The most characteristic thing is that the moral solution of the question should have been so long subject to doubt. I think that even if Tatiana had been free and her old husband had died and she become a widow, even then she would not have gone away with Onyegin.
But one must understand the essential substance of the character. She sees what he is. The eternal wanderer has suddenly seen the woman whom he had previously scorned in a new and unattainable setting. In this setting is perhaps the essence of the matter.
The girl whom he almost despised is now adored by all soeiety — soeiety, the awful authority for Onyegin, for all his universal aspirations. That is why he throws himself, dazzled, at her feet. Here is my ideal, he cries,-here is my salvation, here is the escape from my anguish.
I did not see her then, when ‘ happiness was so possible, so near.’ And as before Aleko turned to Zemphira, so does Onyegin turn to Tatiana, seeking in his new, capricious fancy the solution of all his questions. But does not Tatiana see this in him, had she not seen it long ago?
She knows beyond a doubt that at bottom he loves his new caprice, and not her, the humble Tatiana as of old. She knows that he takes her for something else, and not for what she is, that it is not her whom he loves, that perhaps he does not love any one, is incapable of loving any one, although he suffers so acutely. He loves a caprice, but he himself is a caprice.
If she were to follow him, then to-morrow he would be disillusioned and look with mockery upon his infatuation. He has no root at all, he is a blade of grass, borne on the wind. She is otherwise: even in her despair, in the painful consciousness that her life has been ruined, she still has something solid and unshakable upon which her soul may bear. These are the memories of her childhood, the reminiscences of her country, her remote village, in which her pure and humble life had begun: it isthe woven shade Of branches that o’erhang her nurse’s grave.
Oh, these memories and the pictures of the past are most precious to her now; these alone are left to her, but they do save her soul from final despair. And this is not a little, but rather much, for there is here a whole foundation, unshakable and indestructible. Here is contact with her own land, with her own people, and with their sanctities.
And he — what has he and what is he? Nothing, that she should follow him out of compassion, to amuse him, to give him a moment’s gift of a mirage of happiness out of the infinite pity of her love, knowing well beforehand that to-morrow he would look on his happiness with mockery. No, these are deep, firm souls, which cannot deliberately give their sanctities to dishonour, even from infinite compassion. No, Tatiana could not follow Onyegin.
Thus in Onyegin, that immortal and unequalled poem, Pushkin was revealed as a great national writer, unlike any before him. In one stroke, with the extreme of exactness and insight, he denned the very inmost essenee of our high soeiety that stands above the people. He defined the type of the Russian wanderer before our day and in our day; he was the first to divine him, with the flair of genius, to divine his destiny in history and his enormous significance in our destiny to be.
Side by side he plaeed a type of positive and indubitable beauty in the person of a Russian woman. Besides, of eourse, he was the first Russian writer to show us, in his other works of that period, a whole gallery of positively beautiful Russian types, finding them in the Russian people.
The paramount beauty of these lies in their truth, their tangible and indubitable truth. It is impossible to deny them, they stand as though sculptured. I would remind you again. I speak not as a literary eritic, and therefore do not intend to elueidate my idea by a particular and detailed literary diseussion of these works of the poet’s genius.
Concerning the type of the Russian monkish ehronieler, for instanee, a whole book might be written to show the importance and meaning for us of this lofty Russian figure, discovered by Pushkin in the Russian land, portrayed and sculptured by him, and now eternally set before us in its humble, exalted, indubitable spiritual beauty, as the evidenee of that mighty spirit of national life which can send forth from itself figures of such certain loveliness.
This type is now given; he exists, he cannot be disputed; it eannot be said that he is only the poet’s fancy and ideal. You yourself see and agree: Yes, he exists, therefore the spirit of the nation whieh ereated him exists also, therefore the vital power of this spirit exists and is mighty and vast.
Throughout Pushkin sounds a belief in the Russian character, in its spiritual might; and if there is belief, there is hope also, the great hope for the man of Russia.
In the hope of glory and good I look without fear ahead, said the poet himself on another occasion; but the words may be applied directly to the whole of his national, creative activity. And yet no single Russian writer, before or after him, did ever associate himself so intimately and fraternally with his people as Pushkin.
Oh, we have a multitude of experts on the people among our writers, who have written about the people, with talent and knowledge and love, and yet if we compare them with Pushkin, then in reality, with one or at most two exceptions among his latest followers, they will be found to be only ‘ gentlemen ‘ writing about the masses. Even in the most gifted of them, even in the two exceptions1
I have just mentioned, sometimes appears a sudden flash of something haughty, something from another life and world, something whieh desires to raise the people up to the writer, and so to make them happy. But in Pushkin there is something allied indeed to the people, which in him rises on occasion to some of the most naive emotions. Take his story of The Bear, and how a peasant killed the bear’s mate; or remember the verses, Kinsman John, when we begin to drink . . .
and you will understand what I mean.
All these treasures of art and artistic insight are left by our great poet as it were a landmark for the1 Turgeniev and Tolstoi are meant.
writers who should come after him, for future labourers in the same field. One may say positively that if Pushkin had not existed, there would not have been the gifted writers who came after him.
At least they would not have displayed themselves with such power and clarity, in spite of the great gifts with which they have succeeded in expressing themselves in our day. But not in poetry alone, not in artistic creation alone: if Pushkin had not existed, there would not have been expressed with the irresistible force with whieh it appeared after him (not in all writers, but in a chosen few), our belief in our Russian individuality, our now conscious faith in the people’s powers, and finally the belief in our future individual destiny among the family of European nations. This achievement of Pushkin’s is particularly displayed if one examines what I call the third period of his activity.
I repeat, there are no fixed divisions between the periods. Some of the works of even the third period might have been written at the very beginning of the poet’s artistic activity, for Pushkin was always a complete whole, as it were a perfect organism carrying within itself at once every one of its principles, not receiving them from beyond. The beyond only awakened in him that whieh was already in the depths of his soul.
But this organism developed and the phases of this development could really be marked and defined, each of them by its peculiar character and the regular generation of one phase from another. Thus to the third period can be assigned those of his works in which universal ideas were pre-eminently reflected, in which the poetic conceptions of other nations were mirrored and their genius re-embodied. Some of these appeared after Pushkin’s death.
And in this period the poet reveals something almost miraculous, never seen or heard at any time or in any nation before. There had been in the literatures of Europe men of colossal artistic genius — a Shakespeare, a Cervantes, a Schiller. But show me one of these great geniuses who possessed sueh a capacity for universal sympathy as our Pushkin.
This capacity, the preeminent capacity of our nation, he shares with our nation, and by that above all he is our national poet. The greatest of European poets could never so powerfully embody in themselves the genius of a foreign, even a neighbouring, people, its spirit in all its hidden depth, and all its yearning after its appointed end, as Pushkin could.
On the contrary, when they turned to foreign nations European poets most often made them one with their own people, and understood them after their own fashion. Even Shakespeare’s Italians, for instance, are almost always Englishmen. Pushkin’s alone of all world poets possessed the capacity of fully identifying himself with another nationality.
Take scenes from Faust, take The Miserly Knight, take the ballad 4 Once there Lived
