The indomitable activity which we have mentioned as forming a marked feature in Púshkin's intellect, though exhibited most strikingly throughout his whole career, was never more forcibly displayed than at the present period. Although the first fervour of his passions was now in sole degree moderated by indulgence, and by that satiety which is the inevitable attendant on such indulgence, it is not to be imagined that the poet, in retiring from the capital, intended by this to seclude himself from the gayer pleasures of society. We know, too, how absorbing of time is the wandering life which he led—and many have learned from experience, how difficult it is for a traveller to find leisure for intellectual pursuits. Some idea, therefore, of Púshkin's activity may be formed from a knowledge of the circumstance, that during this roving period he had not only been storing his memory with images of the beauties of nature, taking tribute of grandeur and loveliness from every scene through which he wandered, but found time to pursue what would appear, even for an otherwise unoccupied student, a very steady and incessant course of labour. During the whole of his life, he made it his practice to read almost every remarkable work which appeared in the various languages he had acquired. That this was no easy task, and that the quantity of intellectual food which he unceasingly consumed, must have required a powerful and rapid digestion to assimilate it, we may conclude from his own statement of his occupations and acquirements. On quitting the Lyceum, he was acquainted with the English, Latin, German, and French languages; to this list he managed to add, during his wanderings, a complete knowledge of the Italian, and a competent proficiency in Spanish.
But let us hear his own account of these studies, extracted from a poem written in Bessarabia—
"In solitude my soul, my wayward inspiration
I've school'd to quiet toil, to fervent meditation.
I'm master of my days; order is reason's friend;
On graver thoughts I've learn'd my spirit's powers to bend;
I seek to compensate, in freedom's calm embraces,
For the warm years of youth, its joys and vanish'd graces;
And to keep equal step with an enlighten'd age."
We cannot refrain from quoting in this place a passage from another poem, written at this period; our readers will be pleased, we think, with so graceful a tribute to the glory of the great exile-bard of Rome, whose fate and character had so much in common with those of Púshkin himself—
"Sweet Ovid! Love's own bard! I dwell by that still shore
Whither thine exiled gods thou broughtest—where of yore
Thou pour'dst thy plaints in life, and left thine ashes dying;
With deathless, fruitless tears these places glorifying.
Here, with a northern lyre the wilderness awaking,
I wander'd in those days, when liberty was breaking—
Roused by the gallant Greek—her sleep, by Danube's tide;
And not one friend would stand, a brother, by my side;
And the far hills alone, and woods in silence dreaming,
And the calm muses then would list with kindly seeming."
The influence exerted upon our poet's mind and productions by the Byronian spirit, to which we alluded a few pages back, may be traced, in very perceptible degree, in the next poem which he gave to the public, "The Fountain of Bakhtchisarái," a work in which is reflected, as vividly as it is in the storied waters of the fount from which it takes its name, all the wealth, the profuse and abounding loveliness, of the luxurious clime of the Tauric Chersonese. The scene of the poem is one of the most romantic spots in that divine land; and the ruined palace and "gardens of delight" which once made the joy and pride of the mighty khans—the rulers of the Golden Horde—is perhaps not inferior, as a source of wild legend and picturesque fairy lore—certainly not inferior in the eyes of a Russian reader—to the painted halls and fretted colonnades of the Alhambra. The success instantly obtained and permanently enjoyed by this exquisite poem must be attributed to something more than the profusion and beauty of the descriptive passages, so thickly and artfully interwoven with the action of the tale—a species of wealth and profusion, it may be remarked, which suits well with the oriental character of the story, and with the abounding loveliness of the scenery amid which that action is supposed to take place. In this poem, too, we may remark the first decided essay made by the poet towards delineating and contrasting, in an artistic manner, the characters of human personages. The dramatic opposition between the two principal characters of the tale, Maria and Zarema, is well conceived and most skilfully executed. This poem first appeared in 1824, and was reprinted in 1827, 1830, 1835. The powers of dramatic delineation which may be seen, as it were, in embryo in this work, were to be still further developed in Púshkin's next production, which was begun in the same year, (1824,) and appeared in 1827. Those powers, too, were destined to be exhibited in their full splendour in a historical tragedy—perhaps the finest which the Russian literature can be said to possess. The work to which we have alluded as being the second trial of his wings in the arduous regions of dramatic creation, was the short but exquisite tale entitled "The Gipsies." This tale, which is esteemed by the Russians a masterpiece of grace and simplicity, is a poem in dialogue; the persons being only four in number, and the action a wild yet simple catastrophe of love, jealousy, and revenge. The dramatis personæ are gipsies; and it is difficult to select what is most admirable in this exquisite little work—the completeness and distinctness of the descriptions of external nature—the artful introduction of various allusions, (particularly in one most charming passage, indicating Ovid's exile in the beautiful country which is the scene of the drama,) or the intense interest which the poet has known how to infuse into what would appear at first sight a subject simple even to meagreness. Poets of many nations have endeavoured, with various qualifications, and with no less various degrees of success, to represent the picturesque and striking features of the nomad life and wild superstitions of the gipsy race: none however, it may be safely asserted, have ever produced a picture more true or more poetical than is to be found in the production of Púshkin. He had ample opportunities of studying their peculiar manners in the green oceans of the southern steppes. It is at this period that Púshkin began the composition of his poem entitled "Evgénii Oniégin," a production which has become, it may be said, part of the ordinary language of the poet's countrymen. The first canto appeared in 1825, 1829. This work, in its outline, its plan, in the general tone of thought pervading it, and in certain other external circumstances, bears a kind of fallacious resemblance to the inimitable production of Lord Byron; a circumstance which leads superficial readers into the error (unjust in the highest degree to Púshkin's originality) of considering it as an imitation of the Don. It is a species of satire upon society, (and Russian fashionable society in particular,) embodied in an easy wandering verse something like that of Byron; and so far, perhaps, the comparison between the two poems holds good. Púshkin's plot has the advantage of being (though sufficiently slight in construction, it must be confessed) considerably more compact and interesting than the irregular narration which serves Byron to string together the bitter beads of his satirical rosary; but, at the same time, the aim and scope of the English satirist is infinitely more vast and comprehensive. The Russian has also none of the terrible and deeply-thrilling pictures of passion and of war which so strangely and powerfully contrast with the bitter sneer and gay irony forming the basis of the Don; but, on the other hand, the interest of the reader (scattered, in Byron's work, upon the various, unconnected, and somewhat monotonous outlines of female characters in Julia, Haidée, Gulbeyas, &c.,) is in "Evgénii Oniégin" most powerfully concentrated upon the heroine, Tatiana—one of the most exquisite tributes that poetry has ever paid to the nobility of woman. To show the difficulty of judging of this work, we need only mention, that while many compare it to "Don Juan," others consider is as rather resembling "Childe Harold;" while the author himself professed that it was rather to be placed in the category of "Beppo."
On leaving Odessa, (in 1824,) Púshkin,