The image shows Catherine the Great in a walking cloak; painted by V.Borovikovskiy about 1794
It’s nine months at least since I last posted here: not what readers expect, of course, so I assume I have no readers any more. Alas! My own fault.
But I have not been quite so idle on the recording front. One way or another, in fits and starts (mostly ‘fits’), I’m getting through the Cantos. The last I reported on here was Canto III. But I’ve also recorded Canto IV and Cantos VI through IX. I recorded Canto I, Canto V and Cantos XIII-XVI for Librivox several years ago. I’ve left until last a second visit to those cantos. I also have (re-)recordings of I and II that I made a couple of years back in my planned series of iBooks (a project dropped after the illustrated, read-aloud Canto I failed to sell: it is now available for free download).
Canto IX, set around 1790, sees Juan, the ‘hero’ of the battle of Ismail (Russia vs Ottoman Turks), as the toy-boy of an ageing — but amorous — Empress Catherine the Great of Russia. The Canto is an hilarious, clever, scandalous satire on sex and imperial power with a few Byronic rockets for the reactionary government of 1820’s England. Juan is flattered by the Empress’ attention and, naturally, fully capable of fulfilling the duties of his ‘post’ (… yes, there are plenty of double entendres and paraphrases of bawdy Roman verse that educated English men and women of the Regency no doubt recognized). But he falls ill in the Russian snows and is given an embassy to England as a reward for his ‘services’ to Catherine.
I am now recording Canto X, composed in 1822. It brings Juan, as a Russian speaking Spaniard, to London; the city Byron had fled seven years before. Some of his finest satire is just ahead.