But when today I tote up what has remained to me of this new poetry I see that very little has survived, and what has is precisely a natural continuation of Pushkin, while the motley husk, the wretched sham, the masks of mediocrity and the stilts of talent—everything that my love once forgave or saw in a special light (and that seemed to my father to be the true face of innovation—“the mug of modernism” as he expressed it), is now so old-fashioned, so forgotten as even Karamzin’s verses are not forgotten; and when on someone else’s shelf I come across this or that collection of poems which had once lived with me as brother, I feel in them only what my father then felt without actually knowing them. His mistake was not that he ran down all “modern poetry” indiscriminately, but that he refused to detect in it the long, life-giving ray of his favorite poet.
I met her in June 1916. She was twenty-three. Her husband, a distant relative of ours, was at the front. She lived in a small villa inside the boundaries of our estate and often used to visit us. Because of her I almost forgot butterflies and completely overlooked the revolution. In the winter of 1917 she went away to Novorossisk—and it was only in Berlin that I accidentally heard about her terrible death. She was a thin little thing, with chestnut hair combed high, a gay look in her big black eyes, dimples on her pale cheeks, and a tender mouth which she made up out of a flacon of fragrant ruby-red liquid by putting the glass stopper to her lips. In all her ways there was something I found lovable to the point of tears, something indefinable at the time, but now appearing to me as a kind of pathetic insouciance.
She was not intelligent, she was poorly educated and banal, that is, your exact opposite … no, no, I do not mean at all that I loved her more than you, or that those assignations were happier than my evening meetings with you … but all her shortcomings were concealed in such a tide of fascination, tenderness and grace, such enchantment flowed from her most fleeting, irresponsible word, that I was prepared to look at her and listen to her eternally—but what would happen now if she were resurrected—I don’t know, you should not ask stupid questions.
In the evenings I used to see her home. Those walks will come in handy sometime. In her bedroom there was a little picture of the Tsar’s family and a Turgenevian odor of heliotrope. I used to return long after midnight (my tutor, fortunately, had gone back to England), and I shall never forget that feeling of lightness, pride, rapture and wild night hunger (I particularly yearned for curds-and-whey with black bread) as I walked along our faithfully and even fawningly soughing avenue toward the dark house (only Mother had a light on) and heard the barking of the watchdogs. It was then also that my versificatory illness began.
At times I would be sitting at lunch, seeing nothing, my lips moving—and to my neighbor who had asked for the sugar bowl I would pass my glass or a napkin ring. Despite my inexperienced desire to transpose into verse the murmur of love filling me (well do I remember Uncle Oleg saying that if he were to publish a volume of poetry he would certainly call it Heart Murmur), I had already rigged up my own, albeit poor and primitive, wordsmithy; thus, in selecting adjectives, I was already aware that ones like “innumerable” or “intangible” would simply and conveniently fill the yawning gap, which was longing to sing, from the caesura to the word closing the line (“For we shall dream innumerable dreams”); and again that for this last word one could take an additional adjective, of only two syllables, so as to combine it with the long centerpiece (“Of loveliness intangible and tender”), a melodic formula which, by the way, has had a quite disastrous effect on Russian, as well as on French poetry.
I knew that handy adjectives of the amphibrachic type (a trisyllable that one visualizes in the shape of a sofa with three cushions—the middle one dented) were legion in Russian—and how many such “dejécted,” “enchánted” and “rebéllious” I wasted; that we had also plenty of trochees (“ténder”), but far fewer dactyls (“sórrowful”), and these somehow all stood in profile; that finally anapaestic and iambic adjectives were on the rare side, and in addition always rather dull and inflexible, like “incompléte” or “forlórn.” I knew further that great long ones like “incomprehénsible” and “infinitésimal” would come into the tetrameter bringing with them their own orchestras, and that the combination “unwanted and misunderstood” gave a certain moiré quality to the line; look at it this way—it is an amphibrach, and that way—an iamb.
A little later Andrey Bely’s monumental research on “half stresses” (the “comp” and the “ble” in the line “Incomprehensible desires”) hypnotized me with its system of graphically marking off and calculating these scuds, so that I immediately reread all my old tetrameters from this new point of view and was terribly pained by the paucity of modulations. When plotted, their diagrams proved to be plain and gappy, showing none of those rectangles and trapeziums that Bely had found for the tetrameters of great poets; whereupon for the space of almost a whole year—an evil and sinful year—I tried to write with the aim of producing the most complicated and rich scud-scheme possible:
In miserable meditations,
And aromatically dark,
Full of interconverted patience,
Sighs the semidenuded park.
and so on for half-a-dozen strophes: the tongue stumbled but one’s honor was saved. When graphically expressed by joining the “half-stresses” (“ra,” “med,” “ar,” “cal,” etc.), in the verses and from one verse to another, this monster’s rhythmic structure gave rise to something in the nature of that wobbly tower of coffeepots, baskets, trays and vases which a circus clown balances on a stick, until he runs into the barrier of the arena when everything slowly leans over the nearest spectators (screaming horribly) but on falling turns out to be safely strung on a cord.
As a result, probably, of the weak motive power of my little lyrical rollers, verbs and other parts of speech interested me less. Not so with questions of meter and rhythm. Overcoming a natural preference for iambics, I dangled after ternary meters; later on, departures from meter fascinated me. That was the time when Balmont in his poem beginning “I will be reckless, I will be daring” launched that artificial iambic tetrameter with the bump of an extra syllable after the second foot, in which, as far as I know, not a single good poem was ever written. I would give this prancing hunchback a sunset to carry or a boat and was amazed that the former faded and the latter sank. Things went easier with the dreamy stutter of Blok’s rhythms, but as soon as I began to use them my verse was imperceptibly infiltrated by stylized medievalizing—blue page-boys, monks, princesses—similar to the way that in a German tale the shadow of Bonaparte visits the antiquary Stolz at night to look for the ghost of its tricorn.
As my hunt for them progressed, rhymes settled down into a practical system somewhat on the order of a card index. They were distributed in little families—rhyme-clusters, rhymescapes. Letuchiy (flying) immediately grouped tuchi (clouds) over the kruchi (steeps) of the zhguchey (burning) desert and of neminuchey (inevitable) fate. Nebosklon (sky) let the muse onto the balkon (balcony) and showed her a klyon (maple). Tsvety (flowers) and ty (thou) summoned mechty (fancies) in the midst of temnoty (darkness). Svechi, plechi, vstrechi, and rechi (tapers, shoulders, meetings, and speeches) created the old-world atmosphere of a ball at the Congress of Vienna or on the town governor’s birthday.
Glaza (eyes) shone blue in the company of biryuza (turquoise), groza (thunderstorm), and strekoza (dragonfly), and it was better not to get involved in the series. Derevya (trees) found themselves dully paired with kochevya (nomad encampments) as happens in the game in which one has to collect cards with the names of cities, with only two representing Sweden (but a dozen in the case of France!). Veter (wind) had no mate, except for a not very attractive setter running about in the distance, but by shifting into the genitive, one could get words ending in “meter” to perform (vetra-geometra). There were also certain treasured freaks, rhymes to which, like rare stamps in an album, were represented by blanks. Thus it took me a long time to discover that ametistovyy (amethystine) could be rhymed with perelistyvay (turn the pages), with neistovyy (furioso), and with the genitive case of an utterly unsuitable pristav (police constable). In short, it was a beautifully labeled collection that I had always close to hand.
I do not doubt that even then, at the time of that ugly, crippling school (which I would hardly have bothered with at all were I a typical poet
