with vodka, went around to his neighbors, exchanged the vodka for their dead souls, wrote them down in his own name, and, having become the owner of fifty souls on paper, went on distilling vodka till his dying day, and so he gave the subject to Gogol, who used to visit Fedunky, Pivinsky’s estate, which was about ten miles from Yanovshchina (the Gogol estate); anyway, the whole Mirgorod district knew about Pivinsky’s dead souls.”

Pevear gives the source for this tale as Veresaev’s book Gogol v zhizni. If it’s true we have one more origin story for the plot of DS. The tale strikes me, however, as apocryphal, more than dubious; the very tone of it resembles some bizarre skaz fiction invented by Gogol himself, or by someone imitating his style. The Gogol estate, by the way, was called Vasilevka, not Yanovshchina. At any rate, Smirnova-Chikina has established that there were people out there speculating in dead souls well before Chichikov came along.

Smirnova-Chikina (p. 190-92) has also made an attempt to establish the exact time frame of the novel. She mentions Chichikov’s participation (in Ch. 11) on a commission for building a large-scale government edifice; in an earlier variant of DS it is called “a commission for constructing a temple of God.” This fictional commission, so says Chikina, has a prototype in Russian history: the notorious scandal involving the construction of the temple of Christ the Saviour in Moscow. After revelations of bribe-taking and siphoning off of cash by members of the commission, it was abolished on Apr. 16, 1827, and its members were brought to justice. The amount of money stolen came to 580,000 rubles. The case, which dragged on for ten years, ended with conviction of the defendants, who had their property and homes confiscated. Placing Chichikov as a member of that commission, Smirnova-Chikina assumes that he had his property confiscated in 1827, somehow escaping jail. He moved on to a job in customs on the Polish border in 1828 or 1829.

She goes on to assert that Chichikov would have worked as a customs official for about two years (1829-1831), after which he took a job briefly as a legal agent (a kind of paralegal) in Moscow, at which time the idea of buying dead souls dawned on him. At one point Chichikov mentions that it’s a good time to buy dead souls, in light of the recent epidemic. This alludes, possibly, to the cholera epidemic that swept over all of Russia in 1831.

Several facts relevant to this time frame make Chichikov’s scheme rather iffy, or at least would limit its scope severely. Before 1833 male peasants—the only “souls” who had legal value—could be sold without land and separated from their families. But in 1833 a law was passed that forbade the sale of peasants while separating them from their families. We recall that in DS Chichikov buys only male serfs, i.e., those who are on the tax rolls (females and children are not taxed). Even more importantly, in 1833 there was a new census—the first since 1815—at which time landowners could delete from the tax rolls peasants who had died. Had he arrived in the town of N only a year or two later there would have been no dead souls for Chichikov to purchase. Given those facts—especially the deadline of 1833—depicting Chichikov as still buying dead souls in Vol. 2 would be problematic. Smirnova-Chikina is to be commended for having come up with real facts and dates, but, notwithstanding her efforts, it’s highly doubtful that Gogol himself had exact dates and circumstances in mind when planning the plot of his novel.

Another problematic issue. In Ch. 7 Chichikov wakes up back at his hotel at the height of his good fortune. He now owns about four hundred male dead souls; adding in the untaxable females and children, he would have some 1000 imaginary souls to transport to their new home in Kherson Province. Of course, if the action is set before 1833 he would not be obliged to resettle the females and children. By way of comparison with actual facts, here is some information about the hero of the Napoleonic Wars, field marshal Mikhail Kutuzov. Due largely to his battlefield achievements and a series of land acquisitions for Russia under Catherine the Great after the Polish partition, “Kutuzov had become one of the richest landowners in the empire. Excluding Catherine’s new acquisitions, the population of the Russian Empire in the 1790s was some 30 million persons. The gentry numbered about 80,000, not counting landless gentry and the more economically diverse Polish nobility. But three quarters of these Russian nobles owned fewer than sixty serfs: only about one percent of them owned more than a thousand, about as many people as there are billionaires in the U.S. today. There were only about fifty landowners at the time who owned over five thousand serfs; among them was Kutuzov, whose estate was estimated to contain 15,000. By comparison, the largest slaveholder in the antebellum United States, Joshua John Ward [of Georgetown County, South Carolina], owned just over a thousand slaves” (Grigory Afinogenov, “Field Maneuvers,” NYRB, Oct. 19, 2023, p. 50).

The situation could not have changed that much forty years later, by the 1830s, when DS is set. In his introduction to an English translation of Gogol’s selected letters, Carl Proffer informs us that Gogol’s father was “the owner of between 130 and 200 serfs [possibly an overestimate, URB, or perhaps this included the untaxable women and children], and a Ukrainian estate of larger-than-average size.” Citing a Russian source in a book about Lermontov, Proffer adds that “In 1835 only 16 percent of the squires in Russia owned more than 100 serfs” (Letters of Nikolai Gogol [selected and edited by Carl R. Proffer], University of Michigan Press, 1967, p. 1, 211). In a letter to S.P. Shevyrev from Rome (Feb. 28, 1843), Gogol affronts them all by audaciously demanding that his friends and mentors—Shevyrev, S.T. Aksakov, and Pogodin—get together and come up with some way of supporting him financially for the next three or four years. He was already heavily in debt to them, and practically none of the money he borrowed was ever paid back. In this same letter he mentions in passing that his “estate is a good one, two hundred souls.”

By far the richest of the landowners whom Chichikov comes across is Stepan Plewshkin, who owns over 1000 male souls. Smirnova-Chikina counts the wives and children and comes up with a figure of around 5000 total. Proffer’s information, and the information about Kutuzov and his times above, if correct, suggest, therefore, that Plewshkin could be in the one percent of richest landowners in Russia in the 1830s. Given that at the end of Part One of DS Chichikov already owns about 400 taxable serfs, it is no wonder that the townspeople of N begin circulating the rumor that he is a millionaire. Having run his swindle so far only in one provincial town and its environs—there is no indication in the novel that he has been buying dead souls prior to this—Chichikov is already a rich man on paper.

In Part Two Gogol has his protagonist continuing his efforts to buy dead souls, something he would logically not do. There are good reasons for quitting while he is ahead. Upon departing from the town of N, Chichikov already has enough new capital in serfs to put through his plan of acquiring land in Kherson, resettling his imaginary peasants there, and mortgaging his dead souls at a considerable profit. Given that so few Russian landowners own this many souls, if Chichikov acquires still more he might draw undue attention to himself, and his semi-legal scheme could come to light. He might protest that he has done nothing strictly illegal, but in Russia, then as now, the authorities decide at random what they wish to be legal or illegal. The verdict in Russian criminal trials, then and now, was/is decided in advance. Buying too many dead souls is simply too risky.

There are various other improbabilities in the plot of DS. Verisimilitude sometimes sags. For example, rumors spread fast in the town of N, and one wonders why the townspeople don’t learn early on that Chichikov is buying dead souls. Late in the book, after Chichikov, with the connivance and cooperation of town officials, puts through the documentation on his purchases, the whole town begins gossiping about how he’ll manage to transport the souls safely to Kherson Province. Surely more questions would have arisen, even before Nozdryov blurted out the truth at the ball. People would have wondered, e.g., where Chichikov’s peasants were presently located physically. Where was he keeping them, how was he housing and feeding roughly 1000 peasants—four hundred if only the males—prior to their departure for Kherson?

In a novel in which logic were preponderant, Chichikov, upon leaving the town of N in the final chapter, would already be enroute to Kherson, to put his scheme into practice. Instead he—and apparently the narrators and author of DS—have no idea where he is bound in Ch. 11. He’s just out on the road, headed somewhere, and in the final scene he ends up God knows where. Gogol apparently did not worry unduly about the prospect of holes in his plotline or the exact dates of the action. He had other, bigger fish to fry in his narrative skillet: mainly the huge sturgeon called laughter, heaps of skaz narrators wallowing in hyperbole, and, unfortunately toward the end, megalomanic  dreams.



[excerpt from the forthcoming book by U.R. Bowie:

THE FUTILE SEARCH FOR A LIVING SOUL

[A NEW READING OF GOGOL’S DEAD SOULS («МЕРТВЫЕ ДУШИ»)]