are--and gives the spirit extremely well. Sir John Bowring adds the
following footnote: "This is the poem of which Golovnin says in his
narrative, that it has been rendered into Japanese, by order of the
emperor, and hung up, embroidered in gold, in the Temple of Jeddo. I
learn from the periodicals that an honor somewhat similar has been done
in China to the same poem. It has been translated into the Chinese and
Tartar languages, written on a piece of rich silk, and suspended in the
imperial palace at Pekin." There are several editions of Sir John's
book, the one here used being the second, 1821; but the author admits
that in the first edition he stretched the poetic license further than
he had a right to do, in this first verse. The book is now rare, but
this statement will serve as a warning to those who may happen upon the
first edition.

[6] Karamzin's youngest daughter, by his second marriage, was alive when
I was in Russia,--a charming old lady. She gave me her own copy of her
"favorite book," a volume (in French) by Khomyakoff, very rare and
difficult to obtain; and in discussing literary matters, wound up thus:
"They may say what they will about the new men, but no one ever wrote
such a beautiful style as my dear papa!" I also knew some of Ozeroff's
relatives.

[7] Pronounced Alyog.

[8] A translation of this--which is too long to quote here--may be found
in Sir John Bowring's "Specimens of the Russian Poets," Vol. II.

[9] These imperial favors and pensions were continued to his children.
His son, an artist, regularly visited Russia as the guest of Alexander
III. I met him on two occasions and was enabled to judge of his father's
charms of mind and manner.

[10] This building still exists, with its garden alluded to in the
"Memories." But though it still bears its name, it is connected by a
glazed gallery with the old palace, famous chiefly as Katherine II.'s
residence, across the street; and it is used for suites of apartments,
allotted for summer residence to certain courtiers. The exact
arrangement of the rooms in Pushkin's day is not now known.

[11] "The Stone Guest" is founded on the Don Juan legend, like the
familiar opera "Don Giovanni." Musorgsky set it to music, in sonorous,
Wagnerian recitative style (though the style was original with him, not
copied from Wagner, who came later). It is rarely given in public, but I
had the pleasure of hearing it rendered by famous artists, accompanied
by the