“Ah—all very well—just wait until you see Masquerade.”
These manifestations of the artistic spirit had not been very numerous of late in Petrograd. At the beginning of the war there had been many cabarets—The Cow, The Calf, The Dog, The Striped Cat—and these had been underground cellars, lighted by Chinese lanterns, and the halls decorated with Futurist paintings by Yakkolyeff or some other still more advanced spirit. It seemed strange to me as I dressed that evening. I do not know how long it was since I had put on a dinner-jacket. With the exception of that one other visit to Baron Wilderling this seemed to be my one link with the old world, and it was curious to feel its fascination, its air of comfort and order and cleanliness, its courtesy and discipline. I think I’ll leave these rooms,
I thought as I looked about me, and take a decent flat somewhere.
It is a strange fact, behind which there lies, I believe, some odd sort of moral significance, that I cannot now recall the events of that evening in any kind of clear detail. I remember that it was bitterly cold, with a sky that was flooded with stars. The snow had a queer metallic sheen upon it as though it were coloured ice, and I can see now the Nevski like a slab of some fiercely painted metal rising out of the very smack of our horses’ hoofs as my sleigh sped along—as though, silkworm-like, I spun it out of the entrails of the sledge. It was all light and fire and colour that night, with towers of gold and frosted green, and even the black crowds that thronged the Nevski pavements shot with colour.
Somewhere in one of Shorthouse’s stories—in The Little Schoolmaster Mark, I think—he gives a curious impression of a whirling fantastic crowd of revellers who evoke by their movements some evil pattern in the air around them, and the boy who is standing in their midst sees this dark twisted sinister picture forming against the gorgeous walls and the coloured figures until it blots out the whole scene and plunges him into darkness. I will not pretend that on this evening I discerned anything sinister or ominous in the gay scene that the Alexandra Theatre offered me, but I was nevertheless weighed down by some quite unaccountable depression that would not let me alone. For this I can see now that Lawrence was very largely responsible. When I met him and the Wilderlings in the foyer of the theatre I saw at once that he was greatly changed.
The clear open expression of his eyes was gone; his mind was far away from his company—and it was as though I could see into his brain and watch the repetition of the old argument occurring again and again and again with always the same questions and answers, the same reproaches, the same defiances, the same obstinacies. He was caught by what was perhaps the first crisis of his life. He had never been a man for much contact with his fellow-beings, he had been aloof and reserved, generous in his judgements of others, severe and narrow in his judgement of himself. Above all, he had been proud of his strength. …
Now he was threatened by something stronger than himself. He could have managed it so long as he was aware only of his love for Vera. … Now, when, since Nina’s party, he knew that also Vera loved him, he had to meet the tussle of his life.
That, at any rate, is the kind of figure that I give to his mood that evening. He has told me much of what happened to him afterwards, but nothing of that particular night, except once. “Do you remember that Masquerade evening? … I was in hell that night. …” which, for Lawrence, was expressive enough.
Both the Baron and his wife were in great spirits. The Baron was more than ever the evocation of the genius of elegance and order; he seemed carved out of some coloured ivory, behind whose white perfection burnt a shining resolute flame.
His clothes were so perfect that they would have expressed the whole of him even though his body had not been there. He was happy. His eyes danced appreciatively; he waved his white gloves at the scene as though blessing it.
“Of course, Mr. Durward,” he said to me, “this is nothing compared with what we could do before the war—nevertheless here you see, for a moment, a fragment of the old Petersburg—Petersburg as it shall be, please God, again one day. …”
I do not in the least remember who was present that evening, but it was, I believe, a very distinguished company. The lights blazed, the jewels flashed, and the chatter was tremendous. The horseshoe-shaped seats behind the stalls clustered in knots and bunches of colour under the great glitter of electricity about the Royal Box. Artists—Somoff and Benois and Dobujinsky; novelists like Sologub and Merejkowsky; dancers like Karsavina—actors from all over Petrograd—they were there, I expect, to add criticism and argument to the adulation of friends and of the carelessly observant rich Jews and merchants who had come simply to display their jewellery. Petrograd, like every other city in the world, is artistic only by the persistence of its minority.
I’m sure that there were Princesses and Grand Dukes and Grand Duchesses for anyone who needed them, and it was only in the gallery where the students and their girlfriends were gathered that the name of Lermontov was mentioned. The name of the evening was “Meyerhold,” the gentleman responsible for the production. At last the Event that had been brewing ceaselessly for the last ten years—ever since the last Revolution in fact—was to reach creation. The moment of M. Meyerhold’s life had arrived—the moment, had we known it, of many other lives also; but we
