manakh, Utreniaia zaria(S. Pb.: Tip A. Pliushara, 1840 ), 436. In the poem the spirit
of a dead baby chastises the speaker for her grief. The visionary poetry of
Elisaveta Shakhova, who became a nun, must be considered separately.
Men poets wrote poems titled “Videnie” as well: Del’vig (1814–20); Tiutchev
( 1829 ); Fet ( 1843 ); Iazykov ( 1825 ); Lermontov ( 1831 ); Khomiakov ( 1840 ); and Gu-
ber ( 1859 ).
12 .Feldman and Kelley, introduction to Romantic Women Writers, 9. Other
poems in which women poets adapt the role of bard or poet-patriot include
Pavlova’s “Razgovor v Kremle” (Conversation in the Kremlin, 1854 ), in which a
Russian explains to an Englishman and a Frenchman Russia’s spiritual mission
in the world, and Shakhova’s prayer for the health of Nicholas I, “Chuvstvo rossi-
ianki k otsu naroda” (A woman of the Russian Empire’s feeling for the father of
the people, 1839 ). See also Zhadovskaia, “Polnochnaia molitva” (Midnight
prayer, 1858 ), Kul’man, “Voin i pevets” (The warrior and the singer, 1833 ), and
Lisitsyna, “K rodine” (For the motherland, 1829 ).
13 .For a discussion of Southey’s Joan of Arc,see Curran, Poetic Form and
British Romanticism,167–68, and chapter 6 of this volume. On Durova, see Mary
Zirin, translator’s introduction, in Nadezhda Durova, The Cavalry Maiden: Jour-
nals of a Russian Officer in the Napoleonic Wars,trans. Mary Zirin (Bloomington:
Indiana University Press, 1989 ), ix–xxvii. See also “La Vision” ( 1825 ) by the
French poet Delphine Gay (Mme. de Giradin), in which Joan of Arc appears to
the poet and encourages her to proclaim herself “Muse de la patrie.” Discussed
in Jean Balde, Mme de Giradin: Textes choisis et commentes(Paris: Plon, 1913 ), 25–
27. See also Anna Mordovtseva, “Slava vam na boi vozstavshim,” in Otzvuki
zhizni 1842–187-, 3.
14 .Bakunina, “Moi chertenok” ( 1834? see appendix) and “Epilog” (Bakunin
Archive, f. 16 , op. 10 , n. 5 , p. 10 verso, and p. 39 verso, PD); Khvoshchinskaia,
“Uzh vecher; na dvore stuchit moroz ugriumyi,”Literaturnaia gazeta,no. 49 (Dec.
9 , 1848 ), 778 ; Teplova, “Videnie” (A vision, 1860 ), “K geniiu” (To my genius,
1860 ); Zhadovskaia, “Vozrozhdenie” (Rebirth, 1858 ); Bakunina, “Poslanie k
drugu E[katerina] L. Sh[akhovskaia]” ( 1832 ) (Bakunin Archive, f. 15 , op. 10 , n. 5 ,
p. 15 verso to 16 verso, PD). In this poem Bakunina contrasts her shy genii(who
in other poems is described as a chertenok[imp]) with Shakovskaia’s more fiery
one.
15 .Male muses, geniia,also occur occasionally in men’s poetry. The speaker
in Del’vig’s “Razgovor s geniem” (Conversation with my genius, 1814–17) con-
verses with his genius, who has been sent from heaven to teach him to sing his
dreams. In Khomiakov’s “Videnie” ( 1840 ) an angel, “a heavenly brother,” visits
the speaker-poet in a vision that gives him the ability to write poetry. Other
examples of male muses can be found in Lermontov, “K geniiu” ( 1829 ), Mil’-
keev, “Artist-muzykant” (The artist-musician, 1843 ), and Guber, “Pechal’
vdokhnoveniia” (The sadness of inspiration, 1837 ).
16 .Noncanonical men poets also wrote poems to traditional muses: Guber
(“Sud’ba poeta” [The fate of the poet, 1833 ] and “Krasavitsa” [The beauty, 1845 ])
and Maikov (“Sny” [Dreams, 1835 ]).
17 .Judith Pascoe, “Mary Robinson and the Literary Marketplace,” in Ro-
mantic Women Writers, ed. Paula Feldman and Theresa Kelley, 260 , 262. See Carla
236 Notes to Pages 41–44