Baron Anton Antonovitch Delvig (1798-1831) the descendant of a Baltic Provinces noble, was one of Pushkin's comrades in the Lyceum, and published his first collection of poems in 1829. Evgeny Abramovitch Baratynsky (1800-1844) came of a noble family of good standing. His poetry was founded on Byronism, like all European poetry of that day, and was also partly under the influence of the fantastic romanticism introduced by Zhukovsky. He never developed beyond a point which was reached by Pushkin in his early days in "The Prisoner of the Caucasus," "The Gypsies," "The Fountain of Baktchesarai," and the first chapters of "Evgeny Onyegin." He wrote one very fine poem, devoted to Finland. Nikolai Mikhailovitch Yazykoff (1803-1846) was of noble birth, and published a number of early poems in 1819. One of his best and longest, published about 1836, was a dramatic tale of "The Fire Bird." Between 1837-1842 his "The Lighthouse," "Gastun," "Sea Bathing," "The Ship," "The Sea," and a whole series of elegies, are also very good. Yazykoff's poetry is weaker and paler in coloring than Delvig's or Baratynsky's, yet richer than all of theirs in really incomparable outward form of the verse, and in poetical expression of thought; in fact, he was "the poet of expression," and rendered great service by his boldness and originality of language, in that it taught men to write not as all others wrote, but as it lay in their individual power to write; in other words, he inculcated individuality in literature. The only one of the many poets of Pushkin's epoch in Russia who did not repeat and develop, in different keys, the themes of their master's poetry, was Alexander Sergyeevitch Griboyedoff (1795-1829). He alone was independent, original, and was related to the Pushkin period as Kryloff was to the Karamzin period--merely by the accident of time, not by the contents of his work. Griboyedoff was the first of a series of Russian poets who depicted life in absolutely faithful, but gloomy, colors; and it was quite in keeping with this view, that he did not live to see in print the comedy in which his well-earned fame rested, at the time, and which still keeps it fresh, by performances on the stage at the present day. There was nothing very cheerful or bright about the social life of the '20's in the nineteenth century to make Russian poets take anything but a gloomy view of matters in general. Griboyedoff, as an unprejudiced man, endowed with great poetical gifts, and remarkable powers of observation, was able to give a faithful and wonderfully complete picture of high life in Moscow of that day, in his famous comedy "Woe from Wit" ("Gore ot Uma"), and introduce to the stage types which had never, hitherto, appeared in Russian comedy, because no one had looked deep enough into Russian hearts, or been capable of limning, impartially and with fidelity to nature, the emptiness and vanity of the characters and aims which preponderated in Russian society.