The Cambridge Introduction to Russian Literature

Notes to pages 103–16 257

Arthur Krystal, “En garde! The history of dueling,” New Yorker (March 12, 2007), 80–84, esp. 81.

For more on “insult” and “honor” as they evolved in Russia from the eighteenth century on to the twentieth, see chs. 1 and 2, in Irina Reyfman, Ritualized Violence Russian Style: The Duel in Russian Culture and Literature (Palo Alto: Stanford University Press, 1999).

See Ian M. Helfant, “Pushkin as a Gambler,” The High Stakes of Identity: Gambling in the Life and Literature of Nineteenth-Century Russia (Evanston, IL: Northwestern University Press, 2002), p. 51.

James E. Falen, Introduction to his translation of Alexander Pushkin, Eugene Onegin. A Novel in Verse (Oxford: Oxford University Press, 1995), p. xii.

Capital letters indicate feminine rhymes (double or two-syllable rhymes with stress on penultimate syllable); small letters are masculine rhymes (single-syllable and stressed). See Vladimir Nabokov, “The ‘Eugene Onegin’ Stanza,” in Alek-sandr Pushkin, Eugene Onegin. A Novel in Verse, trans. Vladimir Nabokov, 2 vols. (Princeton: Princeton University Press, 1975), vol. I, pp. 9–14; and Michael Wach-tel, “The Onegin Stanza,” ch. 3, The Development of Russian Verse: Meter and its Meaning (Cambridge: Cambridge University Press, 1998), pp. 119–22.

For an intriguing scene-by-scene exegesis of this pyramidal symmetry, see Irena Ronen, Smyslovoi stroi tragedii Pushkina “Boris Godunov” (Moscow: Its-Garant, 1997), esp. the chart on p. 128.

Alexander Pushkin, “On Prose,” in Pushkin on Literature, ed. Tatiana Wolff (Evanston, IL: Northwestern University Press, 1998), pp. 43–44. Translation adjusted. This useful anthology is marred by translation errors and must be used with caution.

See Irina Reyfman, “Prose Fiction,” in The Cambridge Companion to Pushkin, ed. Andrew Kahn (Cambridge: Cambridge University Press, 2006), pp. 90–104, especially 96–99.

David Powelstock, Becoming Mikhail Lermontov: The Ironies of Romantic Individualism in Nicholas I’s Russia (Evanston, IL: Northwestern University Press, 2005), p. 330.

Leo Tolstoy, War and Peace, trans. Anthony Briggs (New York: Penguin Classics, 2005), vol. II, Part 1, chs. 4–6, p. 340.

See Gary Saul Morson, Hidden in Plain View: Narrative and Creative Potentials in “War and Peace” (Palo Alto: Stanford University Press, 1987), Part III, esp. p. 210.

Anton Chekhov, “The Duel,” ch. 19, in The Duel and Other Stories, trans. Ronald Wilks (London: Penguin, 1984), p. 111, trans. adjusted.

See Reyfman, “How Not to Fight: Dueling in Dostoevsky’s Works,” ch. 6, Ritualized Violence Russian Style, pp. 192–261.

Nikolai Gogol, “The Carriage,” in Plays and Petersburg Tales, trans. Christopher English (Oxford: Oxford University Press, 1995), p. 153.

Nikolai Gogol, “The Nose,” in Plays and Petersburg Tales, pp. 43–44, trans. adjusted.

The Russian Formalists loved Gogol. This example is discussed in Boris Eikhen-baum’s classic essay “How Gogol’s ‘Overcoat’ is Made” (1918), in Gogol from the