The Zincali | Page 8

Hector of Troy might have pressed him to his bosom, and called him his pride; but the old man was, perhaps, such a shape as Milton has alluded to, but could only describe as execrable - he wanted but the dart and kingly crown to have represented the monster who opposed the progress of Lucifer, whilst careering in burning arms and infernal glory to the outlet of his hellish prison.
But in speaking of the Russian Gypsies, those of Moscow must not be passed over in silence. The station to which they have attained in society in that most remarkable of cities is so far above the sphere in which the remainder of their race pass their lives, that it may be considered as a phenomenon in Gypsy history, and on that account is entitled to particular notice.
Those who have been accustomed to consider the Gypsy as a wandering outcast, incapable of appreciating the blessings of a settled and civilised life, or - if abandoning vagabond propensities, and becoming stationary - as one who never ascends higher than the condition of a low trafficker, will be surprised to learn, that amongst the Gypsies of Moscow there are not a few who inhabit stately houses, go abroad in elegant equipages, and are behind the higher orders of the Russians neither in appearance nor mental acquirements. To the power of song alone this phenomenon is to be attributed. From time immemorial the female Gypsies of Moscow have been much addicted to the vocal art, and bands or quires of them have sung for pay in the halls of the nobility or upon the boards of the theatre. Some first-rate songsters have been produced among them, whose merits have been acknowledged, not only by the Russian public, but by the most fastidious foreign critics. Perhaps the highest compliment ever paid to a songster was paid by Catalani herself to one of these daughters of Roma. It is well known throughout Russia that the celebrated Italian was so enchanted with the voice of a Moscow Gypsy (who, after the former had displayed her noble talent before a splendid audience in the old Russian capital, stepped forward and poured forth one of her national strains), that she tore from her own shoulders a shawl of cashmire, which had been presented to her by the Pope, and, embracing the Gypsy, insisted on her acceptance of the splendid gift, saying, that it had been intended for the matchless songster, which she now perceived she herself was not.
The sums obtained by many of these females by the exercise of their art enable them to support their relatives in affluence and luxury: some are married to Russians, and no one who has visited Russia can but be aware that a lovely and accomplished countess, of the noble and numerous family of Tolstoy, is by birth a Zigana, and was originally one of the principal attractions of a Rommany choir at Moscow.
But it is not to be supposed that the whole of the Gypsy females at Moscow are of this high and talented description; the majority of them are of far lower quality, and obtain their livelihood by singing and dancing at taverns, whilst their husbands in general follow the occupation of horse-dealing.
Their favourite place of resort in the summer time is Marina Rotze, a species of sylvan garden about two versts from Moscow, and thither, tempted by curiosity, I drove one fine evening. On my arrival the Ziganas came flocking out from their little tents, and from the tractir or inn which has been erected for the accommodation of the public. Standing on the seat of the calash, I addressed them in a loud voice in the English dialect of the Rommany, of which I have some knowledge. A shrill scream of wonder was instantly raised, and welcomes and blessings were poured forth in floods of musical Rommany, above all of which predominated the cry of KAK CAMENNA TUTE PRALA - or, How we love you, brother! - for at first they mistook me for one of their wandering brethren from the distant lands, come over the great panee or ocean to visit them.
After some conversation they commenced singing, and favoured me with many songs, both in Russian and Rommany: the former were modern popular pieces, such as are accustomed to be sung on the boards of the theatre; but the latter were evidently of great antiquity, exhibiting the strongest marks of originality, the metaphors bold and sublime, and the metre differing from anything of the kind which it has been my fortune to observe in Oriental or European prosody.
One of the most remarkable, and which commences thus:
'Za mateia rosherroro odolata Bravintata,'
(or, Her head is aching with grief, as if she had tasted wine) describes the anguish of a maiden