Emily Dickinson’s Punctuation(Oslo: American Institute, University of Oslo,
1976 ), 1–5, for a summary of scholarship on the importance of punctuation in
the work of Dickinson and others.
41 .It is possible that Zotov excised some of these eighteen lines because of
fear of censorship, but several of the censored lines pose no possible threat to
church or state.
42 .Charles Ruud, Fighting Words: Imperial Censorship and the Russian Press
(Toronto: University of Toronto Press, 1982 ), 79 , 83–90. On the history of cen-
sorship in Russia, see also Sidney Monas, The Third Section: Police and Society in
Russia under Nicholas I(Cambridge, Mass.: Harvard University Press, 1961 ); Mar-
iana Tax Choldin, A Fence around the Empire: Russian Censorship of Western Ideas
under the Tsars (Durham, N.C.: Duke University Press, 1985 ); Nicholas Ri-
asanovsky, Nicholas I and Official Nationality(Berkeley: University of California
Press, 1969 ).
43 .“Peterburgskii vestnik” Panteon, no. 8 (Aug. 1852 ): 15. Although this ar-
ticle is unsigned, I attribute it to Zotov, who directed the Khronika(chronicle of
events) section of Panteonfrom 1852 to 1856 (Nikolaev,Russkie pisateli, 3 : 354 ). It
might be objected that Zotov cannot be the author of this article because the au-
thor writes that he does not know Khvoshchinskaia personally ( 15 ), while by
1852 Zotov had been corresponding with Khvoshchinskaia for some years.
However, at the time the article was written Zotov was planning a trip to Riazan’,
where he would meet Khvoshchinskaia face to face for the first time. In this con-
text I believe he might very well have written that he did not know Khvoshchin-
skaia personally. The trip took place in the summer of 1852 (Semevskii, “N. D.
Khvoshchinskaia-Zaionchkovskaia,” 59 ). In this article Zotov also further
changed several other poems.
44 .On frame narratives, see Charles Isenberg, Telling Silence: Russian Frame
Narratives of Renunciation (Evanston, Ill.: Northwestern University Press), 1993.
45 .Praskov’ia Khvoshchinskaia (“Nadezhda Khvoshchinskaia,” vi) re-
counts that her sister was deeply affected by the revolutions of 1848 , about
which Khvoshchinskaia wrote several poems. See note 36.
46 .Gerbel’, Khrestomatiia dlia vsekh, 581. Gerbel’ subsequently revised and
republished this anthology several times ( 1879 , 1880 , 1888 ) under the title
Russkie poety v biografiiakh i obraztsakh,without changing the section on
Khvoshchinskaia. Khvoshchinskaia dryly commented on Gerbel’’s introduction
(in which he also stated that she wrote too much prose and that only three of her
povesti [tales] were good): “His article is rather strange (it is even surprising that
a writer to whom her biographer relates in such a way could end up in the ‘An-
thology’)” (Bykov, Siluety dalekogo proshlogo, 186 ).
47 .Bibliographies of Khvoshchinskaia’s poetry: N. N. Golitsyn, Bibliogra-
ficheskii slovar’ russkikh pisatel’nits, 262 ; D. D. Iazykov, Obzor zhizni i trudov
russkikh pisatelei i pisatel’nits, 9 : 25–30; S. I. Ponomarev, “Nashi pisatel’nitsy,”
Sbornik Otdeleniia Russkogo Iazyka i Slovestnosti 52 , no. 7 ( 1891 ): 60–71.
48 .This is not to suggest that Khvoshchinskaia had an easy time with other
journal editors. Tsebrikova (“Ocherk zhizni,” 9 ) and Semevskii (“N. D.
Khvoshchinskaia-Zaionchkovskaia,” 10 : 63–64) detail A. A. Kraevskii’s dishon-
est financial dealings with Khvoshchinskaia and her sister Sof’ia.
268 Notes to Pages 124–135