However, if Korsh wants to continue to read the proofs, ask him not to make corrections, they are indeed ridiculous.” With no less bitter pleasure he also mauled Zaharyin, who out of the goodness of his heart had spoken to Soldatenkov regarding a monthly payment (of 200 rubles) to Chernyshevski in view of Ogla Sokratovna’s extravagance. “You were fooled by the effrontery of a man whose mind has been befuddled by drunkenness,” wrote Chernyshevski to Soldatenkov, and setting in motion the whole apparatus of his logic—rusty, creaky but still as wriggly as ever, he at first justified his ire by the fact that he was being taken for a thief who wished to acquire capital, and then explained that his anger was actually only a sham for Olga Sokratovna’s sake: “Thanks to the fact that she learned of her extravagance from my letter to you, and I didn’t give in to her when she asked me to soften my expression, there were no convulsions.” At this point (the end of 1888) another brief review happened along—by now on Weber’s tenth volume. The terrible state of his mind, wounded pride, an old man’s crotchetiness and the last, hopeless attempts to shout down the silence (a feat even more difficult than Lear’s attempt to shout down the storm), all this must be remembered when you read through his spectacles the review on the inside of the pale-pink cover of The Messenger of Europe:
… Unfortunately it appears from the Foreword that the Russian translator has remained true to his simple duties as a translator only in the first six volumes, but beginning with the seventh volume he has laid upon himself a new duty … “to clean up” Weber. It is hardly possible to be grateful to him for the kind of translation where the author is “refurbished,” and such an authoritative author, at that, as Weber.
“It would seem,” remarks Strannolyubski here (somewhat mixing his metaphors), “that with this careless kick destiny had given the last suitable touch to the chain of retribution it had forged for him.” But that is not so. There remains for our inspection one more—most terrible, most complete, ultimate punishment.
Of all the madmen who tore Chernyshevski’s life into shreds, the worst was his son; not the youngest, of course, Mihail (Misha), who lived a quiet life, lovingly working away at tariff questions (he was employed in the railroads department): he had been evolved from his father’s “positive number” and was a good son, for at the time (1896–98) when his prodigal brother (which makes a moralistic picture) was publishing his Fantastic Tales and a collection of futile poems, he was piously beginning his monumental edition of his late father’s works, which he had practically brought to conclusion when he died, in 1924, surrounded by general esteem—ten years after Alexander (Sasha) had died suddenly in sinful Rome, in a small room with a stone floor, declaring his superhuman love for Italian art and crying in the heat of wild inspiration that if people would only listen to him life would be different, different! Created apparently out of everything that his father could not stand, Sasha, hardly out of his boyhood, developed a passion for everything that was weird, chimerical, and incomprehensible to his contemporaries—he lost himself in E.T.A. Hoffmann and Edgar Poe, was fascinated by pure mathematics, and a little later he was one of the first in Russia to appreciate the French “poètes maudits.”
The father, vegetating in Siberia, was unable to look after the development of his son (who was brought up by the Pypins) and what he learned he interpreted in his own way, the more so since they concealed Sasha’s mental disease from him. Gradually, however, the purity of this mathematics began to irritate Chernyshevski—and one can easily imagine with what feelings the youth used to read those long letters from his father, beginning with a deliberately debonair joke and then (like the conversations of that Chekhov character who used to begin so well—“an old alumnus, you know, an incurable idealist …”) concluding with irate abuse; this passion for mathematics enraged him not only as a manifestation of something nonutilitarian: by jeering at everything modern, Chernyshevski whom life had outdistanced would unburden himself concerning all the innovators, eccentrics and failures of this world.
His kindhearted cousin, Pypin, in January 1875, sends him to Vilyuisk an embellished description of his student son, informing him of what might please the creator of Rakhmetov (Sasha, he wrote, had ordered an eighteen-pound metal ball for gymnastics) and what must be flattering to any father: with restrained tenderness, Pypin, recalling his youthful friendship with Nikolay Gavrilovich (to whom he was much indebted), relates that Sasha is just as clumsy, just as angular as his father was, and also laughs as loud in the same treble tones.… Suddenly, in the autumn of 1877, Sasha joined the Nevski infantry regiment, but before he reached the active army (the Russo-Turkish war was in progress) he fell ill with typhus (in his constant misfortunes one is aware of a legacy from his father, who also used to break everything and drop everything). Returning to St. Petersburg he lived alone, giving lessons and publishing articles on the theory of probability. After 1882 his mental ailment was aggravated, and more than once he had to be placed in a nursing-home. He was afraid of space, or more exactly, he was afraid of slipping into a different dimension—and in order to avoid perishing he clung continuously to the safe, solid—with Euclidean pleats—skirt of Pelageya Nikolaevna Fanderflit (née Pypin).
From Chernyshevski, who had now moved to Astrakhan, they continued to hide this. With a kind of sadistic obstinacy, with pedantic callousness matching that of any prosperous bourgeois in Dickens or Balzac, he called his son in his letters “a big ludicrous freak” and an “eccentric pauper” and accused him of a desire “to remain a beggar.” Finally Pypin could stand it no longer and explained to his cousin with a certain warmth that although Sasha may not have become “a cold and calculating businessman,” he had in compensation “acquired a pure and honorable soul.”
And then Sasha came to Astrakhan. Nikolay Gavrilovich saw those radiant, bulging eyes, heard that strange, evasive speech … Having entered the service of the oilman Nobel, and being entrusted to accompany a bargeload along the Volga, Sasha, en route, one sultry, oil-soaked, satanic noon, knocked the bookkeeper’s cap off, threw the keys into the rainbow water, and went home to Astrakhan. That same summer four of his poems appeared in The Messenger of Europe; they show a gleam of talent:
If life’s hours appear to you bitter,
Do not rail against life, for it’s best
To admit it’s your fault you’ve been born with
An affectionate heart in your breast.
And if you do not wish to acknowledge
Even such a self-evident fault …
(Incidentally, let us note the ghost of an additional syllable in “life’s hou-urs” matching zhiz-en’, instead of zhizn’ which is extremely characteristic of unbalanced Russian poets of the woebegone sort: a flaw corresponding, it would seem, to something lacking in their lives, something that might have turned life into song. The last line quoted has however an authentic poetic ring.)
The joint domicile of father and son was a joint hell. Chernyshevski drove Sasha to agonizing insomnia with his endless admonitions (as a “materialist” he had the fanatic effrontery to suppose that the main cause of Sasha’s disorder was his “pitiful material condition”), and he himself suffered in a way that he had not done even in Siberia. They both breathed easier when that winter Sasha went away—at first to Heidelberg with the family in which he was tutor and then to St. Petersburg “because of the need to get medical advice.” Petty, falsely funny misfortunes continued to spatter him. Thus we learn from a letter of his mother’s (1888) that while “Sasha was pleased to go out for a stroll, the house in which he was living burned down,” and everything that he possessed burned with it; and, by now utterly destitute, he moved to the country house of Strannolyubski (the critic’s father?).
In 1889, Chernyshevski received permission to go to Saratov. Whatever emotions this might have awakened in him, these were in any case poisoned by an intolerable family worry: Sasha, who had always had a pathological passion for exhibitions, suddenly undertook a most extravagant and happy trip to the notorious Exposition universelle in Paris—having at first got stuck in Berlin, where it was necessary to send him money in the consul’s name with a request to dispatch him back; but no: when he received the money Sasha made his way to Paris, had his fill “of the wonderful wheel, of the gigantic, filigree tower”—and again was penniless.
Chernyshevski’s feverish work on huge masses of Weber (which turned his brain into a forced labor factory and represented in fact the greatest mockery of human thought) did not cover unlooked-for expenditures—and day after day dictating, dictating, dictating, he felt that he could not go on, could not go on turning world history into rubles—and in the meantime he was also tormented by the panicky fear that from Paris, Sasha would come crashing into Saratov.
On October 11th, he wrote Sasha that
