2
Our spelling master was a carpenter's son. In the magic-lantern sequence that follows, my first slide shows a young man we called Ordo, the enlightened son of a Greek Catholic deacon. On walks with my brother and me in the cool summer of 1907, he wore a Byronic black cloak with a silver S-shaped clasp. In the deep Batovo woods, at a spot near a brook where the ghost of a hanged man was said to appear, Ordo would give a rather profane and foolish performance for which my brother and I clamored every time we passed there. Bending his head and flapping his cloak in weird, vampiric fashion he would slowly cavort around a lugubrious aspen. One wet morning during that ritual he dropped his cigarette case and while helping to look for it, I discovered two freshly emerged specimens of the Amur hawkmoth, rare in our region--lovely, velvety, purplish-gray creatures--in tranquil copulation, clinging with chinchilla-coated legs to the grass at the foot of the tree. In the fall of that same year, Ordo accompanied us to Biarritz, and a few weeks later abruptly departed, leaving a present we had given him, a Gillette safety razor, on his pillow, with a pinned note. It seldom happens that I do not quite know whether a recollection is my own or has come to me secondhand, but in this case I do waver, especially because, much later, my mother, in her reminiscent moods, used to refer with amusement to the flame she had unknowingly kindled. I seem to remember a door ajar into a drawing room, and there, in the middle of the floor, Ordo, our Ordo, crouching on his knees and wringing his hands in front of my young, beautiful, and dumbfounded mother. The fact that I seem to see, out of the corner of my mind's eye, the undulations of a romantic cloak around Ordo's heaving shoulders suggests my having transferred something of the earlier forest dance to that blurred room in our Biarritz apartment (under the windows of which, in a roped-off section of the square, a huge custard-colored balloon was being inflated by Sigismond Lejoyeux, a local aeronaut).
Next came a Ukrainian, an exuberant mathematician with a dark mustache and a sparkling smile. He spent part of the winter of 1907-1908 with us. He, too, had his accomplishments, among which a vanishing-coin trick was particularly fetching. A coin, placed on a sheet of paper, is covered with a tumbler and forthwith disappears. Take an ordinary drinking glass. Paste neatly over its mouth a round piece of paper. The paper should be ruled (or otherwise patterned)--this will enhance the illusion. Place upon a similarly ruled sheet a small coin (a silver twenty-kopek piece will do). Briskly slip the tumbler over the coin, taking care to have both sets of rules or patterns tally. Coincidence of pattern is one of the wonders of nature. The wonders of nature were beginning to impress me at that early age. On one of his Sundays off, the poor conjuror collapsed in the street and was shoved by the police into a cold cell with a dozen drunks. Actually, he suffered from a heart condition, of which he died a few years later.
The next picture looks as if it had come on the screen upside down. It shows our third tutor standing on his head. He was a large, formidably athletic Lett, who walked on his hands, lifted enormous weights, juggled with dumbbells and in a trice could fill a large room with a garrison's worth of sweat reek. When he deemed it fit to punish me for some slight misdemeanor (I remember, for instance, letting a child's marble fall from an upper landing upon his attractive, hard-looking head as he walked downstairs), he would adopt the remarkable pedagogic measure of suggesting that he and I put on boxing gloves for a bit of sparring. He would then punch me in the face with stinging accuracy. Although I preferred this to the hand-cramping pensums Mademoiselle would think up, such as making me copy out two hundred times the proverb Qui aime bien, chatie bien, I did not miss the good man when he left after a stormy month's stay.
Then came a Pole. He was a handsome medical student, with liquid brown eyes and sleek hair, who looked rather like the French actor Max Linder, a popular movie comedian. Max lasted from 1908 to 1910 and won my admiration on a winter day in St. Petersburg when a sudden commotion interrupted our usual morning walk. Whip-brandishing Cossacks with fierce, imbecile faces were urging their prancing and snorting ponies against an excited crowd. Lots of caps and at least three galoshes lay black on the snow. For a moment it seemed as if one of the Cossacks was heading our way, and I saw Max half-draw from an inside pocket a small automatic with which I forthwith fell in love--but unfortunately the turmoil receded. Once or twice he took us to see his brother, an emaciated Roman Catholic priest of great distinction whose pale hands absentmindedly hovered over our little Greek Catholic heads, while Max and he discussed political or family matters in a stream of sibilant Polish. I visualize my father on a summer day in the country vying with Max in marksmanship--riddling with pistol bullets a rusty NO HUNTING sign in our woods. He was, this pleasant Max, a vigorous chap, and therefore I used to be taken aback when he complained of migraine and languidly refused to join me in kicking a football around or going for a dip in the river. I know now that he was having an affair that summer with a married woman whose property lay a dozen miles away. At odd moments during the day, he would sneak off to the kennels in order to feed and cajole our chained watchdogs. They were set loose at 11 P.M. to rove around the house, and he had to confront them in the dead of night when he slipped out and made for the shrubbery where a bicycle with all accessories--thumb bell, pump, tool case of brown leather, and even trouser clips--had been secretly prepared for him by an ally, my father's Polish valet. Holey dirt roads and humpy forest trails would take impatient Max to the remote trysting place, which was a hunting lodge--in the grand tradition of elegant adultery. The chill mists of dawn and four Great Danes with short memories would see him cycling back, and at 8 A.M. a new day would begin. I wonder if it was not with a certain relief that, in the autumn of that year (1909), Max left the scene of his nightly exploits to accompany us on our second trip to Biarritz. Piously, penitently, he took a couple of days off to visit Lourdes in the company of the pretty and fast Irish girl who was the governess of Colette, my favorite playmate on the plage. Max abandoned us the next year, for a job in the X-ray department of a St. Petersburg hospital, and later on, between the two World Wars, became, I understand, something of a medical celebrity in Poland.
After the Catholic came the Protestant--a Lutheran of Jewish extraction. He will have to figure here under the name of Lenski. My brother and I went with him, late in 1910, to Germany, and after we came back in January of the following year, and began going to school in St. Petersburg, Lenski stayed on for about three years to help us with our homework. It was during his reign that Mademoiselle, who had been with us since the winter of 1905, finally gave up her struggle against intruding Muscovites and returned to Lausanne. Lenski had been born in poverty and liked to recall that between graduating from the Gymnasium of his native town, on the Black Sea, and being admitted to the University of St. Petersburg he had supported himself by ornamenting stones from the shingled shore with bright seascapes and selling them as paperweights. He had an oval pink face, short-lashed, curiously naked eyes behind a rimless pince-nez and a pale blue shaven head. We discovered at once three things about him: he was an excellent teacher; he lacked all sense of humor; and, in contrast to our previous tutors, he was someone we needed to defend. The security he felt as long as our parents were around might be shattered at any time in their absence by some sally on the part of our aunts. For them, my father's fierce writings against pogroms and other governmental practices were but the whims of a wayward nobleman, and I often overheard them discussing with horror Lenski's origins and my father's "insane experiments." After such an occasion, I would be dreadfully rude to them and then burst into hot tears in the seclusion of a water closet. Not that I particularly liked Lenski. There was something irritating about his dry voice, his excessive neatness, the way he had of constantly wiping his glasses with a special cloth or paring his nails with a special gadget, his pedantically correct speech and, perhaps most of all, his fantastic morning custom of marching (seemingly straight out of bed but already shod and trousered, with red braces hanging behind and a strange netlike vest e
nveloping his plump hairy torso) to the nearest faucet and limiting there his ablutions to a thorough sousing of his pink face, blue skull and fat neck, followed by some lusty Russian nose-blowing, after which he marched, with the same purposeful steps, but now dripping and purblind, back to his bedroom where he kept in a secret place three sacrosanct towels (incidentally he was so brezgliv, in the Russian untranslatable sense, that he would wash his hands after touching banknotes or banisters).
He complained to my mother that Sergey and I were little foreigners, freaks, fops, snobi, "pathologically indifferent," as he put it, to Goncharov, Grigorovich, Korolenko, Stanyukovich, Mamin-Sibiryak, and other stupefying bores (comparable to American "regional writers") whose works, according to him, "enthralled normal boys." To my obscure annoyance, he advised my parents to have their two boys--the three younger children were beyond his jurisdiction--lead a more democratic form of life, which meant, for example, switching, in Berlin, from the Adlon Hotel to a vast apartment in a gloomy pension in a lifeless lane and replacing pile-carpeted international express trains by the filthy floors and stale cigar smoke of swaying and pitching Schnellzugs. In foreign towns, as well as in St. Petersburg, he would freeze before shops to marvel at wares that left us completely indifferent. He was about to be married, had nothing but his salary, and was planning his future household with the utmost cunning and care. Now and then rash impulses interfered with his budget. Noticing one day a bedraggled hag who was gloating over a crimson-plumed hat on display at a milliner's, he bought it for her--and had quite a time getting rid of the woman. In his own acquisitions, he aimed at great circumspection. My brother and I patiently listened to his detailed daydreams as he analyzed every corner of the cozy yet frugal apartment he mentally prepared for his wife and himself. Sometimes his fancy would soar. Once it settled on an expensive ceiling lamp at Alexandre's, a St. Petersburg shop that featured rather painful bourgeois bric-a-brac. Not wishing the store to suspect what object he coveted, Lenski said he would take us to see it only if we swore to use self-control and not attract unnecessary attention by direct contemplation. With all kinds of precautions, he brought us under a dreadful bronze octopus and his only indication that this was the longed-for article was a purring sigh. He used the same care--tiptoeing and whispering, in order not to wake the monster of fate (which, he seemed to think, bore him a personal grudge)--when introducing us to his fiancee, a small, graceful young lady with scared-gazelle eyes, and the scent of fresh violets clinging to her black veil. We met her, I remember, near a pharmacy at the corner of Potsdamerstrasse and Privatstrasse, a lane, full of dead leaves, where our pension was, and he urged us to keep his bride's presence in Berlin secret from our parents, and a mechanical manikin in the pharmacy window was going through the motions of shaving, and tramcars screeched by, and it was beginning to snow.
My mother at thirty-four, a pastel portrait (60 cm. x 40 cm.) by Leon Bakst, painted in 1910, in the music room of our St. Petersburg house. The reproduction printed here was made the same year, under his supervision. He had had tremendous trouble with the fluctuating outline of her lips, sometimes spending an entire sitting on one detail. The result is an extraordinary likeness and represents an interesting stage in his artistic development. My parents also possessed a number of watercolor sketches made for the Scheherazade ballet. Some twenty-five years later, in Paris, Alexandre Benois told me that soon after the Soviet Revolution he had had all Bakst's works, as well as some of his own, such as the "Rainy Day in Brittany," transported from our house to the Alexander III (now State) Museum.
My mother and her brother, Vasiliy Ivanovich Rukavishnikov (1874-1916), on the terrace of his chateau at Pau, Basses Pyrenees, October 1913.
3
We are now ready to tackle the main theme of this chapter. Sometime during the following winter, Lenski conceived the awful idea of showing, on alternate Sundays, Educational Magic-Lantern Projections at our St. Petersburg home. By their means he proposed to illustrate ("abundantly," as he said with a smack of his thin lips) instructive readings before a group that he fondly believed would consist of entranced boys and girls sharing in a memorable experience. Besides adding to our store of information, it might, he thought, help make my brother and me into good little mixers. Using us as a core, he accumulated around this sullen center several layers of recruits--such coeval cousins of ours as happened to be at hand, various youngsters we met every winter at more or less tedious parties, some of our schoolmates (unusually quiet they were--but, alas, registered every trifle), and the children of the servants. Having been given a completely free hand by my gentle and optimistic mother, he rented an elaborate apparatus and hired a dejected-looking university student to man it; as I see it now, warmhearted Lenski was, among other things, trying to help an impecunious comrade.
Never shall I forget that first reading. Lenski had selected a narrative poem by Lermontov dealing with the adventures of a young monk who left his Caucasian retreat to roam among the mountains. As usual with Lermontov, the poem combined pedestrian statements with marvelous melting fata morgana effects. It was of goodly length, and its seven hundred and fifty rather monotonous lines were generously spread by Lenski over a mere four slides (a fifth I had clumsily broken just before the performance).
Fire-hazard considerations had led one to select for the show an obsolete nursery in a corner of which stood a columnar water heater, painted a bronzy brown, and a webfooted bath, which, for the occasion, had been chastely sheeted. The close-drawn window curtains prevented one from seeing the yard below, the stacks of birch logs, and the yellow walls of the gloomy annex containing the stables (part of which had been converted into a two-car garage). Despite the ejection of an ancient wardrobe and a couple of trunks, this depressing back room, with the magic lantern installed at one end and transverse rows of chairs, hassocks, and settees arranged for a score of spectators (including Lenski's fiancee, and three or four governesses, not counting our own Mademoiselle and Miss Greenwood), looked jammed and felt stuffy. On my left, one of my most fidgety girl cousins, a nebulous little blonde of eleven or so with long, Alice-in-Wonderland hair and a shell-pink complexion, sat so close to me that I felt the slender bone of her hip move against mine every time she shifted in her seat, fingering her locket, or passing the back of her hand between her perfumed hair and the nape of her neck, or knocking her knees together under the rustly silk of her yellow slip, which shone through the lace of her frock. On my right, I had the son of my father's Polish valet, an absolutely motionless boy in a sailor suit; he bore a striking resemblance to the Tsarevich, and by a still more striking coincidence suffered from the same tragic disease--hemophilia--so several times a year a Court carriage would bring a famous physician to our house and wait and wait in the slow, slanting snow, and if one chose the largest of those grayish flakes and kept one's eye upon it as it came down (past the oriel casement through which one peered), one could make out its rather coarse, irregular shape and also its oscillation in flight, making one feel dull and dizzy, dizzy and dull.
The lights went out. Lenski launched upon the opening lines:
The time--not many years ago;
The place--a point where meet and flow
In sisterly embrace the fair
Aragva and Kurah; right there
A monastery stood.
The monastery, with its two rivers, dutifully appeared and stayed on, in a lurid trance (if only one swift could have swept over it!), for about two hundred lines, when it was replaced by a Georgian maiden of sorts carrying a pitcher. When the operator withdrew a slide, the picture was whisked off the screen with a peculiar flick, magnification affecting not only the scene displayed, but also the speed of its removal. Otherwise, there was little magic. We were shown conventional peaks instead of Lermontov's romantic mountains, which