SEER, 97, 3, JULY 2019 536 encyclopedia treatment, means that a sustained narrative sometimes struggles to emerge, but readers with attention-span problems will be delighted. Exceptionally good of its kind is the box on the picturesque. But Smoliarova can be as rewarding when performing close reading as she is when the focus is pulled back, as witness in particular the analysis of the ‘steam engine’ stanzas of ‘To Evgenii’. There are lapses, though, when falsifiable statements are ventured: an abyss yawns when the free iambs (vol´nyi iamb) of Derzhavin’s ‘Girl at the Harp’ are categorized as ‘bumpy vers libre’; in Derzhavin’s last poem and Morris Halle’s translation of it ‘iambic pentameter seems crucial’ — but both happen to be in iambic tetrameter; and the iambic pentameter of Pope’s Essay on Man doesn’t have a fixed caesura. The author’s mind was on higher things, let us surmise. Smoliarova is throughout standing on the shoulders of giants, some of the Russian ones relatively neglected, like Lev Pumpianskii and I. Z. Serman, but her manner and her approach are much more unconstrained, even breezy. The author’s most risky positions assert or imply bold claims about what ‘we’ perceive and understand when reading and contemplating poetry and art. Nothing is ever written or even thought without a conscious subtext, it would seem. The book’s last chapter spirals away into the twentieth century and even the future, still concerned mainly with poetry and the visual, but taking in radio, cinematography, aviation, architecture, and other technological innovations. Reconstructing the thoughts and emotions of the people of the past is notoriously problematic, and this is even more so with regard to their visual perceptions, but this caveat hardly detracts from the admirable audacity that suffuses Smoliarova’s treament. All in all, this book will be useful reading for anyone interested in how best to read Russian poetry before Pushkin; rather than driving home hard conclusions, though, it will stimulate and suggest. New College, University of Oxford G. S. Smith Batyushkov, Konstantin. Writings from the Golden Age of Russian Poetry. Translated and presented by Peter France. Russian Library. Columbia University Press, New York and Chichester, 2018. xi + 239 pp. Notes. Index. $19.95: £17.00 (paperback). There is a modesty about the title page of this book. ‘Presented by Peter France’ does not do justice to the multiple rewards on offer here. This book contains a comprehensive essay on the life of the poet Konstantin Batiushkov into which has been folded a creative biography, bountifully illustrated by new translations of many complete poems. While these lyrics could conceivably REVIEWS 537 have been published as a separate anthology, the portrait of man and works strikes this reviewer as a great success because text and context are beautifully interwoven in the eight chapters that follow Batiushkov from his youth in Vologda to his premature and tragic decline into mental illness. The method works well not least because the connection between experience and literary expression was so much a feature of an age in which Russian writers with increasing confidence explored subjectivity in diaries, autobiography, letters, and perhaps, above all, in lyric poetry. The writing has a lightness of touch and is full of suggestion: ‘The author is a disengaged spectator on the Addisonian model, but equally a predecessor of the Baudelairean flâneur in the city’ (p. 64). Especially fine are the observations on friendship and friends, among whom Gnedich and his routine (Batiushkov seems to allow him up to twenty-six hours in a day) stand out. A poet of refined sensibility and elegant technical accomplishment, Batiushkov pioneered a style of affecting expression. Numerous earlier poets had struck emotional poses but Batiushkov had a greater talent for injecting credible emotion rather than seeming merely performative in the way of earlier speakers. Historically his contribution to the lyric of introspection was seminal in Russia but he is much more than a transitional figure. A master of imitation and translation, in his original poems Batiushkov wove dense intertextual echoes into seemingly candid and spontaneous lyric confessions. Something of a Horace, Parny, Tibullus and Tasso all rolled into one, Batiushkov earned his laurels...
Read full abstract