that he conceived the idea of working out in a separate production, the detached epoch rendered so remarkable by the rebellion of Pugatchéff. Finding that he had already performed the most serious portion of the drudgery of collecting materials for his principal historical enterprise, he drew, with a wonderfully rapid and lively pencil, the vigorous sketch of the events of that extraordinary conspiracy, and has left us a work which, whatever be its imperfections and slightness, viewed as a work of history, cannot be denied to be a most admirable and striking outline of the picturesque and singular events which form its subject. Convinced of the importance, to an author of history, of a personal knowledge of the scenes in which his events took place, Púshkin, when the history of Pugatchéff's rebellion was already on the verge of completion, determined (before his work was published) to examine with his own eyes that eastern region of European Russia, which had been the theatre of the strange drama of that singular pretender's life, and to enable himself to infuse into a narration founded upon dry records, the life and reality which was to be obtained from questioning the old inhabitants of that country, many of whom might remember the wild adventures of which, in their youth, they had been witnesses or actors. In 1833, Púshkin was enabled to gratify this natural curiosity; and the result of his visit to the scene of the rebellion enabled him to communicate to his already plain, vigorous, and concise narration, a tone of reality, a warmth of colouring, and a liveliness of language, which renders it impossible to leave the book unfinished when once opened, and which no elaborateness of research, and no minuteness of detail, could otherwise have communicated.
During the first two years of its existence, the periodical entitled "The Reading Library" was honoured by the appearance in its pages of that division of Púshkin's smaller poems, afterwards published separately as the fourth volume of his collected works, in the year 1835. In this journal, too, were printed his two prose tales "The Queen of Spades" and "Kirdjáli," the former of which has, we believe, appeared in English, and of the latter a translation has been attempted, together with several others of his smaller prose works, by the author of the present notice. A journey which he made to Orenburg gave him the materials for fresh prose tales. The most remarkable of these, the beautiful and well-known story, "The Captain's Daughter," first appeared in the periodical entitled "The Contemporary," which is justly considered as the chief miscellaneous journal that appears in Russia, and which partakes of the nature of what we in England call the review and magazine. In all his writing, prose or verse, Púshkin is most astonishingly unaffected, rational, and straightforward; but in the last-named story he has attained the highest degree of perfection—it is the simplicity of nature herself.
This period must be considered as that in which Púshkin had arrived at the summit of his glory. He was now enjoying the universal respect and admiration of his countrymen, a respect and admiration shared by the sovereign himself, who distinguished the great poet by naming him "gentilhomme de la chambre;" he was in the very flower of health, life, and genius; he had completed the laborious part of his great task, in collecting materials for the history of Peter the Great—all seemed to prophesy a future filled with bright certainties of happiness and glory.
But the end was not far off; the dark and melancholy event which was to put a sudden and a fatal conclusion to this glorious and useful career was near at hand. The storm which was to quench this bright and shining light was already rising dimly above the horizon; and the poet's prophetic eye foresaw—like that of the seer in the Scripture—the "little cloud like a man's hand," that was rising heavily over the calm sky; he seems to have had an obscure presentiment of the near approach of death, little suspecting, perhaps, that that death was to be one of violence, of suffering, and of blood. He had, a few months before, lost his mother, and had himself accompanied her last remains to the monastery of Sviatogórsk, and had fixed upon a spot where he wished to be buried by her side; leaving for this purpose a sum of money in the treasury of the monastery.
It is, we believe, generally known, even in England, that Púshkin was mortally wounded in a duel, on Wednesday 27th January, and that he died, after lingering in excruciating2 torment during two days and nights, at half-past two in the afternoon of the 29th of January 1837.
Respecting the causes which led to this melancholy conclusion of a great man's life, and the details which accompanied that sad and deplorable event, it is not our intention to speak. Under any circumstances, to dwell upon so lamentable an affair would serve no good purpose; and would rather minister to a morbid curiosity in our readers, than in any respect illustrate the life and character of Púshkin; but the propriety of avoiding more than an allusion to this sad story will be evident, when we reflect that the poet's dying wish was, that the whole circumstance should if possible be buried in oblivion. Respect, then, to the last desire of a dying man! Respect to the prayer of great genius, whose lips, when quivering in the last agony, murmured the generous words, "Pardon, and Forget!"
The foregoing brief notice is presented to the English reader less in the character of a complete biography of Púshkin, (a character to which it has evidently no pretensions,) than as a kind of necessary introduction to the translated specimens of his poetry, which it is intended to accompany. For a perfect biography, indeed, of the poet, the materials, even in Russia, are not yet assembled; nor, perhaps, has a sufficient period of time been suffered to elapse since his death, to render it possible to attempt a life of Púshkin, with any hope of preserving that distance and proportion, which is necessary for the successful execution of a portrait, whether traced with the pencil or the pen. The artist may be too near to his original in time as well as in space.
The general accuracy of the preceding pages may be depended on; the materials were obtained from various sources, but principally from two persons who were both acquainted—one intimately so—with Púshkin. We should be indeed ungrateful, were we to let pass the present opportunity afforded us, of expressing our deep obligations to both those gentlemen for the assistance they have given us; and we cannot deny ourselves the gratification of publicly and particularly thanking M. Pletniéff, rector of the Imperial University of St Petersburg, not only for the kind manner in which he facilitated the composition of these pages, by supplying us with a copy of his own elegant and spirited critical sketch of Púshkin's works and character (a short but masterly article, reprinted from the "Sovreménnik," or Contemporary, a literary journal of which M. Pletniéff is the editor,) but for the many delightful and intellectual hours which we have passed in his society.
St Petersburg, February 5th/17th, 1845.
THE LAST HOURS OF PÚSHKIN
Letter from Jukóvskii to Sergei Púshkin, the Poet's Father
I have not till now succeeded in mustering up the courage to write to you, my poor friend, Sergei Lvóvitch. What could I say to you, overwhelmed as I am by the national calamity which has just fallen upon us all, like an avalanche, and crushed us beneath its ruin? Our Púshkin is no more! This terrible fact is unhappily true, but nevertheless it still appears almost incredible. The thought, that he is gone, cannot yet enter into the order of common, evident, every-day ideas; one still continues, by mechanical habit as it were, to seek him; it still seems so natural to expect to see him at certain hours; still amid our conversations seems to resound his voice, still seems to ring his lively childlike laugh of gaiety; and there, where he was wont to be seen in daily life, there nothing is changed, there are hardly even any marks of the melancholy loss we have undergone—all is in its common order, every thing is in its place; but he is gone from us, and for ever. It is hardly conceivable! In one moment has perished that strong and mighty life, full of genius, and glowing with hope. I will not speak of you, his feeble and unhappy father; I will not speak of us, his mourning friends. Russia has lost her beloved, her national poet. She has lost him at the very moment when his powers had reached their maturity, lost him when he had reached that climacteric—that point at which our intellect, bidding farewell to the fervid, and sometimes irregular force of youth agitated by genius, devotes itself to more tranquil, more orderly powers of riper manhood, fresh as the first period, and if less tempestuous, yet certainly more creative. What Russian is there who does not feel as if the death of Púshkin had torn away one of his very heart-strings? The glory of the present reign has lost its poet—a poet who belonged