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
Rose in the glory of the dawn
Like smoking altars,
and while the young monk was telling a fellow recluse of his struggle with a leopard—
O, I was awesome to behold!
Myself a leopard, wild and bold.
His flaming rage, his yells were mine
—a subdued caterwauling sounded behind me; it might have come from young Rzhevuski, with whom I used to attend dancing classes, or Alec Nitte who was to win some renown a year or two later for poltergeist phenomena, or one of my cousins. Gradually, as Lenski’s reedy voice went on and on, I became aware that, with a few exceptions—such as, perhaps, Samuel Rosoff, a sensitive schoolmate of mine—the audience was secretly scoffing at the performance, and that afterward I would have to cope with various insulting remarks. I felt a quiver of acute pity for Lenski—for the meek folds at the back of his shaven head, for his pluck, for the nervous movements of his pointer, over which, in cold, kittenish paw-play, the colors would sometimes slip, when he brought it too close to the screen. Toward the end, the monotony of the proceedings became quite unbearable; the flustered operator could not find the fourth slide, having got it mixed up with the used ones, and while Lenski patiently waited in the dark, some of the spectators started to project the black shadows of their raised hands upon the frightened white screen, and presently, one ribald and agile boy (could it be I after all—the Hyde of my Jekyll?) managed to silhouette his foot, which, of course, started some boisterous competition. When at last the slide was found and flashed onto the screen, I was reminded of a journey, in my early childhood, through the long, dark St. Gothard Tunnel, which our train entered during a thunderstorm, but it was all over when we emerged, and then
Blue, green and orange, wonderstruck
With its own loveliness and luck,
Across a crag a rainbow fell
And captured there a poised gazelle.
I should add that during this and the following, still more crowded, still more awful Sunday afternoon sessions, I was haunted by the reverberations of certain family tales I had heard. In the early eighties, my maternal grandfather, Ivan Rukavishnikov, not finding for his sons any private school to his liking, had created an academy of his own by hiring a dozen of the finest professors available and assembling a score of boys for several terms of free education in the halls of his St. Petersburg house (No. 10, Admiralty Quay). The venture was not a success. Those friends of his whose sons he wanted to consort with his own were not always compliant, and of the boys he did get, many proved disappointing. I formed a singularly displeasing image of him, exploring schools for his obstinate purpose, his sad and strange eyes, so familiar to me from photographs, seeking out the best-looking boys among the best scholars. He is said to have actually paid needy parents in order to muster companions for his two sons. Little as our tutor’s naive lantern-slide shows had to do with Rukavishnikovian extravaganzas, my mental association of the two enterprises did not help me to put up with Lenski’s making a fool and a bore of himself, so I was happy when, after three more performances (“The Bronze Horseman” by Pushkin; “Don Quixote”; and “Africa —the Land of Marvels”), my mother acceded to my frantic supplications and the whole business was dropped.
