The Stories of Vladimir Nabokov (99 page)

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
decanter. 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 kind 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

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 ténor
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

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.