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Chargement... The gypsies and other narrative poems (2006)par Aleksandr Sergeevich Pushkin
   Actuellement, il n'y a pas de discussions au sujet de ce livre. 2   gbill | Feb 3, 2020 | 
 Along with the title piece, this beautifully illustrated edition includes The Bridegroom, Count Nulin, The Tale of the Dead Princess and the Seven Champions, and The Tale of the Golden Cockerel, plus scholarly extras.
Alexander Pushkin (1799-1837), Russia's greatest writer, wrote much more than his novel in verse Eugene Onegin. In this selection of five of his finest narrative poems, all his essential qualities are on display-his ironic poise, his stylistic variety, his confounding of expectations, his creation of poetry out of everyday language. "The Gypsies" is modern Russian literature's first masterpiece. Telling the anti-Romantic tale of an effete city-dweller whose search for "unspoiled" values among a band of gypsies ends in tragedy, it is the major but unacknowledged source for Bizet's Carmen. In "The Bridegroom" Pushkin turns the Romantic ballad into a whodunnit filled with sexual dread and subconscious terror. In "Count Nulin," a deliciously comic tale of country life, he stands Shakespeare's "Rape of Lucrece" on its head - what would have happened if Lucrece had slapped Tarquin's face? "The Tale of the Dead Princess" (Pushkin's version of the Snow White story) transforms Russian folk tale into purest art, and its companionpiece, the eerie "Tale of the Golden Cockerel" (inspired by his bitter experience with Tsar Nicholas I), savagely politicizes the folk-tale form. Antony Wood is one of the very few translators who can bring Pushkin authentically alive in English. If, as The Tablet has said, he "comes close to the translator's ideal," so Simon Brett comes close to the illustrator's. This well-known engraver has captured the essence of each of these poems in a single dramatic image, from the firelight reverie of the title poem to the grisly action of "The Bridegroom." The Gypsies is a double masterpiece: a masterly translation of Pushkin for today and a triumph of the illustrator's art. Aucune description trouvée dans une bibliothèque |
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The Gypsies (1827), which is a real treasure. Its main character Alecko along with Eugene Onegin were an important part of Dostoevsky’s famous dedication speech to the Pushkin statue in Moscow in 1880. The story was also the basis for Carmen, which is less acknowledged than it should be.
The Bridegroom (1824-25), a spin on a Romantic ballad, and with lovely onomatopoeia (see below).
Count Nulin (1825), which is a bit of a parody of Shakespeare’s ‘The Rape of Lucrece.’ The moments building up to the Count stealing into the married woman’s bedchamber are perfectly rendered. It’s fascinating to know that he was on his way to St. Petersburg in December 1825 when he turned back because of unlucky omens (e.g. a hare crossed his path) – and thus avoiding being at the Decembrist uprising that led to executions and exile for many of his friends. He was writing Count Nulin instead.
The Dead Princess and the Seven Champions (1833), which is Pushkin’s version of the classic Brothers Grimm story Snow White (Sneewittchen). I loved his trademark concision, and the discussions the Prince has with the sun and moon while searching for the fair maiden.
The Golden Cockerel (1834), which Anna Akhmatova figured out was based on Washington Irving’s The Legend of the Arabian Astrologer a century later. It’s clearly a satire of Tsar Nicholas I, and written out of his frustration of the shackles of a humiliating court appointment and constant scrutiny.
Just this quote, from The Bridegroom. The original Russian has 6 ‘s’ (с) and 6 ‘sh’ (ш) sounds to match the mood for the wind blowing through the trees in a dense wood:
С тропинки сбилась я: в глуши
Не слышно было ни души,
И сосны лишь да ели
Вершинами шумели.
Which Wood translates as:
I’d lost my path, and all around
No living soul, no living sound,
Nothing at all that stirs,
Only the tops of firs. (