And he feels it, and suffers for it, suffers often acutely! Well, what if, perhaps belonging by birth to the nobility and probably possessing serfs, he allowed himself a nobleman’s liberty, the pleasant fancy of being charmed by men who live ‘without laws,’ and began to lead a performing bear in a gipsy camp?
Of course a woman, ‘a wild woman,’ as a certain poet says, would be most likely to give him hope of a way out of his anguish, and with an easy-going, but passionate belief, he throws himself into the arms of Zemphira. ‘Here is my way of escape; here I can find my happiness, here in the bosom of nature far from the world, here with people who have neither civilisation nor law.’
And what happens? He cannot endure his first collision with the conditions of this wild nature, and his hands are stained with blood. The wretched dreamer was not only unfitted for universal harmony, but even for gipsies, and they drive him away — without vengeance, without malice, with simple dignity.
Leave us, proud man.
We are wild and without law,
We torture not, neither do we punish.
This is, of course, all fantastic, but the proud man is real, his image sharply caught. Pushkin was the first to seize the type, and we should remember this. Should anything happen in the least degree not to his liking, he is ready to torment cruelly and punish for the wrong done to him, or, more comfortable still, he will remember that he belongs to one of the fourteen classes, and will himself call upon — this has happened often — the torturing and punishing law, if only his private wrong may be revenged.
No, this poem of genius is not an imitation! Here already is whispered the Russian solution of the question, ‘the accursed question,’ in accordance with the faith and justice of the people. ‘Humble yourself, proud man, and first of all break down your pride. Humble yourself, idle man, and first of all labour on your native land ‘— that is the solution according to the wisdom and justice of the people. ‘Truth is not outside thee, but in thyself.
Find thyself in thyself, subdue thyself to thyself, be master of thyself and thou wilt see the truth. Not in things is this truth, not outside thee or abroad, but first of all in thine own labour upon thyself. If thou conquer and subdue thyself, then thou wilt be freer than thou hast ever dreamed, and thou wilt begin a great work and make others free, and thou wilt see happiness, for thy life will be fulfilled and thou wilt at the last understand thy people and its sacred truth.
Not with the Gipsies nor elsewhere is universal harmony, if thou thyself art first unworthy of her, malicious and proud, and thou dost demand life as a gift, not even thinking, that man must pay for her.’
This solution of the question is strongly foreshadowed in Pushkin’s poem. Still more clearly is it expressed in Eugene Onyegin, which is not a fantastic, but a tangible and realistic poem, in which the real Russian life is embodied with a creative power and a perfection such as had not been before Pushkin and perhaps never after him.
Onyegin comes from Petersburg. Certainly from Petersburg: it is beyond all doubt necessary to the poem, and Pushkin could not omit that all-important realistic trait in the life of his hero. I repeat, he is the same Aleko, particularly when later on in the poem he cries in anguish:
Why am I not, like the assessor of Tula, Stricken with palsy?
But now at the beginning of the poem he is still half a coxeomb and a man of the world; he had lived too little to be utterly disappointed in life. But he is already visited and disturbed byThe demon lord of hidden weariness.
In a remote place, in the heart of his mother country, he is of course an exile in a foreign land. He does not know what to do and is somehow conscious of his own quest. Afterwards, wandering over his native country and over foreign lands, he, beyond doubt clever and sincere, feels himself among strangers, still more a stranger to himself.
True, he loves his native land, but he does not trust in it. Of course he has heard of national ideals, but he does not believe in them. He only believes in the utter impossibility of any work whatever in his native land, and upon those who believe in this possibility — then, as now, but few — he looks with sorrowful derision. He had killed Lensky out of spleen, perhaps from spleen born of yearning for the universal ideal — that is quite like us, quite probable.
Tatiana is different. She is a strong character, strongly standing on her own ground. She is deeper than Onyegin and certainly wiser than he. With a noble instinct she divines where and what is truth, and her thought finds expression in the finale of the poem. Perhaps Pushkin would even have done better to call his poem Tatiana, and not Onyegin, for she is indubitably the chief character.
She is positive and not negative, a type of positive beauty, the apotheosis of the Russian woman, and the poet destined her to express the idea of his poem in the famous scene of the final meeting of Tatiana with Onyegin. One may even say that so beautiful or positive a type of the Russian woman has never been created since in our literature, save perhaps the figure of Liza in Turgeniev’s A Nest of Gentlefolk.
But because of his way of looking down upon people, Onyegin did not even understand Tatiana when he met her for the first time, in a remote place, under the modest guise of a pure, innocent girl, who was at first so shy of him. He eould not see the completeness and perfection of the poor girl, and perhaps he really took her for a ‘moral embryo.’ She, the embryo! She, after her letter to Onyegin!
If there is a moral embryo in the poem, it is he himself, Onyegin, beyond all debate. And he could not comprehend her. Does he know the human soul? He has been an abstract person, a restless dreamer, all his life long. Nor does he comprehend her later in Petersburg, as a grand lady, when in the words of his own letter to her ‘he in his soul understood all her perfections.’ But these are only words.
She passed through his life unrecognised by him and unappreciated: therein is the tragedy of their love. But if at his first meeting with her in the village Childe Harold had arrived from England, or even, by a miracle, Lord Byron himself, and had noticed her timid, modest beauty and pointed her out to him, oh, Onyegin would have been instantly struck with admiration, for in these universal sufferers there is sometimes so much spiritual servility!
But this did not happen, and the seeker after universal harmony, having read her a sermon, and having done very honestly by her, set off with his universal anguish and the blood of his friend, spilt in foolish anger, on his hands, to wander over his mother country, blind to her;
and, bubbling over with health and strength, he exclaims with an oath:
I am yet young and life is strong in me,
Yet what awaits me? — anguish, anguish, anguish.
This Tatiana understood. In the immortal lines of the romance the poet represented her coming to see the house of the man who is so wonderful and still so incomprehensible to her. I do not speak of the unattainable artistic beauty and profundity of the lines. She is in his study; she looks at his books and possessions; she tries through them to understand his soul, to solve her enigma, and * the moral embryo ‘at last pauses thoughtfully, with a foreboding that her riddle is solved, and gently whispers:
Perhaps he is only a parody?
Yes, she had to whisper this; she had divined him. Later, long afterwards in Petersburg, when they meet again, she knows him perfectly. By the way, who was it that said that the life of the court and society had affected her soul for the worse, and that her new position as a lady of fashion and her new ideas were in part the reason for her refusing Onyegin? This is not true.
No, she is the same Tanya, the same country Tanya as before! She is not spoiled; on the contrary, she is tormented by the splendid life of Petersburg, she is worn down by it and suffers: she hates her position as a lady of society, and whoever thinks otherwise of her, has no understanding of what Pushkin wanted to say. Now she says firmly to Onyegin:
Now am I to another given: To him I will be faithful unto death.
She said this as a Russian woman, indeed, and herein is her apotheosis. She expresses the truths of the poem. I shall not say a word of her religious convictions, her views on the sacrament of marriage — no, I shall not touch upon that. But then, did she refuse to follow him although she herself had said to him ‘I love you ‘?
Did she refuse because she, ‘as a Russian woman ‘(and not a Southern or a French woman), is incapable of a bold step or has not the power to sacrifice the fascination of honours, riches, position in society, the conventions of virtue? No, a
