Speak, Memory

11

1

IN ORDER to reconstruct the summer of 1914, when the numb fury of verse-making first came over me, all I really need is to visualize a certain pavilion. There the lank, fifteen-year-old lad I then was, sought shelter during a thunderstorm, of which there was an inordinate number that July. I dream of my pavilion at least twice a year. As a rule, it appears in my dreams quite independently of their subject matter, which, of course, may be anything, from abduction to zoolatry. It hangs around, so to speak, with the unobtrusiveness of an artist’s signature. I find it clinging to a corner of the dream canvas or cunningly worked into some ornamental part of the picture. At times, however, it seems to be suspended in the middle distance, a trifle baroque, and yet in tune with the handsome trees, dark fir and bright birch, whose sap once ran through its timber. Wine-red and bottle-green and dark-blue lozenges of stained glass lend a chapel-like touch to the latticework of its casements. It is just as it was in my boyhood, a sturdy old wooden structure above a ferny ravine in the older, riverside part of our Vyra park. Just as it was, or perhaps a little more perfect. In the real thing some of the glass was missing, crumpled leaves had been swept in by the wind. The narrow little bridge that arched across the ghyll at its deepest part, with the pavilion rising midway like a coagulated rainbow, was as slippery after a rainy spell as if it had been coated with some dark and in a sense magic ointment. Etymologically, “pavilion” and “papilio” are closely related. Inside, there was nothing in the way of furniture except a folding table hinged rustily to the wall under the east window, through the two or three glassless or pale-glassed compartments of which, among the bloated blues and drunken reds, one could catch a glimpse of the river. On a floorboard at my feet a dead horsefly lay on its back near the brown remains of a birch ament. And the patches of disintegrating whitewash on the inside of the door had been used by various trespassers for such jottings as: “Dasha, Tamara and Lena have been here” or “Down with Austria!”

The storm passed quickly. The rain, which had been a mass of violently descending water wherein the trees writhed and rolled, was reduced all at once to oblique lines of silent gold breaking into short and long dashes against a background of subsiding vegetable agitation. Gulfs of voluptuous blue were expanding between great clouds—heap upon heap of pure white and purplish gray, lepota (Old Russian for “stately beauty”), moving myths, gouache and guano, among the curves of which one could distinguish a mammary allusion or the death mask of a poet.

The tennis court was a region of great lakes.

Beyond the park, above steaming fields, a rainbow slipped into view; the fields ended in the notched dark border of a remote fir wood; part of the rainbow went across it, and that section of the forest edge shimmered most magically through the pale green and pink of the iridescent veil drawn before it: a tenderness and a glory that made poor relatives of the rhomboidal, colored reflections which the return of the sun had brought forth on the pavilion floor.

A moment later my first poem began. What touched it off? I think I know. Without any wind blowing, the sheer weight of a raindrop, shining in parasitic luxury on a cordate leaf, caused its tip to dip, and what looked like a globule of quicksilver performed a sudden glissando down the center vein, and then, having shed its bright load, the relieved leaf unbent. Tip, leaf, dip, relief—the instant it all took to happen seemed to me not so much a fraction of time as a fissure in it, a missed heartbeat, which was refunded at once by a patter of rhymes: I say “patter” intentionally, for when a gust of wind did come, the trees would briskly start to drip all together in as crude an imitation of the recent downpour as the stanza I was already muttering resembled the shock of wonder I had experienced when for a moment heart and leaf had been one.

2

In the avid heat of the early afternoon, benches, bridges and boles (all things, in fact, save the tennis court) were drying with incredible rapidity, and soon little remained of my initial inspiration. Although the bright fissure had closed, I doggedly went on composing. My medium happened to be Russian but could have been just as well Ukrainian, or Basic English, or Volapük. The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail.

But then, in a sense, all poetry is positional: to try to express one’s position in regard to the universe embraced by consciousness, is an immemorial urge. The arms of consciousness reach out and grope, and the longer they are the better. Tentacles, not wings, are Apollo’s natural members. Vivian Bloodmark, a philosophical friend of mine, in later years, used to say that while the scientist sees everything that happens in one point of space, the poet feels everything that happens in one point of time. Lost in thought, he taps his knee with his wandlike pencil, and at the same instant a car (New York license plate) passes along the road, a child bangs the screen door of a neighboring porch, an old man yawns in a misty Turkestan orchard, a granule of cinder-gray sand is rolled by the wind on Venus, a Docteur Jacques Hirsch in Grenoble puts on his reading glasses, and trillions of other such trifles occur—all forming an instantaneous and transparent organism of events, of which the poet (sitting in a lawn chair, at Ithaca, N.Y.) is the nucleus.

That summer I was still far too young to evolve any wealth of “cosmic synchronization” (to quote my philosopher again). But I did discover, at least, that a person hoping to become a poet must have the capacity of thinking of several things at a time. In the course of the languid rambles that accompanied the making of my first poem, I ran into the village schoolmaster, an ardent Socialist, a good man, intensely devoted to my father (I welcome this image again), always with a tight posy of wild flowers, always smiling, always perspiring. While politely discussing with him my father’s sudden journey to town, I registered simultaneously and with equal clarity not only his wilting flowers, his flowing tie and the blackheads on the fleshy volutes of his nostrils, but also the dull little voice of a cuckoo coming from afar, and the flash of a Queen of Spain settling on the road, and the remembered impression of the pictures (enlarged agricultural pests and bearded Russian writers) in the well-aerated classrooms of the village school which I had once or twice visited; and—to continue a tabulation that hardly does justice to the ethereal simplicity of the whole process—the throb of some utterly irrelevant recollection (a pedometer I had lost) was released from a neighboring brain cell, and the savor of the grass stalk I was chewing mingled with the cuckoo’s note and the fritillary’s takeoff, and all the while I was richly, serenely aware of my own manifold awareness.

He beamed and he bowed (in the effusive manner of a Russian radical), and took a couple of steps backward, and turned, and jauntily went on his way, and I picked up the thread of my poem. During the short time I had been otherwise engaged, something seemed to have happened to such words as I had already strung together: they did not look quite as lustrous as they had before the interruption. Some suspicion crossed my mind that I might be dealing in dummies. Fortunately, this cold twinkle of critical perception did not last. The fervor I had been trying to render took over again and brought its medium back to an illusory life. The ranks of words I reviewed were again so glowing, with their puffed-out little chests and trim uniforms, that I put down to mere fancy the sagging I had noticed out of the corner of my eye.

3

Apart from credulous inexperience, a young Russian versificator had to cope with a special handicap. In contrast to the rich vocabulary of satirical or narrative verse, the Russian elegy suffered from a bad case of verbal anemia. Only in very expert hands could it be made to transcend its humble origin—the pallid poetry of eighteenth-century France. True, in my day a new school was in the act of ripping up the old rhythms, but it was still to the latter that the conservative beginner turned in search of a neutral instrument—possibly because he did not wish to be diverted from the simple expression of simple emotions by adventures in hazardous form. Form, however, got its revenge. The rather monotonous designs into which early nineteenth-century Russian poets had twisted the pliant elegy resulted in certain words, or types of words (such as the Russian equivalents of fol amour or langoureux et rêvant) being coupled again and again, and this later lyricists could not shake off for a whole century.

In an especially obsessive arrangement, peculiar to the iambic of four to six feet, a long, wriggly adjective would occupy the first four or five syllables of the last three feet of the line. A good tetrametric example would be ter-pi bes-chis-len-nï-e mu-ki (en-dure in-cal-cu-la-ble tor-ments). The young Russian poet was liable to slide with fatal ease into this alluring abyss of syllables, for the illustration of which I have chosen beschislennïe only because it translates well; the real favorites were such typical elegiac components as zadumchivïe (pensive), utrachennïe (lost), muchitel’nïe (anguished), and so forth, all accented on the second syllable. Despite its great length, a word of that kind had but a single accent of its own, and, consequently, the penultimate metrical stress of the line encountered a normally unstressed syllable (nï in the Russian example, “la” in the English one). This produced a pleasant scud, which, however, was much too familiar an effect to redeem banality of meaning.

An innocent beginner, I fell into all the traps laid by the singing epithet. Not that I did not struggle. In fact, I was working at my elegy very hard, taking endless trouble over every line, choosing and rejecting, rolling the words on my tongue with the glazed-eyed solemnity of a tea-taster, and still it would come, that atrocious betrayal. The frame impelled the picture, the husk shaped the pulp. The hackneyed order of words (short verb or pronoun—long adjective—short noun) engendered the hackneyed disorder of thought, and some such line as poeta gorestnïe gryozï, translatable and accented as “the poet’s melancholy daydreams,” led fatally to a rhyming line ending in rozï (roses) or beryozï (birches) or grozï (thunderstorms), so that certain emotions were connected with certain surroundings not by a free act of one’s will but by the faded ribbon of tradition. Nonetheless, the nearer my poem got to its completion, the more certain I became that whatever I saw before me would be seen by others. As I focused my eyes upon a kidney-shaped flower bed (and noted one pink petal lying on the loam and a small ant investigating its decayed edge) or considered the tanned midriff of a birch trunk where some hoodlum had stripped it of its papery, pepper-and-salt bark, I really believed that all this would be perceived by the reader through the magic veil of my words such as utrachennïe rozï or zadumchivoy beryozï. It did not occur to me then that far from being a veil, those poor words were so opaque that, in fact, they formed a wall in which all one could distinguish were the well-worn bits of the major and minor poets I imitated. Years later, in the squalid suburb of a foreign town, I remember seeing a paling, the boards of which had been brought from some other place where they had been used, apparently, as the inclosure of an itinerant circus. Animals had been painted on it by a versatile barker; but whoever had removed the boards, and then knocked them together again, must have been blind or insane, for now the fence showed only disjointed parts of animals (some of them, moreover, upside down)—a tawny haunch, a zebra’s head, the leg of an elephant.

4

On the physical plane, my intense labors were marked by a number of dim actions or postures, such as walking, sitting, lying. Each of these broke again into fragments of no spatial importance: at the walking stage, for instance, I might be wandering one moment in the depths of the park and the next pacing the rooms of the house. Or, to take the sitting stage, I would suddenly become aware that a plate of something I could not even remember having sampled was being removed and that my mother, her left cheek twitching as it did whenever she worried, was narrowly observing from her place at the top of the long table my moodiness and lack of appetite. I would lift my head to explain—but the table had gone, and I was sitting alone on a roadside stump, the stick of my butterfly net, in metronomic motion, drawing arc after arc on the brownish sand; earthen rainbows, with variations in depth of stroke rendering the different colors.

When I was irrevocably committed to finish my poem or die, there came the most trancelike state of all. With hardly a twinge of surprise, I found myself, of all places, on a leathern couch in the cold, musty, little-used room that had been my grandfather’s study. On that couch I lay prone, in a kind of reptilian freeze, one arm dangling, so that my knuckles loosely touched the floral figures of the carpet. When next I came out of that trance, the greenish flora was still there, my arm was still dangling, but now I was prostrate on the edge of a rickety wharf, and the water lilies I touched were real, and the undulating plump shadows of alder foliage on the water—apotheosized inkblots, oversized amoebas—were rhythmically palpitating, extending and drawing in dark pseudopods, which, when contracted, would break at their rounded margins into elusive and fluid macules, and these would come together again to reshape the groping terminals. I relapsed into my private mist, and when I emerged again, the support of my extended body had become a low bench in the park, and the live shadows, among which my hand dipped, now moved on the ground, among violet tints instead of aqueous black and green. So little did ordinary measures of existence mean in that state that I would not have been surprised to come out of its tunnel right into the park of Versailles, or the Tiergarten, or Sequoia National Forest; and, inversely, when the old trance occurs nowadays, I am quite prepared to find myself, when I awaken from it, high up in a certain tree, above the dappled bench of my boyhood, my belly pressed against a thick, comfortable branch and one arm hanging down among the leaves upon which the shadows of other leaves move.

Various sounds reached me in my various situations. It might be the dinner gong, or something less usual, such as the foul music of a barrel organ. Somewhere near the stables the old tramp would grind, and on the strength of more direct impressions imbibed in earlier years, I would see him mentally from my perch. Painted on the front of his instrument were Balkan peasants of sorts dancing among palmoid willows. Every now and then he shifted the crank from one hand to the other. I saw the jersey and skirt of his little bald female monkey, her collar, the raw sore on her neck, the chain which she kept plucking at every time the man pulled it, hurting her badly, and the several servants standing around, gaping, grinning—simple folks terribly tickled by a monkey’s “antics.” Only the other day, near the place where I am recording these matters, I came across a farmer and his son (the kind of keen healthy kid you see in breakfast food ads), who were similarly diverted by the sight of a young cat torturing a baby chipmunk—letting him run a few inches and then pouncing upon him again. Most of his tail was gone, the stump was bleeding. As he could not escape by running, the game little fellow tried one last measure: he stopped and lay down on his side in order to merge with a bit of light and shade on the ground, but the too violent heaving of his flank gave him away.

The family phonograph, which the advent of the evening set in action, was another musical machine I could hear through my verse. On the veranda where our relatives and friends assembled, it emitted from its brass mouthpiece the so-called tsïganskie romansï beloved of my generation. These were more or less anonymous imitations of gypsy songs—or imitations of such imitations. What constituted their gypsiness was a deep monotonous moan broken by a kind of hiccup, the audible cracking of a lovesick heart. At their best, they were responsible for the raucous note vibrating here and there in the works of true poets (I am thinking especially of Alexander Blok). At their worst, they could be likened to the apache stuff composed by mild men of letters and delivered by thickset ladies in Parisian night clubs. Their natural environment was characterized by nightingales in tears, lilacs in bloom and the alleys of whispering trees that graced the parks of the landed gentry. Those nightingales trilled, and in a pine grove the setting sun banded the trunks at different levels with fiery red. A tambourine, still throbbing, seemed to lie on the darkening moss. For a spell, the last notes of the husky contralto pursued me through the dusk. When silence returned, my first poem was ready.

5

It was indeed a miserable concoction, containing many borrowings besides its pseudo-Pushkinian modulations. An echo of Tyutchev’s thunder and a refracted sunbeam from Fet were alone excusable. For the rest, I vaguely remember the mention of “memory’s sting”—vospominan’ya zhalo (which I had really visualized as the ovipositor of an ichneumon fly straddling a cabbage caterpillar, but had not dared say so)—and something about the old-world charm of a distant barrel organ. Worst of all were the shameful gleanings from Apuhtin’s and Grand Duke Konstantin’s lyrics of the tsïganski type. They used to be persistently pressed upon me by a youngish and rather attractive aunt, who could also spout Louis Bouilhet’s famous piece (À Une Femme), in which a metaphorical violin bow is incongruously used to play on a metaphorical guitar, and lots of stuff by Ella Wheeler Wilcox—a tremendous hit with the empress and her ladies-in-waiting. It seems hardly worthwhile to add that, as themes go, my elegy dealt with the loss of a beloved mistress—Delia, Tamara or Lenore—whom I had never lost, never loved, never met but was all set to meet, love, lose.

In my foolish innocence, I believed that what I had written was a beautiful and wonderful thing. As I carried it homeward, still unwritten, but so complete that even its punctuation marks were impressed on my brain like a pillow crease on a sleeper’s flesh, I did not doubt that my mother would greet my achievement with glad tears of pride. The possibility of her being much too engrossed, that particular night, in other events to listen to verse did not enter my mind at all. Never in my life had I craved more for her praise. Never had I been more vulnerable. My nerves were on edge because of the darkness of the earth, which I had not noticed muffling itself up, and the nakedness of the firmament, the disrobing of which I had not noticed either. Overhead, between the formless trees bordering my dissolving path, the night sky was pale with stars. In those years, that marvelous mess of constellations, nebulae, interstellar gaps and all the rest of the awesome show provoked in me an indescribable sense of nausea, of utter panic, as if I were hanging from earth upside down on the brink of infinite space, with terrestrial gravity still holding me by the heels but about to release me any moment.

Except for two corner windows in the upper story (my mother’s sitting room), the house was already dark. The night watchman let me in, and slowly, carefully, so as not to disturb the arrangement of words in my aching head, I mounted the stairs. My mother reclined on the sofa with the St. Petersburg Rech in her hands and an unopened London Times in her lap. A white telephone gleamed on the glass-topped table near her. Late as it was, she still kept expecting my father to call from St. Petersburg where he was being detained by the tension of approaching war. An armchair stood by the sofa, but I always avoided it because of its golden satin, the mere sight of which caused a laciniate shiver to branch from my spine like nocturnal lightning. With a little cough, I sat down on a footstool and started my recitation. While thus engaged, I kept staring at the farther wall upon which I see so clearly in retrospect some small daguerreotypes and silhouettes in oval frames, a Somov aquarelle (young birch trees, the half of a rainbow—everything very melting and moist), a splendid Versailles autumn by Alexandre Benois, and a crayon drawing my mother’s mother had made in her girlhood—that park pavilion again with its pretty windows partly screened by linked branches. The Somov and the Benois are now in some Soviet Museum but that pavilion will never be nationalized.

As my memory hesitated for a moment on the threshold of the last stanza, where so many opening words had been tried that the finally selected one was now somewhat camouflaged by an array of false entrances, I heard my mother sniff. Presently I finished reciting and looked up at her. She was smiling ecstatically through the tears that streamed down her face. “How wonderful, how beautiful,” she said, and with the tenderness in her smile still growing, she passed me a hand mirror so that I might see the smear of blood on my cheekbone where at some indeterminable time I had crushed a gorged mosquito by the unconscious act of propping my cheek on my fist. But I saw more than that. Looking into my own eyes, I had the shocking sensation of finding the mere dregs of my usual self, odds and ends of an evaporated identity which it took my reason quite an effort to gather again in the glass.

The author in Cambridge, Spring 1920. It was not unnatural for a Russian, when gradually discovering the pleasures of the Cam, to prefer, at first, a rowboat to the more proper canoe or punt.