Or "Idol mio," and in the grate
Would lose his slippers or gazette.
XXXVIII
Time flies! a genial air abroad,
Winter resigned her empire white,
Oneguine ne'er as poet showed
Nor died nor lost his senses quite.
Spring cheered him up, and he resigned
His chambers close wherein confined
He marmot-like did hibernate,
His double sashes and his grate,
And sallied forth one brilliant morn—
Along the Neva's bank he sleighs,
On the blue blocks of ice the rays
Of the sun glisten; muddy, worn,
The snow upon the streets doth melt—
Whither along them doth he pelt?
XXXIX
Oneguine whither gallops? Ye
Have guessed already. Yes, quite so!
Unto his own Tattiana he,
Incorrigible rogue, doth go.
Her house he enters, ghastly white,
The vestibule finds empty quite—
He enters the saloon. 'Tis blank!
A door he opens. But why shrank
He back as from a sudden blow?—
Alone the princess sitteth there,
Pallid and with dishevelled hair,
Gazing upon a note below.
Her tears flow plentifully and
Her cheek reclines upon her hand.
XL
Oh! who her speechless agonies
Could not in that brief moment guess!
Who now could fail to recognize
Tattiana in the young princess!
Tortured by pangs of wild regret,
Eugene fell prostrate at her feet—
She starts, nor doth a word express,
But gazes on Oneguine's face
Without amaze or wrath displayed:
His sunken eye and aspect faint,
Imploring looks and mute complaint
She comprehends. The simple maid
By fond illusions once possest
Is once again made manifest.
XLI
His kneeling posture he retains—
Calmly her eyes encounter his—
Insensible her hand remains
Beneath his lips' devouring kiss.
What visions then her fancy thronged—
A breathless silence then, prolonged—
But finally she softly said:
Without disguise ourselves explain.
Oneguine, hast forgotten yet
The hour when—Fate so willed—we met
In the lone garden and the lane?
How meekly then I heard you preach—
To-day it is my turn to teach.
XLII
"Oneguine, I was younger then,
And better, if I judge aright;
I loved you—what did I obtain?
Affection how did you requite?
But with austerity!—for you
No novelty—is it not true?—
Was the meek love a maiden feels.
But now—my very blood congeals,
Calling to mind your icy look
And sermon—but in that dread hour
I blame not your behaviour—
An honourable course ye took,
Displayed a noble rectitude—
My soul is filled with gratitude!
XLIII
"Then, in the country, is't not true?
And far removed from rumour vain;
I did not please you. Why pursue
Me now, inflict upon me pain?—
Wherefore am I your quarry held?—
Is it that I am now compelled
To move in fashionable life,
That I am rich, a prince's wife?—
Because my lord, in battles maimed,
Is petted by the Emperor?—
That my dishonour would ensure
A notoriety proclaimed,
And in society might shed
A bastard fame prohibited?
XLIV
"I weep. And if within your breast
My image hath not disappeared,
Know that your sarcasm ill-suppressed,
Your conversation cold and hard,
If the choice in my power were,
To lawless love I should prefer—
And to these letters and these tears.
For visions of my childish years
Then ye were barely generous,
Age immature averse to cheat—
But now—what brings you to my feet?—
How mean, how pusillanimous!
A prudent man like you and brave
To shallow sentiment a slave!
XLV
"Oneguine, all this sumptuousness,
The gilding of life's vanities,
My splendid house and gaieties—
What are they? Gladly would I yield
This life in masquerade concealed,
This glitter, riot, emptiness,
For my wild garden and bookcase,—
Yes! for our unpretending home,
Oneguine—the beloved place
Where the first time I saw your face,—
Or for the solitary tomb
Wherein my poor old nurse doth lie
Beneath a cross and shrubbery.
XLVI
"'Twas possible then, happiness—
Nay, near—but destiny decreed—
My lot is fixed—with thoughtlessness
It may be that I did proceed—
With bitter tears my mother prayed,
And for Tattiana, mournful maid,
Indifferent was her future fate.
I married—now, I supplicate—
For ever your Tattiana leave.
Your heart possesses, I know well,
Honour and pride inflexible.
I love you—to what end deceive?—
But I am now another's bride—
For ever faithful will abide."
XLVII
She rose—departed. But Eugene
Stood as if struck by lightning fire.
What a storm of emotions keen
Raged round him and of balked desire!
And hark! the clank of spurs is heard
And Tania's husband soon appeared.—
But now our hero we must leave
Just at a moment which I grieve
Must be pronounced unfortunate—
For long—for ever. To be sure
Together we have wandered o'er
The world enough. Congratulate
Each other as the shore we climb!
Hurrah! it long ago was time!
XLVIII
Reader, whoever thou mayst be,
Foeman or friend, I do aspire
To part in amity with thee!
Adieu! whate'er thou didst desire
From careless stanzas such as these,
Of passion reminiscences,
Pictures of the amusing scene,
Repose from labour, satire keen,
Or faults of grammar on its page—
God grant that all who herein glance,
In serious mood or dalliance
Or in a squabble to engage,
Now we must separate. Good-bye!
XLIX
And farewell thou, my gloomy friend,
Thou also, my ideal true,
And thou, persistent to the end,
My little book. With thee I knew
All that a poet could desire,
Oblivion of life's tempest dire,
Of friends the grateful intercourse—
Oh, many a year hath run its course
Since I beheld Eugene and young
Tattiana in a misty dream,
And my romance's open theme
Glitte
red in a perspective long,
And I discerned through Fancy's prism
Distinctly not its mechanism.
L
But ye to whom, when friendship heard,
The first-fruits of my tale I read,
As Saadi anciently averred—(86)
Some are afar and some are dead.
Without them Eugene is complete;
And thou, from whom Tattiana sweet;
Was drawn, ideal of my lay—
Ah! what hath fate not torn away!
Happy who quit life's banquet seat
Before the dregs they shall divine
Of the cup brimming o'er with wine—
Who the romance do not complete,
But who abandon it—as I
Have my Oneguine—suddenly.
[Note 86: The celebrated Persian poet. Pushkin uses the passage referred to as an epigraph to the "Fountain of Baktchiserai." It runs thus: "Many, even as I, visited that fountain, but some of these are dead and some have journeyed afar." Saadi was born in 1189 at Shiraz and was a reputed descendant from Ali, Mahomet's son-in-law. In his youth he was a soldier, was taken prisoner by the Crusaders and forced to work in the ditches of Tripoli, whence he was ransomed by a merchant whose daughter he subsequently married. He did not commence writing till an advanced age. His principal work is the "Gulistan," or "Rose Garden," a work which has been translated into almost every European tongue.]
End of Canto The Eighth
The End
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