Pushkin

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Pushkin gambled constantly, and as constantly lost, as a result having to resort to money-lenders. He played frequently with Nikita Vsevolozhsky, whose deep pockets enabled him to bear his losses. Pushkin, less fortunate, was compelled to stake his manuscripts, and in 1820 lost to Vsevolozhsky a collection of poems which he valued at 1,000 roubles. When, four years later, he was preparing to publish his verse, he employed his brother Lev to buy the manuscript back. Vsevolozhsky generously asked for only 500 roubles in exchange, but Pushkin insisted that the full amount should be paid. ‘The second chapter of “Onegin”/ Modestly slid down [i.e., was lost] upon an ace,’ Ivan Velikopolsky, an old St Petersburg acquaintance, recorded in 1826, adding elsewhere: ‘the long nails of the poet/Are no defence against the misfortunes of play.’

(#litres_trial_promo) And in December of the same year, when Pushkin was staying at a Pskov inn to recover after having been overturned in a carriage on the road from Mikhailovskoe, he told Vyazemsky that ‘instead of writing the 7th chapter of Onegin, I am losing the fourth at shtoss: it’s not funny’.

(#litres_trial_promo) Another favourite opponent at the card-table was Vasily Engelhardt, described by Vyazemsky as ‘an extravagant rich man, who did not neglect the pleasures of life, a deep gambler, who, however, during his life seems to have lost more than he won’. ‘Pushkin was very fond of Engelhardt,’ he adds, ‘because he was always ready to play cards, and very felicitously played on words.’

(#litres_trial_promo) In July 1819, having recovered from a serious illness – ‘I have escaped from Aesculapius/Thin and shaven – but alive’ – Pushkin, who was leaving for Mikhailovskoe to convalesce, in a verse epistle begged Engelhardt, ‘Venus’s pious worshipper’, to visit him before his departure.

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The cold he had caught while, as Turgenev reported, standing outside a prostitute’s door, had turned into a more serious illness – it seems likely to have been typhus. On 25 June his uncle wrote from Moscow to Vyazemsky in Warsaw: ‘Pity our poet Pushkin. He is ill with a severe fever. My brother is in despair, and I am extremely concerned by such sad news.’

(#litres_trial_promo) James Leighton, the emperor’s personal physician, was called in. He prescribed baths of ice and had Pushkin’s head shaved. After six weeks’ illness Pushkin recovered, but had to wear a wig while his own hair grew again. This was not Pushkin’s only illness, though it was the most severe, during these years in the unhealthy – both in climate and amusements – atmosphere of St Petersburg. Besides a series of venereal infections, he was also seriously ill in January 1818: ‘Our poet Aleksandr was desperately ill, but, thank God, is now better,’ Vasily Pushkin informed Vyazemsky.

(#litres_trial_promo) During this illness Elizaveta Schott-Schedel, a St Petersburg demi-mondaine, had visited him dressed as an hussar officer, which apparently contributed to his recovery. ‘Was it you, tender maiden, who stood over me/In warrior garb with pleasing gaucherie?’ he wonders, pleading with her to return now he is convalescent:

Appear, enchantress! Let me again glimpse

Beneath the stern shako your heavenly eyes,

And the greatcoat, and the belt of battle,

And the legs adorned with martial boots.

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‘Pushkin has taken to his bed,’ Aleksandr Turgenev wrote the following February;

(#litres_trial_promo) a year later, in February 1820, he was laid up yet again. Unpleasant though the recurrent maladies were, the periods of convalescence that followed afforded him the leisure to read and compose: he can have had little time for either in the frenetic pursuit of pleasure that was his life when healthy. The first eight volumes of Karamzin’s History of the Russian State had come out at the beginning of February 1818. ‘I read them in bed with avidity and attention,’ Pushkin wrote. ‘The appearance of this work (as was fitting) was a great sensation and produced a strong impression. 3,000 copies were sold in a month (Karamzin himself in no way expected this) – a unique happening in our country. Everyone, even society women, rushed to read the History of their Fatherland, previously unknown to them. It was a new revelation for them. Ancient Russia seemed to have been discovered by Karamzin, as America by Columbus.’

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The friendship between Pushkin and the Karamzins, begun at Tsarskoe Selo, had continued in St Petersburg. During the winter of 1817–18 he was a frequent visitor to the apartment they had taken in the capital on Zakharevskaya Street; at the end of June 1818 he stayed with them for three days at Peterhof, sketched a portrait of Karamzin, and, with him, Zhukovsky and Aleksandr Turgenev went for a sail on the Gulf of Finland. He was in Peterhof again in the middle of July, and, when the Karamzins moved back to their lodging in Tsarskoe Selo, visited them three times in September. At the beginning of October they took up residence in St Petersburg for the winter, staying this time with Ekaterina Muraveva on the Fontanka. Pushkin visited them soon after their arrival, but then the intimacy suddenly ceased: apart from two short meetings at Tsarskoe Selo in August 1819 there is no trace of any lengthy encounter until the spring of 1820. During this period Pushkin composed a biting epigram on Karamzin’s work:

In his ‘History’ elegance and simplicity

Disinterestedly demonstrate to us

The necessity for autocracy

And the charm of the knout.

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Shortly after Karamzin’s death on 22 May 1826 Vyazemsky wrote to Pushkin in Mikhailovskoe: ‘You know the sad cause of my journey to Petersburg. Although you are a knave and have occasionally sinned with epigrams against Karamzin, in order to extract a smile from rascals and cads, without doubt you mourn his death with your heart and mind.’

(#ulink_4292cf69-7728-5236-a78e-66317fdc33a1) ‘Your short letter distresses me for many reasons,’ Pushkin replied on 10 July. ‘Firstly, what do you mean by my epigrams against Karamzin? There was only one, written at a time when Karamzin had put me from himself, deeply wounding both my self-esteem and my heartfelt attachment to him. Even now I cannot think of this without emotion. My epigram was witty and in no way insulting, but the others, as far as I know, were stupid and violent: surely you don’t ascribe them to me? Secondly. Who are you calling rascals and cads? Oh, my dear chap … you hear an accusation and make up your mind without hearing the justification: that’s Jeddart justice. If even Vyazemsky already etc., what about the rest? It’s sad, old man, so sad, one might as well straightaway put one’s head in a noose.’

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The ‘rascals and cads’ of Vyazemsky’s letter are the Decembrists. Their trial had opened a month earlier, on 3 June: no wonder he should sadly reproach Vyazemsky for prematurely passing sentence on them. However, as his letter makes clear, though the epigram is a political attack, his rejection by Karamzin was on personal, not political grounds. In April 1820 Karamzin wrote to Dmitriev, ‘Having exhausted all means of knocking sense into his dissolute head, I already long ago abandoned the unfortunate fellow to Fate and to Nemesis.’

(#litres_trial_promo) What wounded Pushkin so deeply was an unsparing castigation of his follies, followed by banishment into outer darkness.

The performance at the Bolshoy has ended, and Eugene hurries home to change into ‘pantaloons, dress-coat, waistcoat’ (I, xxvi) – probably a brass-buttoned, blue coat with velvet collar and long tails, white waistcoat and blue nankeen pantaloons or tights, buttoning at the ankle – before speeding in a hackney carriage to a ball. This has already begun; the first dance, the polonaise, and the second, the waltz, have taken place; the mazurka, the central event of the ball, is in full swing and will be followed by the final dance, a cotillion.

The ballroom’s full;

The music’s already tired of blaring;

The crowd is busy with the mazurka;

Around it’s noisy and a squash;

The spurs of a Chevalier guardsman jingle;

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The little feet of darling ladies fly;

After their captivating tracks

Fly fiery glances,

And by the roar of violins are drowned

The jealous whispers of modish wives.

(I, xxviii)

‘In the days of gaieties and desires/I was crazy about balls’ (I, xxix), wrote Pushkin: for the furtherance of amorous intrigue they were supreme. He was simultaneously both highly idealistic and deeply cynical in his view of and attitude towards women. In a letter to his brother, written from Moldavia in 1822, full of sage and prudent injunctions on how Lev should conduct his life – none of which Pushkin himself observed – he remarked: ‘What I have to say to you with regard to women would be perfectly useless. I will only point out to you that the less one loves a woman, the surer one is of possessing her. But this pleasure is worthy of an old 18th-century monkey.’

(#litres_trial_promo) Though he fell violently in love, repeatedly, and at the least excuse, he never forgot that the objects of his passion belonged to a sex of which he held no very high opinion. ‘Women are everywhere the same. Nature, which has given them a subtle mind and the most delicate sensibility, has all but denied them a sense of the beautiful. Poetry glides past their hearing without reaching their soul; they are insensitive to its harmonies; remark how they sing fashionable romances, how they distort the most natural verses, deranging the metre and destroying the rhyme. Listen to their literary opinions, and you will be amazed by the falsity, even coarseness of their understanding … Exceptions are rare.’

(#litres_trial_promo) The hero of the unfinished A Novel in Letters echoes these views. ‘I have been often astonished by the obtuseness in understanding and the impurity of imagination of ladies who in other respects are extremely amiable. Often they take the most subtle of witticisms, the most poetic of greetings, either as an impudent epigram or a vulgar indecency. In such a case the cold aspect they assume is so appallingly repulsive that the most ardent love cannot withstand it.’

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Pushkin’s first St Petersburg passion was Princess Evdokiya Golitsyna, whom he met at the Karamzins in the autumn of 1817. This thirty-seven-year-old beauty, known, from her habit of never appearing during the day, as the princesse nocturne, had been married in 1799, at the behest of the Emperor Paul and against her wishes, to Prince Sergey Golitsyn. After Paul’s death, however, she was able to leave her husband and lead an independent, if somewhat eccentric life at her house on Bolshaya Millionnaya Street. ‘Black, expressive eyes, thick, dark hair, falling in curling locks on the shoulders, a matte, southern complexion, a kind and gracious smile; add to these an unusually soft and melodious voice and pronunciation – and you will have an approximate understanding of her appearance,’ writes Vyazemsky, one of her admirers. At midnight ‘a small, but select company gathered in this salon: one is inclined to say in this temple, all the more as its hostess could have been taken for the priestess of some pure and elevated cult’.

(#litres_trial_promo) Here the conversation would continue until three or four in the morning. In later life her eccentricities became more pronounced; in the 1840s she mounted a campaign against the introduction of the potato to Russia, on the grounds that this was an infringement of Russian nationality.

‘The poet Pushkin in our house fell mortally in love with the Pythia Golitsyna and now spends his evenings with her,’ Karamzin wrote to Vyazemsky in December 1817. ‘He lies from love, quarrels from love, but as yet does not write from love. I must admit, I would not have fallen in love with the Pythia: from her tripod spurts not fire, but cold.’

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(#litres_trial_promo) For some months he was deeply in love with her. Sending her a copy of ‘Liberty. An Ode’, he accompanied the manuscript with a short verse:

I used to sing of

The splendid dream of Freedom

And breathed it sweetly.

But then I see you, hear you,

And so? … man is weak!

Losing freedom for ever,

I adore captivity with my heart.

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But her attractions were purely spiritual; this was an ethereal love devoid of any taint of physicality. Other desires had to be satisfied elsewhere. ‘In the mornings Pushkin tells Zhukovsky where he spent the night without sleep; he spends the entire time paying visits to whores, to me, and to Princess Golitsyna, and in the evenings sometimes plays bank,’ Turgenev noted.

(#litres_trial_promo) After meeting the princess in Moscow in June 1818, Vasily Pushkin wrote to Vyazemsky: ‘I spent the entire evening with her and we talked much about you. She loves you and respects you. My nephew Aleksandr called on her every day. She gladdened me by saying that he was a very good, very clever young fellow.’

(#litres_trial_promo) By this time Pushkin’s emotions had begun to cool, and by December the episode was over.

‘Pushkin is possessed,’ Turgenev wrote to Vyazemsky on 12 November 1819. ‘I catch a glimpse of him only in the theatre, he looks in there in his free time from the animals. In general his life is spent at the office where one obtains admission tickets to look at the animals that have been brought here, among which the tiger is the most tame. He has fallen in love with the ticket-girl and has become her cavalier servant; meanwhile he is observing the nature of animals and noticing the difference from the swine he sees gratis.’ Vyazemsky’s reply is somewhat cryptic but undoubtedly indecent: ‘Pushkin’s love is surely my friend, who tortured me for a whole night … at a masked ball. Do me a favour and ask him to convey my respects to them; there should be two of them. One lion was in love with her, and when she caressed him, he displayed a leonine sceptre. Does Pushkin know about his rival? However, it’s more difficult getting a man away from a woman than having a tug-of-war with a donkey.’

(#litres_trial_promo) The girl – she seems to have been called Nastasya – sold tickets for one of the travelling menageries which visited St Petersburg at Easter, Shrove-tide and other times, setting up their booth, alongside others occupied by fortune-tellers, trained canaries, dancing dogs, jugglers, magicians, tight-rope walkers and the like, on Admiralty Square, Theatre Square in front of the Bolshoy, or on Tsaritsyn Field.

He also knew, and admired – but was never in love with – the eighteen-year-old Pole Sofya Potocka, whom he met in 1819. Her family history was an intriguing one. Her mother, Sofya Clavona, was a Greek from Constantinople, who had, it was said, been bought from her mother for 1,500 piastres by the Polish ambassador. As she was journeying to Poland with her protector, at Kamenets-Podolsk in the Ukraine she met Major Joseph Witt, who fell in love with her, married her secretly and took her to Paris. The portraitist Elisabeth Vigée-Lebrun saw her here in the early 1780s, noting that she ‘was then extremely young and as pretty as it is possible to be, but tolerably vain of her charming face’.

(#litres_trial_promo) Later Sofya attracted the attention of Potemkin, Catherine’s favourite, who, besotted with her, made her husband a general and a count, took her as his mistress and bestowed on her an estate in the Crimea. In 1788 she became the mistress of General Stanislaw-Felix Potocki, a claimant to the throne of Poland with huge estates in the Ukraine. He paid Witt two million zlotys to divorce her, and married her in 1798, after the death of his wife. He hardly received full value for his money, since she soon began an affair with his son, later living openly with him in Tulchin. Her husband died in 1805, and his son soon afterwards. Her two daughters, Sofya and Olga, rivalled their mother in beauty: Sofya married Pushkin’s friend General Kiselev in 1821, but separated from him in 1829, supposedly on learning that he had had an affair with her sister (who had married General Lev Naryshkin).

Vyazemsky met the Potocki family in Warsaw in October 1819, and immediately succumbed to Sofya’s attractions. ‘With us for a few days longer are Potocka and Sofya, who is as beautiful as Minerva in the hour of lust,’ he informed Turgenev, and a fortnight later wrote: ‘Give my respects to all our acquaintance; and, if you see her and get to know her, – to the sovereign of my imagination, Minerva in the hour of lust, in whom everything is not earthly, apart from the gaze, in which there glows the spark of earthly desire. Happy is he who will fan the spark: in it the fire of poetry glows.’

(#litres_trial_promo) In December Turgenev told Vyazemsky of Pushkin’s new verses; he had written ‘an epistle to a masturbator, and, really, it can be read even by the most bashful … How Sofya’s roses fade, because she allows no one to pick them.’ In January he sent Vyazemsky the poem in question, together with a request for enough striped black velvet to make a waistcoat, since it was unobtainable in St Petersburg. ‘Pushkin’s verses are charming!’ Vyazemsky replied. ‘Did he not write them to my lustful Minerva? They say she deals in that business.’

(#litres_trial_promo) Vyazemsky was right; the poem, ironically enitled ‘Platonic Love’, was addressed to Sofya Potocka. In 1825, when preparing his verse for publication, Pushkin wrote on the margin of the poem’s manuscript: ‘Not to be included – since I want to be a moral person.’

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* (#ulink_467999af-4b2f-5c27-b473-00720a81f408) I.e. La Pucelle: the Charites were the daughters of Zeus, goddesses personifying charm, grace and beauty.

* (#ulink_1993fb9c-5f6c-5db8-b188-93112a52879d) Grisier was a friend of Alexandre Dumas, who mentions him in The Count of Monte Cristo, and based a novel, Le Maître d’armes (3 vols, Paris, 1840–1), on his experiences in St Petersburg.

Duelling had been banned in France from 1566, in England from 1615, and in Russia from 1702. The relevant ukase of Peter the Great runs: ‘Inhabitants of Russia and foreigners residing there shall not engage in duels with any weapon whatsoever, and for this purpose shall not call out anyone nor go out: whosoever having issued a challenge inflicts a wound shall be executed’ (Duel Pushkina s Dantesom-Gekkerenom, 104). However, in all three countries there always had been a very wide gap between ban and enforcement. This was especially true of Russia, where the authorities would usually turn a blind eye to rencontres which did not have a fatal result; in the case of those which ended with the death of one combatant, the fate of the survivor often depended on the arbitrary whim of the tsar. Ivan Annenkov, a lieutenant in the Chevalier Guards, who killed an officer of the Life Guards Hussars in a duel, was, on Alexander’s orders, given the extraordinarily light sentence of three months in the guard-house. And when, in June 1823, General Kiselev, the chief of staff of the Second Army, killed Major-General Mordvinov, Alexander took no action at all: Kiselev remained in his post and underwent no punishment.

* (#ulink_aa2be086-ce6d-5e99-bf08-b3b9d6179100) Elizaveta Markovna was related to Praskovya Osipova, the owner of Trigorskoe: her brother, Petr Poltoratsky, had married Ekaterina Vulf, the sister of Praskovya’s first husband, Nikolay Vulf.

* (#ulink_e122c88d-c9c2-52e1-a5bf-7186afd04c12) The theatres were also closed from the Monday of the first week of Lent to the Sunday after Easter.

* (#ulink_cc083d84-5b36-57d3-a681-6b17bb8d9093) The phrase is an adaptation of a line in a poem of 1820, ‘Extinguished is the orb of day …’ [‘Pogaslo dnevnoe svetilo …’], II, 146.

† (#ulink_98f8c01f-76f6-5b4f-a6c8-438d272614e4) The known other members are Sergey Trubetskoy, Fedor Yurev, Dmitry Barkov, Yakov Tolstoy, Aleksandr Tokarev, Ivan Zhadovsky, Aleksandr Ulybyshev, and Prince Dmitry Dolgorukov.

* (#ulink_9013dc53-d3f9-5238-9293-6501a5375aa7) I.e. Krylova: the Russian for wing is krylo.

* (#ulink_86d71484-eb78-592e-bfed-bf8812214ba2) Vyazemsky had almost filial feelings for Karamzin: after his father’s death in 1807 (his mother, an O’Reilly, had died in 1802) Karamzin, whose second wife was Vyazemsky’s illegitimate half-sister, had come to live on the family estate at Ostafevo, near Moscow, and had acted as the young prince’s guardian.

* (#ulink_9037b027-27e8-53eb-ad5b-6ed53368ca61) Pushkin later added a manuscript note to this line: ‘An inaccuracy. Chevalier Guards officers, like other guests, appeared at balls in undress and low shoes. A just remark, but there is something poetic about the spurs’ (VI, 528).

* (#ulink_a39c9d1e-d168-5afb-bffb-c5ce11f576b5) Pythia was the priestess of Apollo at Delphi, who ‘delivered the answer of the god to such as came to consult the oracle, and was supposed to be suddenly inspired by the sulphureous vapours which issued from the hole of a subterranean cavity within the temple, over which she sat bare on a three-legged stool, called a tripod’ (Lemprière’s Classical Dictionary, 3rd ed. London, 1984, 539).

5 ST PETERSBURG 1817–20 (#ulink_806de601-aa80-51cd-b3eb-cb9eca19b31e)

III: Triumph and Disaster

Thus, an unconcerned dweller in the world,

On the lap of idle quiet,

I celebrated with obedient lyre

The legends of dark antiquity.

I sang – and forgot the insults

Of blind fate and of my enemies,

Flighty Dorida’s treacheries,

And the loud slanders of fools.

Borne on the wings of invention,

My spirit soared beyond the earth’s confine;

But meanwhile an invisible thunder-storm’s

Cloud gathered over me! …

Ruslan and Lyudmila, Epilogue

AT THE LYCÉE Pushkin had begun his first long poem, the mock-heroic epic Ruslan and Lyudmila. He continued to work on it – slowly and spasmodically, most productively when confined to his bed – in St Petersburg, reading excerpts to his friends as he progressed. ‘Pushkin is writing a charming poem and is maturing,’ Batyushkov told Vyazemsky in May 1818;

(#litres_trial_promo) and in autumn wrote to Bludov in London: ‘The Cricket is beginning the third canto of his poem. What a marvellous, rare talent! Taste, wit, invention and gaiety. Ariosto at nineteen could not have done better. I see with grief that he is letting himself be distracted, harming himself and us, lovers of beautiful verse.’

(#litres_trial_promo) In December Vyazemsky heard of further progress from Turgenev: ‘[Pushkin], despite his whole dissolute way of life, is finishing the fourth canto of his poem. If he were to have three or four more doses of clap, it would be in the bag. His first dose of venereal disease was also the first wet-nurse of his poem.’

(#litres_trial_promo) The fifth canto was written in the summer of 1819 at Mikhailovskoe; in August Fedor Glinka, the fellow-member of the Green Lamp, read the first two in manuscript. ‘O Pushkin, Pushkin! Who/Taught you to captivate with miraculous verse?’ he exclaimed.

(#litres_trial_promo) In February 1820 Pushkin, ill again, revised the fifth and worked on the sixth and final canto while convalescing. He completed this a month later, and immediately read it to Zhukovsky, who in admiration presented his young rival with his portrait, bearing the inscription: ‘To the pupil-conqueror from the conquered teacher on that most solemn day when he completed Ruslan and Lyudmila. Good Friday, 26 March 1820.’