The Rukavishnikov blazon is more modest, but also less conventional than the Nabokov one. The escutcheon is a stylized version of a domna (primitive blast furnace), in allusion, no doubt, to the smelting of the Uralian ores that my adventurous ancestors discovered. I wish to note that these Rukavishnikovs—Siberian pioneers, gold prospectors and mining engineers—were not related, as some biographers have carelessly assumed, to the no less wealthy Moscow merchants of the same name. My Rukavishnikovs belonged (since the eighteenth century) to the landed gentry of Kazan Province. Their mines were situated at Alopaevsk near Nizhni-Tagilsk, Province of Perm, on the Siberian side of the Urals. My father had twice traveled there on the former Siberian Express, a beautiful train of the Nord-Express family, which I planned to take soon, though rather on an entomological than mineralogical trip, but the revolution interfered with that project.
My mother, Elena Ivanovna (August 29, 1876—May 2, 1939), was the daughter of Ivan Vasilievich Rukavishnikov (1841–1901), landowner, justice of the peace, and philanthropist, son of a millionaire industrialist, and Olga Nikolaevna (1845–1901), daughter of Dr. Kozlov. My mother’s parents both died of cancer within the same year, he in March, she in June. Of her seven siblings, five died in infancy, and of her two older brothers, Vladimir died at sixteen at Davos, in the eighteen-eighties, and Vasiliy in Paris, in 1916. Ivan Rukavishnikov had a terrible temper and my mother feared him. In my childhood all I knew about him were his portraits (his beard, the magisterial chain around his neck) and such attributes of his main hobby as decoy ducks and elk heads.
A pair of especially large bears he had shot stood upright with redoubtably raised front paws in the iron-barred vestibule of our country house. Every summer I gauged my height by the ability to reach their fascinating claws—first those of the lower forelimbs, then those of the upper. Their bellies proved disappointingly hard, once your fingers (accustomed to palpate live dogs or toy animals) had sunk in their rough brown fur. Now and then they used to be taken out into a corner of the garden to be thoroughly whacked and aired, and poor Mademoiselle, approaching from the direction of the park, would utter a cry of alarm as she caught sight of two savage beasts waiting for her in the mobile shade of the trees. My father cared nothing for the shooting of game, greatly differing in this respect from his brother Sergey, a passionate sportsman who since 1908 was Master of the Hounds to His Majesty the Tsar.
One of my mother’s happier girlhood recollections was having traveled one summer with her aunt Praskovia to the Crimea, where her paternal grandfather had an estate near Feodosia. Her aunt and she went for a walk with him and another old gentleman, the well-known seascape painter Ayvazovski. She remembered the painter saying (as he had said no doubt many times) that in 1836, at an exhibition of pictures in St. Petersburg, he had seen Pushkin, “an ugly little fellow with a tall handsome wife.” That was more than half a century before, when Ayvazovski was an art student, and less than a year before Pushkin’s death.
She also remembered the touch nature added from its own palette—the white mark a bird left on the painter’s gray top hat. The aunt Praskovia, walking beside her, was her mother’s sister, who had married the celebrated syphilologist V. M. Tarnovski (1839–1906) and who herself was a doctor, the author of works on psychiatry, anthropology and social welfare. One evening at Ayvazovski’s villa near Feodosia, Aunt Praskovia met at dinner the twenty-eight-year-old Dr. Anton Chekhov whom she somehow offended in the course of a medical conversation.
She was a very learned, very kind, very elegant lady, and it is hard to imagine how exactly she could have provoked the incredibly coarse outburst Chekhov permits himself in a published letter of August 3, 1888, to his sister. Aunt Praskovia, or Aunt Pasha, as we called her, often visited us at Vyra. She had an enchanting way of greeting us, as she swept into the nursery with a sonorous “Bonjour, les enfants!” She died in 1910. My mother was at her bedside, and Aunt Pasha’s last words were: “That’s interesting. Now I understand. Everything is water, vsyo—voda.”
My mother’s brother Vasiliy was in the diplomatic service, which he treated, however, far more lightly than my uncle Konstantin did. For Vasiliy Ivanovich it was not a career, but a more or less plausible setting. French and Italian friends, being unable to pronounce his long Russian surname, had boiled it down to “Ruka” (with the accent on the last syllable), and this suited him far better than did his Christian name. Uncle Ruka appeared to me in my childhood to belong to a world of toys, gay picture books, and cherry trees laden with glossy black fruit: he had glass-housed a whole orchard in a corner of his country estate, which was separated from ours by the winding river. During the summer, almost every day at lunchtime his carriage might be seen crossing the bridge and then speeding toward our house along a hedge of young firs.
When I was eight or nine, he would invariably take me upon his knee after lunch and (while two young footmen were clearing the table in the empty dining room) fondle me, with crooning sounds and fancy endearments, and I felt embarrassed for my uncle by the presence of the servants and relieved when my father called him from the veranda: “Basile, on vous attend.” Once, when I went to meet him at the station (I must have been eleven or twelve then) and watched him descend from the long international sleeping car, he gave me one look and said: “How sallow and plain [jaune et laid] you have become, my poor boy.” On my fifteenth nameday, he took me aside and in his brusque, precise and somewhat old-fashioned French informed me that he was making me his heir. “And now you may go,” he added, “l’audience est finie. Je n’ai plus rien à vous dire.”
I remember him as a slender, neat little man with a dusky complexion, gray-green eyes flecked with rust, a dark, bushy mustache, and a mobile Adam’s apple bobbing conspicuously above the opal and gold snake ring that held the knot of his tie. He also wore opals on his fingers and in his cuff links. A gold chainlet encircled his frail hairy wrist, and there was usually a carnation in the buttonhole of his dove-gray, mouse-gray or silver-gray summer suit. It was only in summer that I used to see him. After a brief stay in Rozhestveno he would go back to France or Italy, to his château (called Perpigna) near Pau, to his villa (called Tamarindo) near Rome, or to his beloved Egypt, from which he would send me picture postcards (palm trees and their reflections, sunsets, pharaohs with their hands on their knees) crossed by his thick scrawl.
Then, in June again, when the fragrant cheryomuha (racemose old-world bird cherry or simply “racemosa” as I have baptized it in my work on “Onegin”) was in foamy bloom, his private flag would be hoisted on his beautiful Rozhestveno house. He traveled with half-a-dozen enormous trunks, bribed the Nord-Express to make a special stop at our little country station, and with the promise of a marvelous present, on small, mincing feet in high-heeled white shoes would lead me mysteriously to the nearest tree and delicately pluck and proffer a leaf, saying, “Pour mon neveu, la chose la plus belle au monde—une feuille verte.”
Or he would solemnly bring me from America the Foxy Grandpa series, and Buster Brown—a forgotten boy in a reddish suit: if one looked closely, one could see that the color was really a mass of dense red dots. Every episode ended in a tremendous spanking for Buster, which was administered by his wasp-waisted but powerful Ma, who used a slipper, a hairbrush, a brittle umbrella, anything—even the bludgeon of a helpful policeman—and drew puffs of dust from the seat of Buster’s pants. Since I had never been spanked, those pictures conveyed to me the impression of strange exotic torture not different from, say, the burying of a popeyed wretch up to his chin in the torrid sand of a desert, as represented in the frontispiece of a Mayne Reid book.
4
Uncle Ruka seems to have led an idle and oddly chaotic life. His diplomatic career was of the vaguest kind. He prided himself, however, on being an expert in decoding ciphered messages in any of the five languages he knew. We subjected him to a test one day, and in a twinkle he turned the sequence “5.13 24.11 13.16 9.13.5 5.13 24.11” into the opening words of a famous monologue in Shakespeare.
Pink-coated, he rode to hounds in England or Italy; fur-coated, he attempted to motor from St.
