8. A reference to Christ’s teaching: “Neither do men put new wine into old bottles: else the bottles break, and the wine runneth out, and the bottles perish: but they put new wine into new bottles, and both are preserved” (Matthew 9:17).
9. “That’s the word” (French).
10. “Good sense” (French).
11. Pralinsky is mulling over the “problem” of the abolition of corporal punishment with birch rods, then still allowed in the army and in the schools as well as with serfs.
12. The clerk’s name is absurdly close to the Russian psevdonym (“pseudonym”), a fact Pralinsky later mentions himself. Pseldonymov is a collegiate registrar.
13. “Mlekopitaev” is also an absurd, though just plausible, name derived from the Russian word for “mammal.”
14. Clerks in the civil service had to have their superiors’ permission to change departments, to move elsewhere, and even to marry.
15. The leader of the romantic movement in Russian art, K. P. Briullov (1799–1852), was most famous for his enormous historical painting The Last Day of Pompeii, evidently the epitome of turmoil and confusion for Pralinsky.
16. “Ladies join hands; swing!” (French).
17. Harun-al-Rashid, or Harun the Just (?766–809), Abbasid caliph of Baghdad (786–809), is known in legend for walking about the city anonymously at night, familiarizing himself with the life of his subjects. He became a hero of songs and figures in some of the tales in The Thousand and One Nights.
18. A parodical Dream Book of Contemporary Russian Literature, written by N. F. Shcherbina, was circulated in manuscript at the end of the 1850s.
19. Ivan Ivanovich Panaev (1812–62), a now-forgotten writer and journalist, published some important memoirs in The Contemporary, a liberal magazine he co-edited for a time with the poet Nikolai Nekrasov.
20. The “new lexicon” in question was the government-subsidized Encyclopedic Dictionary Composed by Russian Scholars and Writers, which began to appear in 1861. When A. A. Kraevsky (1810–89), then editor of the magazine Fatherland Notes, was named editor-in-chief of this project, there was general indignation, since he was neither a scholar nor a writer. N. D. Alferaki (d. 1860), a merchant from Taganrog in the south of Russia, was a notorious entrepreneur of the time. The exposé (which Dostoevsky jocularly refers to here, as he would later in Notes from Underground, with the mispronunciation “esposé”), was the favorite journalistic form of the young radicals of the 1860s.
21. It was possible at that time (and long after) to rent not a room but only part of a room. This living “in corners” signified the direst poverty (or, in Soviet Russia, the direst shortage of housing).
22. That is, not from Jerez in Spain, home of true sherry.
23. The folk dance called “the fish” was described by Ivan Turgenev in his Old Portraits (1881) as one in which a male soloist imitates the movements of a fish taken out of the water.
24. The slow and mournful “Luchinushka” is perhaps the most well known of all Russian songs.
25. The Petersburg Bulletin was published by the Academy of Science in Petersburg; hence the telltale nickname.
26. Frühstück is “breakfast” in German.
27. Fokine, “hero of the can-can,” was popular in Petersburg during the 1860s. His dancing was considered the ultimate in shamelessness.
28. The “Little Cossack” is a folk dance imitative of military steps.
29. The drink Christ was offered just before the crucifixion (Matthew 27:34).
30. Peski (“The Sands”) was a neighborhood at the opposite end of the city from the Petersburg side.
31. Refers to the old custom among anchorites and monks of sleeping in their own coffins.
32. “One fine morning” (French).
THE ETERNAL HUSBAND (1870)
1. The Black River, a small stream now well within the limits of Petersburg, was then a country spot outside the city suitable for summer houses.
2. “Worthless person” or “good-for-nothing” (French).
3. Turgenev’s play The Provincial Lady (1851) portrays the young wife of the elderly provincial official Stupendiev, who makes a visiting count fall in love with her.
4. The sect of the flagellants emerged among Russian peasants in the seventeenth century. Its adherents practiced self-flagellation as a means of purification from sin. Both sect and practice were condemned by the Church.
5. God destroyed the city of Sodom on the Dead Sea because its inhabitants practiced “sodomy” (Genesis 19:1–28), but in Russian the use of “Sodom” means a more general sort of disorderly life. For that reason, we sometimes translate it as “bedlam.”
6. A quotation from the ballad Der Siegesfest (“The Victory Banquet”) by the German poet and playwright Friedrich von Schiller (1759–1805). Pavel Pavlovich quotes the Russian translation by Vassily Zhukovsky, published in 1828. Interestingly, the great Russian prose writer Nikolai Gogol quoted these same lines in reference to himself and the poet Alexander Pushkin in a letter written on the occasion of the latter’s death.
7. The terms appeared in an article by the critic N. N. Strakhov on Tolstoy’s War and Peace, in which he supported the opinion of the poet Apollon Grigoriev that “… our literature represents an incessant struggle between these two types… the predatory and the placid” (Zarya, Feb. 1869).
8. In the Orthodox marriage service, crowns are held above the heads of the bride and groom.
9. It was customary in Russia to lay out the body of a dead person on a table until the coffin arrived.
10. The customary period of mourning was one year at least; to remarry before then was considered scandalous.
11. Sixteen was marriageable age for a girl.
12. Another of Dostoevsky’s plausible but wonderfully absurd names, derived from predposylka, Russian for “premise” or “presupposition.”
13. Mikhail Glinka (1804–57), founder of the modern Russian school of music, composed this romance to words by the great Polish poet Adam Mickiewicz (1798–1855), translated into Russian by S. Golitsyn in 1834.
14. “Shchedrin” was the pseudonym of the Russian writer Mikhail Saltykov (1826–89), author of The Golovlovs, The History of a Certain Town, and much else. He was a liberal publicist and often Dostoevsky’s ideological opponent. The quotation is from his story For Children.
15. Quasimodo is the hunchbacked bell ringer in Victor Hugo’s Notre-Dame de Paris (1831), who is unhappily in love with the beautiful Esmeralda.
16. “Bad tone” in the social sense (French).
BOBOK (1873)
1. This and the following two stories were first published in Dostoevsky’s Diary of a Writer, which appeared periodically between 1873 and 1881. Here and in The Meek One, he offers brief introductory remarks for the readers of the Diary.
2. “Attic salt” refers to the subtle witticisms for which the Athenians, inhabitants of the region of Attica, were famous in ancient times.
3. The French writer and philosopher François-Marie Arouet, called Voltaire (1694–1778), was one of the most famous figures of his age and a great producer of salty witticisms (bons mots). Dostoevsky admired his philosophical tale Candide, of which he long planned to write a Russian variant. Several of Dostoevsky’s characters, including the narrator of The Dream of a Ridiculous Man at the end of this collection, sit in a variety of chair known as a “Voltaire armchair.”