While this controversy was raging, Moussorgsky was already occupied with a new music-drama upon an historical subject, suggested to him by Stassov, dealing with the tragic story of the Princes Khovansky and the rising of the old Archers-of-the-Guard--the Streltsy. He was full of confidence in his project, and just before the first performance of _Boris_ in 1873, wrote to Stassov in the following characteristic strain: "Now for judgment! It is jolly to feel that we are actually thinking of and living for _Khovanstchina_ while we are being tried for _Boris_. Joyfully and daringly we look to the distant musical horizon that lures us onward, and are not afraid of the verdict. They will say: 'You are violating all laws, human and divine'; and we shall reply, 'Yes'; thinking to ourselves, 'so we shall again.' They will warn us, 'You will soon be forgotten for ever and a day'; and we shall answer, 'Non, non, et non, madame.'" This triumphant moment in Moussorgsky's life was fleeting. _Boris Godounov_ was not suffered to become a repertory opera, but was thrust aside for long periods. Its subsequent revivals were usually due to some star artist who liked the title-rôle and insisted on performing the work on his benefit night; and also to private enterprise. In 1871 Moussorgsky shared rooms with Rimsky-Korsakov until the marriage of the latter in 1873. Then he took up his abode with the gifted poet Count Golenishtiev-Koutouzov, whose idealistic and mystical tendencies were not without influence on the champion of realism, as may be seen from the two song-cycles, "Without sunshine" and "Songs and dances of death," composed to his verses. "The Nursery," a series of children's songs, the "Pictures from an exhibition," inspired by Hartmann's drawings, and the orchestral piece, "Night on the Bare Mountain," date from this period. Meanwhile the stress of poverty and the growing distaste for his means of livelihood--a singularly unsuitable official appointment--were telling on his health. Feeling, perhaps, that his time on earth was short, he worked with feverish energy. Finally, some friction with the authorities ended in his resigning his post in 1879, and undertaking a tour in South Russia with the singer, Madame Leonova. The appreciation shown to him during this journey afforded him some moments of happiness; but his constitution was hopelessly shattered, and in 1880 he was obliged to rest completely. A series of terrible nervous attacks compelled him at last to take refuge in the Nicholas Military Hospital, where he died on his forty-second birthday, March 16/28, of paralysis of the heart and the spinal marrow.