Blackwood's Edinburgh Magazine, Volume 57, No. 356, June, 1845. VariousЧитать онлайн книгу.
positively. "I can't breathe, I am stifling!" were his last words. I never once removed my eyes from him, and I remarked at this moment, that the movement of the breast, hitherto calm, became interrupted. It soon ceased altogether. I looked attentively; I waited for the last sigh, but I could not remark it. The stillness which reigned over his whole appearance appeared to me to be tranquillity; but he was now no more. We all kept silence around him. In a couple of minutes I asked, "How is he?" "He is dead!" answered Dahl. So calmly, so tranquilly had his soul departed. We long stood around him in silence, without stirring, not daring to disturb the mysteries of death, which were completed before us in all their touching holiness. When all had left the room, I sate down before him, and long alone I gazed upon his face. Never had I beheld upon that countenance any thing like that which was upon it in this first moment of death. His head was somewhat bent forward; the hands, which a few moments ago had exhibited a kind of convulsive movement, were calmly stretched, as if they had just fallen into an attitude of repose after some heavy labour. But that which was expressed in the face, I am not able to tell in words. It was to me something so new, and at the same time so familiar. This was not either sleep or repose; it was not the expression of intellect which was before so peculiar to the face; nor was it the poetic expression; no! some mighty, some wondrous thought was unfolded in it: something resembling vision, some full, complete, deeply-satisfying knowledge. Gazing upon it, I felt an irresistible desire to ask him, "What do you see, my friend?" And what would he have answered if he had been able for a moment to arise? There are moments in our life which fully deserve the epithet of great. At this moment, I may say, I beheld the face of death itself, divinely-mysterious; the face of death without a veil between. And what a seal was that she had stamped upon him, and how wondrously did she tell her secret and his own! I most solemnly assure you that I never beheld upon his face an expression of such deep, majestic, such triumphant thought. The expression had undoubtedly been latent in the face before; but it was only displayed in all its purity then, when all earthly things had vanished from his sight at the approach of death. Such was the end of our Púshkin. I will describe in a few words what followed. Most fortunately, I remembered, before it was too late, that it was necessary to take a cast of the mask; this was executed without loss of time. His features had not yet entirely changed. It cannot be denied that the first expression which death had given them, was not preserved in them; but we now all possess an attractive portrait, a fac-simile of the features, and which images—not death, but a deep, majestic slumber. I will not relate to you the state in which was the poor wife—many good friends remained inseparably with her, the Princess Viázemskii, Elizabeth Zaguájskii, the Count and Countess Stróganoff. The Count took upon himself all the arrangements for the funeral. After remaining some time longer in the house, I went away to Vielhórskii's to dinner; there were assembled all the other persons who, like myself, had seen Púshkin's last moments; and he himself had been invited, three days before, to this dinner … it was to celebrate my birth-day. On the following morning we, his friends, with our own hands, laid Púshkin in the coffin; and on the evening of the succeeding day, we transported him to the Koninshennaia (the Imperial Stables) Church. And during the whole of these two days, the drawing-room where he lay in his coffin was incessantly full of people. It nay be safely asserted that more than ten thousand persons visited it, in order to obtain one look at him: many were in tears, others stood long immoveable, and seemed as though they wished to behold his face; there was something inexpressibly striking in his immobility amid all this movement, and something mysteriously touching in the prayer which was heard so gently and so uniformly murmured amid that confused murmur of whispered conversation. The funeral service was performed on the 1st of February. Many of our greatest nobles, and many of the foreign ministers, were in the church. We carried the coffin with our own hands to the vault, where it was to remain until the moment of its being taken out of the city. On the 3d of February, at ten o'clock in the evening, we assembled for the last time around all that remained to us of Púshkin; the last requiem was sung; the case which contained the coffin was placed upon a sledge; at midnight the sledge set off; by the light of the moon I followed it for some moments with my eyes; it soon turned the corner of a house; and all that once was Púshkin was lost for ever from my sight.
The body was accompanied by Turgénieff. Púshkin had more than once said to his wife, that he desired to be buried in the monastery of the Assumption at Sviatogórsk, where his mother had recently been interred. This monastery is situated in the government (province) of Pskoff; and in the riding of Opótchkoff, at about four versts from the country-house and hamlet of Mikháilovskoë, where Púshkin passed several years of his poetic life. On the 4th, at nine o'clock in the evening, the corpse arrived at Pskoff, from whence, conformably to the excellent arrangements made by the provincial government, it was forwarded on the same night, and the morning of the 5th, through the town of Ostroff to the Sviatogórsk monastery, where it arrived as early as seven o'clock in the evening. The dead man glided to his last abode, past his own deserted cottage, past the three beloved firs which he had planted not long before. The body was placed upon the holy hill (sviatáia gorá, from which the monastery takes its name,) in the cathedral church of the Assumption, and a requiem was performed in the evening. All night long workmen were employed in digging a grave beside the spot where his mother reposes. On the following day, as soon as it was light, at the conclusion of divine service, the last requiem was chanted, and the coffin was lowered into the grave, in the presence of Turgénieff and the peasants of Púshkin's estate, who had come from the village of Mikháilovskoë to pay the last honour to their kind landlord. Very strangely to the ears of the bystanders sounded the words of the Bible, accompanying the handful of earth as it was cast upon Púshkin—"earth thou art!"
THE NOVEL AND THE DRAMA
You tell me, my dear Eugenius, that you are hesitating between the novel and the drama: you know not which to attack; and you wish me to give you some suggestions on the subject. You are candid enough to say that it is not point-blank advice that you ask, which you would probably heed just as much as good counsel is generally heeded by those who apply for it; but you would have me lay before you such ideas as may occur to me, in order that you may have the picking and choosing amongst them, with the chance of finding something to your mind—something which may assist you to a decision. Artists in arabesque get an idea by watching the shifting forms of the kaleidoscope; in the same manner you hope—if I will but turn my mind about a little—that some lucky adjustment of its fragments of observation may help you to a serviceable thought or two. At all events, you shall not have to complain of too much method in what follows.
If I could only, my dear Eugenius, persuade you to leave them both alone!—drama and novel both! But this is hopeless. The love one bears to a woman may be conquered—not indeed by good counsel, but by speedy flight; but the passion that draws us to poetry and romance can only die out, it cannot be expelled; for in this passion, go where we will, we carry our Helen with us. She steals upon us at each unguarded moment, and renews in secret her kisses upon our lip. Well, if I cannot persuade you to leave both alone, my next advice is that you attack both; for if you endeavour to express in either of these forms of composition all that is probably fermenting in your mind, the chance is that you spoil your work.
And by all means lay your hands first upon the drama. True, it is the higher aim of the two, and I will not pretend to augur any very brilliant success. But still it is the more appropriate to the first ebullitions of genius, and the spasmodic efforts of youth. The heart is at this time full of poetry, which, be its value what it may, must be got rid of before the stream of prose will run clear. Besides, the very effort of verse seems necessary to this age, which disdains a facile task, and seeks to expend its utmost vigour on its chosen labour. Moreover, to write a good novel one should have passed through the spring-time and enthusiasm of youth—one should be able to survey life with some degree of tranquillity; neither wrapped in its illusions, nor full of indignation at its discovered hollowness. At two-and-twenty, even if the heart is not burning with fever heat of some kind—some enthusiastic passion or misanthropical disgust—the head at least is preoccupied with some engrossing idea, which so besets the man, that he can see nothing clearly in the world around him. At this age he has a philosophy, a metaphysical system, which he really believes in, (a species of delusion the first to quit us,) and he persists in seeing his dogma reflected to him from all sides. This