Reading Pushkin in Brussels - New York Times
No collision, however, quite matches the celebrated duel between
Vladimir Nabokov and the critic Edmund Wilson over Nabokov's 1964 translation of
Pushkin's “Eugene Onegin.” That translation followed one by Walter Arndt, which
Nabokov had fiercely .." See all stories on this topic »
Reading
Pushkin in Brussels
By MICHAEL JOHNSON
Published: May 11,
2012
"... It was an eerie experience to press the doorbell alongside
the nameplate “Alexandre Pouchkine” in Brussels recently, and even odder when
the door flung open and there he was. I had been angling to meet him for some
time for a monograph I am researching. A booming “Bonjour!” in a Belgian accent
got our encounter off to a congenial start.[ ] Such is the Pushkin
legacy in Russia that “they all want to speak to me, to touch me” when he
visits, he says. Educated Russians have all read Pushkin since childhood and
will not have a better chance to get close to a live one.[ ]His
wife, Maria, a second cousin and also a Pushkin, kept him honest by chipping in
corrections of dates and places. “I get goose pimples just talking about him,”
Pouchkine said, half-joking that the poet’s ghost seemed to be present in the
living room that afternoon. At one point Maria opened a volume of French
translations and pointed out an effort by Alexandre Dumas that she dislikes
because it “lacks soul.” She had the same reservations about translations by
Prosper Mérimée and other writers who have tried to force him into French.
A
leading U.S. Pushkinist, David Bethea of the University of Wisconsin, agrees
that translations of Pushkin into other languages can be disastrous. Most
renderings into English come out like “a pretty good Victorian poet, maybe
Tennyson,” he told me by telephone. That is one of the reasons that Western
cultures have been hesitant about the Pushkin despite his god-like position at
home. His prose, “famed for a surface clarity, (is) suffused with connotation
and implication,” says Oxford University professor and noted Pushkinist Andrew
Kahn. Much of the subtlety is lost in translation. The drama and musical flow of
his writing has led to operatic and ballet interpretations, including “Boris
Godunov,” “Eugene Onegin,” “Queen of Spades,” “Ruslan and Ludmilla” and “The
Captain’s Daughter.”
Experts and literary adventurers have often clashed
over ways to render him into other languages. No collision, however, quite
matches the celebrated duel between Vladimir Nabokov and the critic Edmund
Wilson over Nabokov’s 1964 translation of Pushkin’s “Eugene Onegin.” That
translation followed one by Walter Arndt, which Nabokov had fiercely denounced.
Arndt, he wrote, made “idiotic” errors, confusing a husband with a lover and an
arrow for a gun. A famous opening line of Onegin, “My uncle has most honest
principles” was rendered by Arndt “My uncle, decorous old prune.” When Wilson
sprang to Arndt’s defense and assailed Nabokov’s translation, Nabokov rounded on
Wilson for his inadequate Russian. Nabokov recalled trying to teach Wilson how
to read Russian aloud but both collapsed in stitches at Wilson’s “endearing
little barks.” Despite intractable translation problems, a new awareness of
Pushkin’s genius is surfacing in the West. Alexandre Pouchkine’s International
A.S. Pushkin Foundation, for example, holds Pushkin events throughout Belgium,
including a play, “A Night with Pushkin in St. Petersburg,” that has been
performed 60 times.