“He is wearing a frock coat,” I cried. “I swear he is wearing a frock coat!”
“And how did you like our museum in general?” M. Godard asked suspiciously. “Did you appreciate the sarcophagus?”
“Listen,” I said (and I think there was already a tremor in my voice), “do me a favor—let’s go there this minute, and let’s make an agreement that if the portrait is there, you will sell it.”
“And if not?” inquired M. Godard.
“I shall pay you the sum anyway.”
“All right,” he said. “Here, take this red-and-blue pencil and using the red—the red, please—put it in writing for me.”
In my excitement I carried out his demand. Upon glancing at my signature, he deplored the difficult pronunciation of Russian names. Then he appended his own signature and, quickly folding the sheet, thrust it into his waistcoat pocket.
“Let’s go,” he said, freeing a cuff.
On the way he stepped into a shop and bought a bag of sticky-looking caramels which he began offering me insistently; when I flatly refused, he tried to shake out a couple of them into my hand. I pulled my hand away. Several caramels fell on the sidewalk; he stopped to pick them up and then overtook me at a trot. When we drew near the museum we saw the red tourist bus (now empty) parked outside.
“Aha,” said M. Godard, pleased. “I see we have many visitors today.”
He doffed his hat and, holding it in front of him, walked decorously up the steps.
All was not well at the museum. From within issued rowdy cries, lewd laughter, and even what seemed like the sound of a scuffle. We entered the first hall; there the elderly custodian was restraining two sacrilegists who wore some kind of festive emblems in their lapels and were altogether very purple-faced and full of pep as they tried to extract the municipal councillor’s merds from beneath the glass. The rest of the youths, members of some rural athletic organization, were making noisy fun, some of the worm in alcohol, others of the skull. One joker was in rapture over the pipes of the steam radiator, which he pretended was an exhibit; another was taking aim at an owl with his fist and forefinger. There were about thirty of them in all, and their motion and voices created a condition of crush and thick noise.
M. Godard clapped his hands and pointed at a sign reading “VISITORS TO THE MUSEUM MUST BE DECENTLY ATTIRED.” Then he pushed his way, with me following, into the second hall. The whole company immediately swarmed after us. I steered Godard to the portrait; he froze before it, chest inflated, and then stepped back a bit, as if admiring it, and his feminine heel trod on somebody’s foot.
“Splendid picture,” he exclaimed with genuine sincerity. “Well, let’s not be petty about this. You were right, and there must be an error in the catalogue.”
As he spoke, his fingers, moving as it were on their own, tore up our agreement into little bits which fell like snowflakes into a massive spittoon.
“Who’s the old ape?” asked an individual in a striped jersey, and, as my friend’s grandfather was depicted holding a glowing cigar, another funster took out a cigarette and prepared to borrow a light from the portrait.
“All right, let us settle on the price,” I said, “and, in any case, let’s get out of here.”
“Make way, please!” shouted M. Godard, pushing aside the curious.
There was an exit, which I had not noticed previously, at the end of the hall and we thrust our way through to it.
“I can make no decision,” M. Godard was shouting above the din. “Decisiveness is a good thing only when supported by law. I must first discuss the matter with the mayor, who has just died and has not yet been elected. I doubt that you will be able to purchase the portrait but nonetheless I would like to show you still other treasures of ours.”
We found ourselves in a hall of considerable dimensions. Brown books, with a half-baked look and coarse, foxed pages, lay open under glass on a long table. Along the walls stood dummy soldiers in jackboots with flared tops.
“Come, let’s talk it over,” I cried out in desperation, trying to direct M. Godard’s evolutions to a plush-covered sofa in a corner. But in this I was prevented by the custodian. Flailing his one arm, he came running after us, pursued by a merry crowd of youths, one of whom had put on his head a copper helmet with a Rembrandtesque gleam.
“Take it off, take it off!” shouted M. Godard, and someone’s shove made the helmet fly off the hooligan’s head with a clatter.
“Let us move on,” said M. Godard, tugging at my sleeve, and we passed into the section of Ancient Sculpture.
I lost my way for a moment among some enormous marble legs, and twice ran around a giant knee before I again caught sight of M. Godard, who was looking for me behind the white ankle of a neighboring giantess. Here a person in a bowler, who must have clambered up her, suddenly fell from a great height to the stone floor. One of his companions began helping him up, but they were both drunk, and, dismissing them with a wave of the hand, M. Godard rushed on to the next room, radiant with Oriental fabrics; there hounds raced across azure carpets, and a bow and quiver lay on a tiger skin.
Strangely, though, the expanse and motley only gave me a feeling of oppressiveness and imprecision, and, perhaps because new visitors kept dashing by or perhaps because I was impatient to leave the unnecessarily spreading museum and amid calm and freedom conclude my business negotiations with M. Godard, I began to experience a vague sense of alarm. Meanwhile we had transported ourselves into yet another hall, which must have been really enormous, judging by the fact that it housed the entire skeleton of a whale, resembling a frigate’s frame; beyond were visible still other halls, with the oblique sheen of large paintings, full of storm clouds, among which floated the delicate idols of religious art in blue and pink vestments; and all this resolved itself in an abrupt turbulence of misty draperies, and chandeliers came aglitter and fish with translucent frills meandered through illuminated aquariums. Racing up a staircase, we saw, from the gallery above, a crowd of gray-haired people with umbrellas examining a gigantic mock-up of the universe.
At last, in a somber but magnificent room dedicated to the history of steam machines, I managed to halt my carefree guide for an instant.
“Enough!” I shouted. “I’m leaving. We’ll talk tomorrow.”
He had already vanished. I turned and saw, scarcely an inch from me, the lofty wheels of a sweaty locomotive. For a long time I tried to find the way back among models of railroad stations. How strangely glowed the violet signals in the gloom beyond the fan of wet tracks, and what spasms shook my poor heart! Suddenly everything changed again: in front of me stretched an infinitely long passage, containing numerous office cabinets and elusive, scurrying people. Taking a sharp turn, I found myself amid a thousand musical instruments; the walls, all mirror, reflected an enfilade of grand pianos, while in the center there was a pool with a bronze Orpheus atop a green rock. The aquatic theme did not end here as, racing back, I ended up in the Section of Fountains and Brooks, and it was difficult to walk along the winding, slimy edges of those waters.
Now and then, on one side or the other, stone stairs, with puddles on the steps, which gave me a strange sensation of fear, would descend into misty abysses, whence issued whistles, the rattle of dishes, the clatter of typewriters, the ring of hammers, and many other sounds, as if, down there, were exposition halls of some kind or other, already closing or not yet completed. Then I found myself in darkness and kept bumping into unknown furniture until I finally saw a red light and walked out onto a platform that clanged under me—and suddenly, beyond it, there was a bright parlor, tastefully furnished in Empire style, but not a living soul, not a living soul.… By now I was indescribably terrified, but every time I turned and tried to retrace my steps along the passages, I found myself in hitherto unseen places—a greenhouse with hydrangeas and broken windowpanes with the darkness of artificial night showing through beyond; or a deserted laboratory with dusty alembics on its tables. Finally I ran into a room of s
ome sort with coatracks monstrously loaded down with black coats and astrakhan furs; from beyond a door came a burst of applause, but when I flung the door open, there was no theater, but only a soft opacity and splendidly counterfeited fog with the perfectly convincing blotches of indistinct streetlights. More than convincing! I advanced, and immediately a joyous and unmistakable sensation of reality at last replaced all the unreal trash amid which I had just been dashing to and fro. The stone beneath my feet was real sidewalk, powdered with wonderfully fragrant, newly fallen snow, in which the infrequent pedestrians had already left fresh black tracks. At first the quiet and the snowy coolness of the night, somehow strikingly familiar, gave me a pleasant feeling after my feverish wanderings. Trustfully, I started to conjecture just where I had come out, and why the snow, and what were those lights exaggeratedly but indistinctly beaming here and there in the brown darkness. I examined and, stooping, even touched a round spur stone on the curb, then glanced at the palm of my hand, full of wet granular cold, as if hoping to read an explanation there. I felt how lightly, how naively I was clothed, but the distinct realization that I had escaped from the museum’s maze was still so strong that, for the first two or three minutes, I experienced neither surprise nor fear. Continuing my leisurely examination, I looked up at the house beside which I was standing and was immediately struck by the sight of iron steps and railings that descended into the snow on their way to the cellar. There was a twinge in my heart, and it was with a new, alarmed curiosity that I glanced at the pavement, at its white cover along which stretched black lines, at the brown sky across which there kept sweeping a mysterious light, and at the massive parapet some distance away. I sensed that there was a drop beyond it; something was creaking and gurgling down there. Further on, beyond the murky cavity, stretched a chain of fuzzy lights. Scuffling along the snow in my soaked shoes, I walked a few paces, all the time glancing at the dark house on my right; only in a single window did a lamp glow softly under its green-glass shade. Here, a locked wooden gate.… There, what must be the shutters of a sleeping shop.… And by the light of a streetlamp whose shape had long been shouting to me its impossible message, I made out the ending of a sign—“… INKA SAPOG” (“… OE REPAIR”)—but no, it was not the snow that had obliterated the “hard sign” at the end. “No, no, in a minute I shall wake up,” I said aloud, and, trembling, my heart pounding, I turned, walked on, stopped again. From somewhere came the receding sound of hooves, the snow sat like a skullcap on a slightly leaning spur stone and indistinctly showed white on the woodpile on the other side of the fence, and already I knew, irrevocably, where I was. Alas, it was not the Russia I remembered, but the factual Russia of today, forbidden to me, hopelessly slavish, and hopelessly my own native land. A semiphantom in a light foreign suit, I stood on the impassive snow of an October night, somewhere on the Moyka or the Fontanka Canal, or perhaps on the Obvodny, and I had to do something, go somewhere, run; desperately protect my fragile, illegal life. Oh, how many times in my sleep I had experienced a similar sensation! Now, though, it was reality. Everything was real—the air that seemed to mingle with scattered snowflakes, the still unfrozen canal, the floating fish house, and that peculiar squareness of the darkened and the yellow windows. A man in a fur cap, with a briefcase under his arm, came toward me out of the fog, gave me a startled glance, and turned to look again when he had passed me. I waited for him to disappear and then, with a tremendous haste, began pulling out everything I had in my pockets, ripping up papers, throwing them into the snow and stamping them down. There were some documents, a letter from my sister in Paris, five hundred francs, a handkerchief, cigarettes; however, in order to shed all the integument of exile, I would have to tear off and destroy my clothes, my linen, my shoes, everything, and remain ideally naked; and, even though I was already shivering from my anguish and from the cold, I did what I could.
But enough. I shall not recount how I was arrested, nor tell of my subsequent ordeals. Suffice it to say that it cost me incredible patience and effort to get back abroad, and that, ever since, I have forsworn carrying out commissions entrusted one by the insanity of others.
LIK
THERE is a play of the 1920s, called L’Abîme (The Abyss), by the well-known French author Suire. It has already passed from the stage straight into the Lesser Lethe (the one, that is, that serves the theater—a stream, incidentally, not quite as hopeless as the main river, and containing a weaker solution of oblivion, so that angling producers may still fish something out many years later). This play—essentially idiotic, even ideally idiotic, or, putting it another way, ideally constructed on the solid conventions of traditional dramaturgy—deals with the torments of a middle-aged, rich, and religious French lady suddenly inflamed by a sinful passion for a young Russian named Igor, who has turned up at her château and fallen in love with her daughter Angélique. An old friend of the family, a strong-willed, sullen bigot, conveniently knocked together by the author out of mysticism and lechery, is jealous of the heroine’s interest in Igor, while she in turn is jealous of the latter’s attentions to Angélique; in a word, it is all very compelling and true to life, every speech bears the trademark of a respectable tradition, and it goes without saying that there is not a single jolt of talent to disrupt the ordered course of action, swelling where it ought to swell, and interrupted when necessary by a lyric scene or a shamelessly explanatory dialogue between two old retainers.
The apple of discord is usually an early, sour fruit, and should be cooked. Thus the young man of the play threatens to be somewhat colorless, and it is in a vain attempt to touch him up a little that the author has made him a Russian, with all the obvious consequences of such trickery. According to Suire’s optimistic intention, he is an émigré Russian aristocrat, recently adopted by an old lady, the Russian wife of a neighboring landowner. One night, at the height of a thunderstorm, Igor comes knocking at our door, enters, riding crop in hand, and announces in agitation that the pinewood is burning on his benefactress’s estate, and that our pinery is also in danger. This affects us less strongly than the visitor’s youthful glamour, and we are inclined to sink onto a hassock, toying pensively with our necklace, whereupon our bigot friend observes that the reflection of flames is at times more dangerous than the conflagration itself. A solid, high-quality plot, as you can see, for it is clear at once that the Russian will become a regular caller and, in fact, Act Two is all sunny weather and bright summer clothes.
Judging by the printed text of the play, Igor expresses himself (at least in the first scenes, before the author tires of this) not incorrectly but, as it were, a bit hesitantly, every so often interposing a questioning “I think that is how you say it in French?” Later, though, when the turbulent flow of the drama leaves the author no time for such trifles, all foreign peculiarities of speech are discarded and the young Russian spontaneously acquires the rich vocabulary of a native Frenchman; it is only toward the end, during the lull before the final burst of action, that the playwright remembers with a start the nationality of Igor, whereupon the latter casually addresses these words to the old manservant: “J’étais trop jeune pour prendre part à la … comment dit-on … velika voïna … grande, grande guerre.…” In all fairness to the author, it is true that, except for this “velika voïna” and one modest “dosvidania,” he does not abuse his acquaintance with the Russian language, contenting himself with the stage direction “Slavic singsong lends a certain charm to Igor’s speech.”
In Paris, where the play had great success, Igor was played by François Coulot, and played not badly but for some reason with a strong Italian accent, which he evidently wanted to pass off as Russian, and which did not surprise a single Parisian critic. Afterwards, when the play trickled down into the provinces, this role fell by chance to a real Russian actor, Lik (stage name of Lavrentiy Ivanovich Kruzhevnitsyn), a lean, fair-haired fellow with coffee-dark eyes, who had previously won some fame, thanks to a film in which he did an excellent job in the bit part
of a stutterer.
It was hard to say, though, if Lik (the word means “countenance” in Russian and Middle English) possessed genuine theatrical talent or was a man of many indistinct callings who had chosen one of them at random but could just as well have been a painter, jeweler, or ratcatcher. Such a person resembles a room with a number of different doors, among which there is perhaps one that does lead straight into some great garden, into the moonlit depths of a marvelous human night, where the soul discovers the treasure intended for it alone. But, be that as it may, Lik had failed to open that door, taking instead the Thespian path, which he followed without enthusiasm, with the absent manner of a man looking for signposts that do not exist but that perhaps have appeared to him in a dream, or can be distinguished in the undeveloped photograph of some other locality that he will never, never visit. On the conventional plane of earthly habitus, he was in his thirties, and so was the century. In elderly people stranded not only outside the border of their country but outside that of their own lives, nostalgia evolves into an extraordinarily complex organ, which functions continuously, and its secretion compensates for all that has been lost; or else it becomes a fatal tumor on the soul that makes it painful to breathe, sleep, and associate with carefree foreigners. In Lik, this memory of Russia remained in the embryonic state, confined to misty childhood recollections, such as the resinous fragrance of the first spring day in the country, or the special shape of the snowflake on the wool of his hood. His parents were dead. He lived alone. There was always something sleazy about the loves and friendships that came his way. Nobody wrote gossipy letters to him, nobody took a greater interest in his worries than he did himself, and there was no one to go and complain to about the undeserved precariousness of his very being when he learned from two doctors, a Frenchman and a Russian, that (like many protagonists) he had an incurable heart ailment—while the streets were virtually swarming with robust oldsters. There seemed to be a certain connection between this illness of his and his fondness for fine, expensive things; he might, for example, spend his last 200 francs on a scarf or a fountain pen, but it always, always happened that the scarf would soon get soiled, the pen broken, despite the meticulous, even pious, care he took of things.
Nabokov's Dozen: Thirteen Stories Page 19
