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• W4379421259 abstract "144 SEER, 79, I, 200I Hasty, Olga Peters.Pushkin's Tat'iana. Universityof WisconsinPress,Madison, WI and London, I999. XVii + 269 pp. Bibliographicalreferences.Index. $45.00. AMONG the seemingly interminable celebrations of Pushkin's bicentenary, which included the compulsory display of posters, on pain of a fine, by Moscow kiosk-holders, one of the more interesting was the recitation on television of EvgeniiOnegin, one line at a time, by random members of the Russianpublic. This seemed to underlinethe centralposition, both chronologically and thematically, of Pushkin'snovel-in-verse in his ceuvre.This new study is a welcome addition to the substantialWesternliteraturepublishedin honour of the poet's birthday.It is, as the authorstateson two occasions, and, as the title suggests, a 'Tatianacentric' reading of the work. After an introductory chapter giving an overview of critical attitudes to Tat'iana, includingBelinskii'sinfluentialninth articleon Pushkin,separatechaptersare devoted to Tat'iana'supbringing,to her letter to Onegin, to his reply, to her dream, and to her meeting with Onegin in Petersburg. The focus is on Tat'iana,but inevitablythe characterof Onegin himselfis examined in detail. Although this is primarilya studyof the themes of Evgenii Onegin, the reader is wisely warned against treating the work as merely an early example of the Russian novel, or Tat'iana as simply a self-sacrificingstrong-mindedwoman whose literarydescendantsinclude Goncharov'sOl'ga, Turgenev'sOdintsova and Tolstoi's Anna Karenina. It is appropriate, therefore, that Olga Peters Hasty does not neglect the formal aspects of the work. Indeed she has some original observationson, for instance Pushkin'suse of rhyme in 3.2 I (p. 78), or the strongarticulationof the verb 'upala' at the beginning of 3.39 (p. 112), as well as new interpretationsboth of what the author describes as 'perhaps the most oft quoted lines in Russianliterature',Tat'iana'sfinalwords (p. 206) and of the finalfourstanzasof the work. Quotations are given both in Cyrillic, in transliterationand in the translations , adapted where necessary, by CharlesJohnston, Walter Arndt, James Falenand VladimirNabokov. There areoccasionswhen thesetranslationsare not entirely helpful and might profitably have been substituted by a prose rendition.Forexample (p. 179)Johnston'stranslationof 8:5lines 7-8 Ipozabyla rech'bogov Dliaskudnykh, strannykh iazykov Shelostthelanguage ofthegods Forthebleaktongueofboorishclods loses at least one tongue and gainsseveralclods. The authorrepeatedlyemphasizesTat'iana's'intensereceptivity'(p. 74) to stimulifromwhateversource, and her abilityto adapt ( 'ForTatiana thereare no immutable boundaries', p. 29). These are the qualities required of a true poet and, although she never writes a word of poetry, they are the qualities which inspire other poets. This is underlined by a first-ratefinal chapter, which examines Tat'iana'sinfluence on two real-lifewomen poets, Karolina Pavlova,in her narrativepoem Quadrille and Marina Tsvetaeva, in her critical studyMyPushkin (Paris,1937). REVIEWS I45 The book is very well produced, with only a few misprints.These are, for the most part, non-crucial, but it is a pity that the famous line 'Pod nebom Afrikimoei' and the important adjective 'beznravstvennyi'should be among them (pp. I64, 215). There are substantialnotes, but no bibliographyas such. Two importantEnglishworkson Onegin do not seem to have been consulted, those by A. D. P. Briggs(Cambridge, I992) and SallyDalton-Brown(London, 1997), which contains by far the most comprehensiverecent bibliographyon Onegin. Apart from a predilection for 'privileging'and 'foregrounding',the author writes in a brisk, no-nonsense style, without ever remotely approaching the pellucid brevity of Pushkin's own critical writings, of which a number of examplesareprovided.At herbest, the authorprovidessomepithy, eminently quotable insights into both Tat'iana and Onegin. Of Onegin's behaviour in Chapter 4 we read: 'His problem is not that he fails to fall in love with Tat'iana,but that in hispresentcircumstanceshe is incapableof fallingin love at all' (p. I29). However, when Tat'ianafinallyrejectshis overtures,he is not, in Hasty'sview, a 'loser',but a man capableof revitalizationand regeneration. The insights into Tat'iana's character are too numerous to mention but are perhaps best exemplified by the last of them (p. 215): 'Tat'iana begins as a name, grows into a heroine who counters convention but accommodates tradition,and is finallyacknowledgedas the author/narrator'sown muse'. Department ofEuropean Studies andModern Languages D. M. PURSGLOVE University ofBath Cornwell, Neil. Vladimir Odoevskii andRomantic..." @default.
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• W4379421259 date "2001-01-01" @default.
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• W4379421259 title "Pushkin's Tat'iana by Olga Peters s> Hasty (review)" @default.
• W4379421259 doi "https://doi.org/10.1353/see.2001.0078" @default.
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