In the winter of 1832 Pushkin sought a new field, the field of historical research; and by the beginning of 1833 he had not only collected all the materials for a history of Pugachev, the Cossack who headed a rising in the reign of Catherine II; but his literary activity was so great that he had also written the rough sketch of a long story in prose dealing with the same subject, _The Captain's Daughter_, another prose story of considerable length, _Dubrovsky_, and portions of a drama, _Rusalka_, The Water Nymph, which was never finished. Besides _Boris Godunov_ and the _Rusalka_, Pushkin wrote a certain number of dramatic scenes, or short dramas in one or more scenes. Of these, one, _The Feast in the Time of Plague_, is taken from the English of John Wilson (_The City of the Plague_), with original additions. In _Mozart and Salieri_ we see the contrast between the genius which does what it must and the talent which does what it can. The story is based on the unfounded anecdote that Mozart was poisoned by Salieri out of envy. This dramatic and beautifully written episode has been set to music as it stands by Rimsky-Korsakov. _The Covetous Knight_, which bears the superscription, "From the tragi-comedy of Chenstone"--an unknown English original--tells of the conflict between a Harpagon and his son: the delineation of the miser's imaginative passion for his treasures is, both in conception and execution, in Pushkin's finest manner. This scene has been recently set to music by Rakhmaninov. _The Guest of Stone_, the story of Don Juan and the _statua gentilissima del gran Commendatore_, makes Don Juan life. A scene from _Faust_ between Faust and Mephistopheles is original and not of great interest; _Angelo_ is the story of _Measure for Measure_ told as a narrative with two scenes in dialogue. _Rusalka_, The Water Maid, is taken from the genuine and not the sham province of national legend, and it is tantalizing that this poetic fragment remained a fragment.