disgusted with life.  It seems as if after having emptied the cup of the vanities of the world to the very dregs, this world, which has nothing left for their enjoyment, is despised by them; unfortunately, however, without having educated their minds for a better one.  In his later productions, especially in his Boris Godunof, a drama, which may be rather called a tragical historical picture than a regular tragedy, Pushkin showed a more elevated mind, and a more objective way of viewing things.  His last work, we believe, was his Istorija Bunta, History of the Insurrection of Pugatshef; no noble struggle for liberty, but a mere mutiny.  He died in St. Petersburg in 1835, a short time after a marriage of choice and inclination; in a duel occasioned by a fit of jealousy, maliciously provoked by some of the courtiers.

Other successful lyrical poets of this period are, Chomiakof, Baratinski, N. Jazikof, A. Timofeyef, Benedictof, Sokolovski, A. Podolinski, Lucian Jakubovitch, A. Ilitshevski, etc.  Several ladies also have recently mounted the Pegasus.  A Princess Volkonski, a Countess Rostoptshin, a Miss Teplef, are favourably mentioned; as are also Anna Bunin and a Mrs. Pawlof, the latter as a happy translator.  A Mrs. Helene Han, who writes under the name of Zeneide B., is compared to George Sand.  Nor must we forget two natural poets so called, that is, men from the people, who write verses; one named Alipanof, born a serf, and the other Kolzof.  The lyric poets enumerated in the last period are all mostly still alive and continue to write.

The very limited productiveness of the Russian poets is however a very striking and discouraging feature.  While in the animated forest of German poetry, even during the most trying struggles of the times, a full chorus of songs and ballads resounds from every branch, we hear from Russian groves only solitary voices, and these voices seem to be exhausted almost as soon as they are heard.  A volume of twenty sheets is in general considered in Russia as quite a respectable collection.  Pushkin is almost the only one of their poets, whose very thoughts were verses.

The more exuberant, however, do we find the productiveness of some of their dramatic writers.  Polevoi, whom we have mentioned as the editor of the “Telegraph,” and as a keen critic who exerted great influence, poured out a whole flood of tragedies and comedies.  To judge from the applause with which they were received on the stage, the writer was more successful in this branch, than in his historical enterprises.  Besides him, Lenski, Koni, Feodorof, and others, as well as numerous translators, furnished provision for the stage.  The most respectable talent was shown by Kukolnik; of whom his countrymen have a very high idea, but to whom foreign critics assign rather a lyric than a dramatic genius.  The reverential attachment of Russians to their monarch is exhibited in the very titles chosen by several dramatic poets.  One of Kukolnik’s dramas bears the rather prolix name, “The hand of the Almighty shelters the Tzar.”  A piece of Glinka is called, “Our Life for the Tzar,” etc.