Borrow also translated into English “one of the sacred books of Boudh, or Fo,” from Baron Schilling de Canstadt’s library. The principal occupation of his leisure hours, however, was a collection of translations, which he had printed by Schultz & Beneze, and published (3rd/ 15th June 1835) under the title of _Targum_, _or Metrical Translations from Thirty Languages and Dialects_. { 142b} In a prefatory note, the collection is referred to as “selections from a huge and undigested mass of translation, accumulated during several years devoted to philological pursuits.” Three months later he published another collection entitled _The Talisman_, _From the Russian of Alexander Pushkin_. _With Other Pieces_. { 143a} There were seven poems in all, two after Pushkin, one from the Malo-Russian, one from Mickiewicz, and three “ancient Russian Songs.” Again the printers were Schultz & Beneze. Each of these editions appears to have been limited to one hundred copies. { 143b}
Writing in the _Athenæum_, { 143c} J. P. H[asfeldt] says:—“The work is a pearl in literature, and, like pearls, derives value from its scarcity, for the whole edition was limited to about a hundred copies.” W. B. Donne admired the translations immensely, considering “the language and rhythm as vastly superior to Macaulay’s _Lays of Ancient Rome_.” { 143d}
Whilst the last two volumes of the Manchu New Testament were waiting for paper (probably for end-papers), Borrow determined to pay a hurried visit to Moscow, “by far the most remarkable city it has ever been my fortune to see.” One of his principal objects in visiting the ancient capital of Russia was to see the gypsies, who flourished there as they flourished nowhere else in Europe. They numbered several thousands, and many of them inhabited large and handsome houses, drove in their carriages, and were “distinguishable from the genteel class of the Russians only . . . by superior personal advantages and mental accomplishments.” { 143e} For this unusual state of prosperity the women were responsible, “having from time immemorial cultivated their vocal powers to such an extent that, although in the heart of a country in which the vocal art has arrived at greater perfection than in any other part of the world, the principal Gypsy choirs in Moscow are allowed by the general voice of the public to be unrivalled and to bear away the palm from all competitors. It is a fact notorious in Russia that the celebrated Catalani was so filled with admiration for the powers of voice displayed by one of the Gypsy songsters, who, after the former had sung before a splendid audience at Moscow, stepped forward and with an astonishing burst of melody ravished every ear, that she [Catalani] tore from her own shoulders a shawl of immense value which had been presented to her by the Pope, and embracing the Gypsy, compelled her to accept it, saying that it had been originally intended for the matchless singer, which she now discovered was not herself.” { 144a}