28 .Shakhova, “Perst Bozhii” ( 1839 ), “Strashnyi krasavets” ( 1840 ), and “Izg-
nannik” ( 1840 ), in Povesti v stikhakh Elisavety Shakhovoi.Early examples of the
Gothic tale as a woman’s genre include Ann Radcliffe’s Mysteries of Udolpho
( 1794 ) and Mary Shelley’s Frankenstein( 1816 ). On the Gothic as a genre for
women’s stories, see Frances Restuccia, “Female Gothic Writing: Under Cover
to Alice,” Genre 18 (fall 1986 ): 245–66; and Tania Modleski, Loving with a
Vengeance,59–84.
29 .Parts of “Otryvki iz neokonchennogo rasskaza” appeared in the posthu-
mous edition of Zhadovskaia’s works, edited by her brother, Polnoe sobranie
sochinenii Iulii Zhadovskoi, 1 : 143–51, but it was never published in full. See
Blagovo’s discussion in Poeziia i lichnost’ Iu. V. Zhadovskoi, 17 , 35.
30 .Zhadovskaia, “Poseshchenie,” in Stikhotvoreniia Iulii Zhadovskoi,135–40.
On the svetskaia povest’as a woman’s genre, see my “Gender and Genre in
Pavlova’s A Double Life,” 563–77.
31 .Mordovtseva, Otzvuki zhizni,10–32.
32 .See Brown, Russian Literature of the Romantic Period, 1 : 199 ; A. Friedman,
Ballad Revival,292–326, 170–71; Katz, Literary Ballad in Early Nineteenth-Century
Russian Literature, 17. On the relationship of ballads to the epic or heroic poema,
see A. N. Sokolov, Ocherki po istorii russkoi poemy XVIII i pervoi poloviny XIX veka,
10–11.
33 .A. Friedman, Ballad Revival, 265 , discusses the influence of the ballad re-
vival on Wordsworth’s Lyrical Balladsand the work of Blake, Coleridge, Keats,
Scott, and Tennyson.
34 .According to V. I. Chernyshev, the first use of the term balladafor Russian
folk ballads was in 1936 ; as late as 1902 a group of folk ballads appeared with
the description “Nizshie epicheskie” (literally “lowest epics”) (introduction to
Russkaia ballada,v).
35 .Zhukovskii wrote, “My chosen genre of poetry is the ballad” (Katz, Lit-
erary Ballad, 39 ). Michael Wachtel describes Zhukovsky’s influence on the Rus-
sian ballad: “Zhukovsky created for the Russian reader a firm association be-
tween a poetic form (amphibrachic tetrameter couplets with exclusively
masculine rhyme), genre (the ballad), and plot (betrayal and revenge)” (Devel-
opment of Russian Verse, 56 ). Similar images of women as men’s victims or as false
and evil occur in Pushkin’s ballads. In “Chernaia shal’” (The black shawl, 1820 ),
for example, a man kills his false love after beheading and stomping on the body
of the man who was kissing her. In “Zhenikh” (1824–25) Natasha witnesses a
brigand murder a young woman and barely escapes the same fate, while in
“Voron k vorunu letit” ( 1828 ) a woman arranges her husband’s murder in order
to be with her lover. Other such depictions of women occur in Lermontov’s bal-
lads, “Nad morem krasavitsa-deva sidit” (Above the sea a beautiful maiden sits,
1829 ), “Pechatka” (The glove, 1829 ), “Gost’” (The guest, written in the 1830 s),
“Trostnik” (The reed, 1832 ), “Rusalka,” (The mermaid, 1832 ), and “Kuda tak
provorno” (Where so quickly, 1832 ), all discussed by Katz. See also Del’vig’s “Ro-
mance” (“Prosnisia, rytsar’, put’ dalek”) (Romance [Awaken, knight, the way is
far], 1820 ); Fet’s “Zmei” (The dragon, 1847 ), “Taina” (The secret, 1842 ), and
“Gero i Leandr” (Hero and Leander, 1847 ); Miller’s “Rusalka: Ballada” ( 1849 );
and Kol’tsov’s “Rytsar’ (Ballada)” (The knight [A ballad], 1827 ).
246 Notes to Pages 69–72