Художественная литература

Владимир Набоков

Vladimir Nabokov. A Forgotten Poet

© 1944 Copyright by Vladimir Nabokov


In 1899, in the ponderous, comfortable padded St. Petersburg of those days, a prominent cultural organization, the Society for the Advancement of Russian Literature, decided to honor in a grand way the memory of the poet Konstantin Perov, who had died half a century before at the ardent age of four-and-twenty. He had been styled the Russian Rimbaud and, although the French boy surpassed him in genius, such a comparison is not wholly unjustified. When only eighteen he composed his remarkable Georgian Nights, a long, rambling "dream epic," certain passages of which rip the veil of its traditional Oriental setting to produce that heavenly draft which suddenly locates the sensorial effect of true poetry right between one's shoulder blades. This was followed three years later by a volume of poems: he had got hold of some German philosopher or other, and several of these pieces are distressing because of the grotesque attempt at combining an authentic lyrical spasm with a metaphysical explanation of the universe; but the rest are still as vivid and unusual as they were in the days when that queer youth dislocated the Russian vocabulary and twisted the necks of accepted epithets in order to make poetry splutter and scream instead of twittering. Most readers like best those poems of his where the ideas of emancipation, so characteristic of the Russian fifties, are expressed in a glorious storm of obscure eloquence, which, as one critic put it, "does not show you the enemy but makes you fairly burst with the longing to fight." Personally I prefer the purer and at the same time bumpier lyrics such as "The Gypsy" or "The Bat." Perov was the son of a small landowner of whom the only thing known is that he tried planting tea on his estate near Luga. Young Konstantin (to use a biographical intonation) spent most of his time in St. Petersburg vaguely attending the university, then vaguely looking for a clerical job-- little indeed is known of his activities beyond such trivialities as can be deduced from the general trends of his set. A passage in the correspondence of the famous poet Nekrasov, who happened to meet him once in a bookshop, conveys the image of a sulky, unbalanced, "clumsy and fierce" young man with "the eyes of a child and the shoulders of a furniture mover." He is also mentioned in a police report as "conversing in low tones with two other students'" in a coffeehouse on Nevsky Avenue. And his sister, who married a merchant from Riga, is said to have deplored the poet's emotional adventures with seamstresses and washerwomen. In the autumn of 1849 he visited his father with the special intent of obtaining money for a trip to Spain. His father, a man of simple reactions, slapped him on the face; and a few days later the poor boy was drowned while bathing in the neighboring river. His clothes and a half-eaten apple were found lying under a birch tree, but the body was never recovered. His fame was sluggish: a passage from the Georgian Nights, always the same one, in all anthologies; a violent article by the radical critic Dobrolubov, in 1859, lauding the revolutionary innuendoes of his weakest poems; a general notion in the eighties that a reactionary atmosphere had thwarted and finally destroyed a fine if somewhat inarticulate talent-- this was about all. In the nineties, because of a healthier interest in poetry, coinciding as it sometimes does with a sturdy and dull political era, a flurry of rediscovery started around Perov's rhymes while, on the other hand, the liberal-minded were not averse to following Dobrolubov's cue. The subscription for a monument in one of the public parks proved a perfect success. A leading publisher collected all the scraps of information available in regard to Perov's life and issued his complete works in one fairly plump volume. The monthlies contributed several scholarly surveys. The commemorative meeting in one of the best halls of the capital attracted a crowd.


A few minutes before the start, while the speakers were still assembled in a committee room behind the stage, the door opened gustily and there entered a sturdy old man, clad in a frock coat that had seen-- on his or on somebody else's shoulders-- better times. Without paying the slightest heed to the admonishments of a couple of ribbon-badged university students who, in their capacity of attendants, were attempting to restrain him, he proceeded with perfect dignity toward the committee, bowed, and said, "I am Perov." A friend of mine, almost twice my age and now the only surviving witness of the event, tells me that the chairman (who as a newspaper editor had a great deal of experience in the matter of extravagant intruders) said without even looking up, "Kick him out." Nobody did-- perhaps because one is apt to show a certain courtesy to an old gentleman who is supposedly very drunk. He sat down at the table and, selecting the mildest-looking person, Slavsky, a translator of Longfellow, Heine, and Sully-Prudhomme (and later a member of the terrorist group), asked in a matter-of-fact tone whether the "monument money" had already been collected, and if so, when could he have it. All the accounts agree on the singularly quiet way in which he made his claim. He did not press his point. He merely stated it as if absolutely unconscious of any possibility of his being disbelieved. What impressed one was that at the very beginning of that weird affair, in that secluded room, among those distinguished men, there he was with his patriarchal beard, faded brown eyes, and potato nose, sedately inquiring about the benefits from the proceedings without even bothering to produce such proofs as might have been faked by an ordinary impostor. "Are you a relative?" asked someone. "My name is Konstantin Konstantinovich Perov," said the old man patiently. "I am given to understand that a descendant of my family is in the hall, but that is neither here nor there." "How old are you?" asked Slavsky. "I am seventy-four," he replied, "and the victim of several poor crops in succession." "You are surely aware," remarked the actor Yermakov, "that the poet whose memory we are celebrating tonight was drowned in the river Oredezh exactly fifty years ago." "Vzdor" ("Nonsense"), retorted the old man. "I staged that business for reasons of my own." "And now, my dear fellow," said the chairman, "I really think you must go." They dismissed him from their consciousness and flocked out onto the severely lighted platform where another committee table, draped in solemn red cloth, with the necessary number of chairs behind it, had been hypnotizing the audience for some time with the glint of its traditional dйcanter. To the left of this, one could admire the oil painting loaned by the Sheremetevski Art Gallery: it represented Perov at twenty-two, a swarthy young man with romantic hair and an open shirt collar. The picture stand was piously camouflaged by means of leaves and flowers. A lectern with another decanter loomed in front and a grand piano was waiting in the wings to be rolled in later for the musical part of the program. The hall was well packed with literary people, enlightened lawyers, schoolteachers, scholars, eager university students of both sexes, and the like. A few humble agents of the secret police had been delegated to attend the meeting in inconspicuous spots of the hall, as the government knew by experience that the most staid cultural assemblies had a queer knack of slipping into an orgy of revolutionary propaganda. The fact that one of Perov's first poems contained a veiled but benevolent allusion to the insurrection of 1825 suggested taking certain precautions: one never could tell what might happen after a public mouthing of such lines as "the gloomy sough of Siberian larches communicates with the underground ore" ("sibirskikh pikht oogrewmyi shorokh s podzemnoy snositsa roodoy"). As one of the accounts has it, "soon one became aware that something vaguely resembling a Dostoyevskian row [the author is thinking of a famous slapstick chapter in The Possessed] was creating an atmosphere of awkwardness and suspense." This was due to the fact that the old gentleman deliberately followed the seven members of the jubilee committee onto the platform and then attempted to sit down with them at the table. The chairman, being mainly intent upon avoiding a scuffle in full view of the audience, did his best to make him desist. Under the public disguise of a polite smile he whispered to the patriarch that he would have him ejected from the hall if he did not let go the back of the chair which Slavsky, with a nonchalant air but with a grip of iron, was covertly wresting from under the old man's gnarled hand. The old man refused but lost his hold and was left without a seat. He glanced around, noticed the piano stool in the wings, and coolly pulled it onto the stage just a fraction of a second before the hands of a screened attendant tried to snatch it back. He seated himself at some distance from the table and immediately became exhibit number one. Here the committee made the fatal mistake of again dismissing his presence from their minds: they were, let it be repeated, particularly anxious to avoid a scene; and moreover, the blue hydrangea next to the picture stand half concealed the obnoxious party from their physical vision. Unfortunately, the old gentleman was most conspicuous to the audience, as he sat there on his unseemly pedestal (with its rotatory potentialities hinted at by a recurrent creaking), opening his spectacle case and breathing fishlike upon his glasses, perfectly calm and comfortable, his venerable head, shabby black clothes, and elastic-sided boots simultaneously suggesting the needy Russian professor and the prosperous Russian undertaker. The chairman went up to the lectern and launched upon his introductory speech. Whisperings rippled all over the audience, for people were naturally curious to know who the old fellow was. Firmly bespectacled, with his hands on his knees, he peered sideways at the portrait, then turned away from it and inspected the front row. Answering glances could not help shuttling between the shiny dome of his head and the curly head of the portrait, for during the chairman's long speech the details of the intrusion spread, and the imagination of some started to toy with the idea that a poet belonging to an almost legendary period, snugly relegated to it by textbooks, an anachronistic creature, a live fossil in the nets of an ignorant fisherman, a land of Rip van Winkle, was actually attending in his drab dotage the reunion dedicated to the glory of his youth. ". . . let the name of Perov,"' said the chairman, ending his speech, "be never forgotten by thinking Russia. Tyutchev has said that Pushkin will always be remembered by our country as a first love. In regard to Perov we may say that he was Russia's first experience in freedom. To a superficial observer this freedom may seem limited to Perov's phenomenal lavishness of poetical images which appeal more to the artist than to the citizen. But we, representatives of a more sober generation, are inclined to decipher for ourselves a deeper, more vital, more human, and more social sense in such lines of his as When the last snow hides in the shade of the cemetery wall and the coat of my neighbor's black horse shows a swift blue sheen in the swift April sun, and the puddles are as many heavens cupped in the Negro-hands of the Earth, then my heart goes out in its tattered cloak to visit the poor, the blind, the foolish, the round backs slaving for the round bellies, all those whose eyes dulled by care or lust do not see the holes in the snow, the blue horse, the miraculous puddle. A burst of applause greeted this, but all of a sudden there was a break in the clapping, and then disharmonious gusts of laughter; for, as the chairman, still vibrating with the words he had just uttered, went back to the table, the bearded stranger got up and acknowledged the applause by means of jerky nods and awkward wavings of the hand, his expression combining formal gratitude with a certain impatience. Slavsky and a couple of attendants made a desperate attempt to bundle him away, but from the depth of the audience there arose the cries of "Shame, shame!" and "Astavte starika!" ("Leave the old man alone!") I find in one of the accounts the suggestion that there were accomplices among the audience, but I think that mass compassion, which may come as unexpectedly as mass vindictiveness, is sufficient to explain the turn things were taking. In spite of having to cope with three men the "starik" managed to retain a remarkable dignity of demeanor, and when his halfhearted assailants retired and he retrieved the piano stool that had been knocked down during the struggle, there was a murmur of satisfaction. However, the regrettable fact remained that the atmosphere of the meeting was hopelessly impaired. The younger and rowdier members of the audience were beginning to enjoy themselves hugely. The chairman, his nostrils quivering, poured himself out a tumbler of water. Two secret agents were cautiously exchanging glances from two different points of the house.


The speech of the chairman was followed by the treasurer's account of the sums received from various institutions and private persons for the erection of a Perov monument in one of the suburban parks. The old man unhurriedly produced a bit of paper and a stubby pencil and, propping the paper on his knee, began to check the figures which were being mentioned. Then the granddaughter of Perov's sister appeared for a moment on the stage. The organizers had had some trouble with this item of the program since the person in question, a fat, popeyed, wax-pale young woman, was being treated for melancholia in a home for mental patients. With twisted mouth and all dressed up in pathetic pink, she was shown to the audience for a moment and then whisked back into the firm hands of a buxom woman delegated by the home. When Yermakov, who in those days was the darling of theatergoers, a kind of beau tйnor in terms of the drama, began delivering in his chocolate-cream voice the Prince's speech from the Georgian Nights, it became clear that even his best fans were more interested in the reactions of the old man than in the beauty of the delivery. At the lines If metal is immortal, then somewhere there lies the burnished button that I lost upon my seventh birthday in a garden. Find me that button and my soul will know that every soul is saved and stored and treasured a chink appeared for the first time in his composure and he slowly unfolded a large handkerchief and lustily blew his nose-- a sound which sent Yermakov's heavily adumbrated, diamond-bright eye squinting like that of a timorous steed. The handkerchief was returned to the folds of the coat and only several seconds after this did it become noticeable to the people in the first row that tears were trickling from under his glasses. He did not attempt to wipe them, though once or twice his hand did go up to his spectacles with claw-wise spread fingers, but it dropped again, as if by any such gesture (and this was the culminating point of the whole delicate masterpiece) he was afraid to attract attention to his tears. The tremendous applause that followed the recitation was certainly more a tribute to the old man's performance than to the poem in Yermakov's rendering. Then, as soon as the applause petered out, he stood up and marched toward the edge of the platform. There was no attempt on the part of the committee to stop him, and this for two reasons. First, the chairman, driven to exasperation by the old man's conspicuous behavior, had gone out for a moment and given a certain order. In the second place, a medley of strange doubts was beginning to unnerve some of the organizers, so that there was a complete hush when the old man placed his elbows on the reading stand. "And this is fame," he said in such a husky voice that from the back rows there came cries of "Gromche, gromche!" ("Louder, louder!") "I am saying that this is fame," he repeated, grimly peering over his spectacles at the audience. "A score of frivolous poems, words made to joggle and jingle, and a man's name is remembered as if he had been of some use to humanity! No, gentlemen, do not delude yourselves. Our empire and the throne of our father the Tsar still stand as they stood, akin to frozen thunder in their invulnerable might, and the misguided youth who scribbled rebellious verse half a century ago is now a law-abiding old man respected by honest citizens. An old man, let me add, who needs your protection. I am the victim of the elements: the land I had plowed with my sweat, the lambs I had personally suckled, the wheat I had seen waving its golden arms-- "' It was then that two enormous policemen quickly and painlessly removed the old man. The audience had a glimpse of his being rushed out-- his dickey protruding one way, his beard the other, a cuff dangling from his wrist, but still that gravity and that pride in his eyes. When reporting the celebration, the leading dailies referred only in passing to the "regrettable incident" that had marred it. But the disreputable St. Petersburg Record, a lurid and reactionary rag edited by the brothers Kherstov for the benefit of the lower middle class and of a blissfully semiliterate substratum of working people, blazed forth with a series of articles maintaining that the "regrettable incident" was nothing less than the reappearance of the authentic Perov.


In the meantime, the old man had been collected by the very wealthy and vulgarly eccentric merchant Gromov, whose household was full of vagabond monks, quack doctors, and "pogromystics." The Record printed interviews with the impostor. In these the latter said dreadful things about the "lackeys of the revolutionary party" who had cheated him of his identity and robbed him of his money. This money he proposed to obtain by law from the publishers of Perov's complete works. A drunken scholar attached to the Gromov household pointed out the (unfortunately rather striking) similarity between the old man's features and those of the portrait. There appeared a detailed but most implausible account of his having staged a suicide in order to lead a Christian life in the bosom of Saint Russia. He had been everything: a peddler, a bird catcher, a ferryman on the Volga, and had wound up by acquiring a bit of land in a remote province. I have seen a copy of a sordid-looking booklet. The Death and Resurrection of Konstantin Perov, which used to be sold on the streets by shivering beggars, together with the Adventures of the Marquis de Sade and the Memoirs of an Amazon. My best find, however, in looking through old files, is a smudgy photograph of the bearded impostor perched upon the marble of the unfinished Perov monument in a leafless park. He is seen standing very straight with his arms folded; he wears a round fur cap and a new pair of galoshes but no overcoat; a little crowd of his backers is gathered at his feet, and their little white faces stare into the camera with that special navel-eyed, self-complacent expression peculiar to old pictures of lynching parties. Given this atmosphere of florid hooliganism and reactionary smugness (so closely linked up with governmental ideas in Russia, no matter whether the Tsar be called Alexander, Nicholas, or Joe), the intelligentsia could hardly bear to visualize the disaster of identifying the pure, ardent, revolutionary-minded Perov as represented by his poems with a vulgar old man wallowing in a painted pigsty. The tragic part was that while neither Gromov nor the Kherstov brothers really believed the purveyor of their fun was the true Perov, many honest, cultivated people had become obsessed by the impossible thought that what they had ejected was Truth and Justice. As a recently published letter from Slavsky to Korolenko has it: "One shudders to think that a gift of destiny unparalleled in history, the Lazarus-like resurrection of a great poet of the past, may be ungratefully ignored-- nay, even more, deemed a fiendish deceit on the part of a man whose only crime has been half a century of silence and a few minutes of wild talk." The wording is muddled but the gist is clear: intellectual Russia was less afraid of falling victim to a hoax than of sponsoring a hideous blunder. But there was something she was still more afraid of, and that was the destruction of an ideal; for your radical is ready to upset everything in the world except any such trivial bauble, no matter how doubtful and dusty, that for some reason radicalism has enshrined. It is rumored that at a certain secret session of the Society for the Advancement of Russian Literature the numerous insulting epistles that the old man kept sending in were carefully compared by experts with a very old letter written by the poet in his teens. It had been discovered in a certain private archive, was believed to be the only sample of Perov's hand, and none except the scholars who pored over its faded ink knew of its existence. Neither do we know what their findings were. It is further rumored that a lump of money was amassed and that the old man was approached without the knowledge of his disgraceful companions. Apparently, a substantial monthly pension was to be granted him under the condition that he return at once to his farm and stay there in decorous silence and oblivion. Apparently, too, the offer was accepted, for he vanished as jerkily as he had appeared, while Gromov consoled himself for the loss of his pet by adopting a shady hypnotizer of French extraction who a year or two later was to enjoy some success at the Court. The monument was duly unveiled and became a great favorite with the local pigeons. The sales of the collected works fizzled out genteelly in the middle of a fourth edition. Finally, a few years later, in the region where Perov had been born, the oldest though not necessarily the brightest inhabitant told a lady journalist that he remembered his father telling him of finding a skeleton in a reedy part of the river. 5 This would have been all had not the Revolution come, turning up slabs of rich earth together with the white rootlets of little plants and fat mauve worms which otherwise would have remained buried. When, in the early twenties, in the dark, hungry, but morbidly active city, various odd cultural institutions sprouted (such as bookshops where famous but destitute writers sold their own books, and so on), somebody or other earned a couple of months' living by arranging a little Perov museum, and this led to yet another resurrection. The exhibits? All of them except one (the letter). A secondhand past in a shabby hall. The oval-shaped eyes and brown locks of the precious Sheremetevsky portrait (with a crack in the region of the open collar suggesting a tentative beheading); a battered volume of the Georgian Nights that was thought to have belonged to Nekrasov; an indifferent photograph of the village school built on the spot where the poet's father had owned a house and an orchard. An old glove that some visitor to the museum had forgotten. Several editions of Perov's works distributed in such a way as to occupy the greatest possible space. And because all these poor relics still refused to form a happy family, several period articles had been added, such as the dressing gown that a famous radical critic had worn in his rococo study, and the chains he had worn in his wooden Siberian prison. But there again, since neither this nor the portraits of various writers of the time were bulky enough, a model of the first railway train to run in Russia (in the forties, between St. Petersburg and Tsarskoye Selo) had been installed in the middle of that dismal room. The old man, now well over ninety but still articulate in speech and reasonably erect in carriage, would show you around the place as if he were your host instead of being the janitor. One had the odd impression that presently he would lead you into the next (nonexisting) room, where supper would be served. All that he really possessed, however, was a stove behind a screen and the bench on which he slept; but if you bought one of the books exhibited for sale at the entrance he would autograph it for you as a matter of course. Then one morning he was found dead on his bench by the woman who brought him his food. Three quarrelsome families lived for a while in the museum, and soon nothing remained of its contents. And as if some great hand with a great rasping sound had torn out a great bunch of pages from a number of books, or as if some frivolous story writer had bottled an imp of fiction in the vessel of truth, or as if. . . But no matter. Somehow or other, in the next twenty years or so, Russia lost all contact with Perov's poetry. Young Soviet citizens know as little about his works as they do about mine. No doubt a time will come when he will be republished and readmired; still, one cannot help feeling that, as things stand, people are missing a great deal. One wonders also what future historians will make of the old man and his extraordinary contention. But that, of course, is a matter of secondary importance.

Владимир Набоков