The Cambridge Introduction to Russian Literature

258 Notes to pages 118–30

Tw e n t i e t h C e n t u r y , ed. Robert A. Maguire (Princeton: Princeton University Press, 1974), p. 277.

Vladimir Nabokov, Nikolai Gogol (New York: New Directions Publishing, 1944), p. 140.

For these arguments, see chs. 1 and 2 of Chester Dunning, with Caryl Emerson, Sergei Fom´ıchev, Lidiia Lotman, and Antony Wood, The Uncensored Boris Godunov: The Case of Pushkin’s Original Comedy (Madison: University of Wisconsin Press, 2006). The volume contains Antony Wood’s translation of all twenty-five original scenes.

V. N. Turbin, “Kharaktery samozvantsev v tvorchestve Pushkina,” Nezadolgo do Vodoleya (Moscow: Radiks, 1994), p. 75.

The best translation is in Nikolai Gogol, “The Government Inspector,” in Plays and Petersburg Tales, trans. Christopher English (Oxford: Oxford University Press, 1995), pp. 245–336.

Alexander Pushkin, “The Captain’s Daughter,” in Alexander Pushkin: Complete Prose Fiction, trans. Paul Debreczeny (Palo Alto: Stanford University Press, 1983), p. 337, trans. adjusted.

Nikolai Gogol, Dead Souls, trans. Bernard Guilbert Guerney, rev. and ed. Susanne Fusso (New Haven: Yale University Press, 1996), p. 247.

Stephen Moeller-Sally, “Spreading the Word,” ch. 4, Gogol’s Afterlife: The Evolution of a Classic in Imperial and Soviet Russia (Evanston, IL: Northwestern University Press, 2002), esp. p. 85.

October 31, 1853. Tolstoy’s Diaries, ed. and trans. R. F. Christian, vol. I: 1847–1894 (New York: Scribner’s Sons, 1985), p. 75.

6 Realisms

D. S. Mirsky, from his discussion of “The Moscow Circles,” in A History of Russian Literature, ed. Francis J. Whitfield (Evanston, IL: Northwestern University Press, 1999), p. 166.

Two excellent books discuss this theme: Adam Weiner, By Authors Possessed: The Demonic Novel in Russia (Evanston, IL: Northwestern University Press, 1998), especially ch. 2 on Dead Souls and ch. 3 on Demons; and W. J. Leatherbarrow, A Devil’s Vaudeville: The Demonic in Dostoevsky’s Major Fiction (Evanston, IL: Northwestern University Press, 2005), especially its opening chapter on Dostoevsky’s sources for the demonic in Russian folklore and in Gogol.

Fyodor Dostoevsky, The Brothers Karamazov, trans. Richard Pevear and Larissa Volokhonsky (New York: Vintage, 1991), p. 648. All references to the novel in the text will be to this translation.

Hadji Murad, trans. Louise and Aylmer Maude, in Great Short Works of Leo Tolstoy (New York: Perennial Classics, 2004), p. 667.

For a lyrical evocation of this routine, see “The writer at work,” ch. 7 in Jacques Catteau, Dostoevsky and the Process of Literary Creation, trans. Audrey Littlewood