Then later on, when he was sixteen and I ten, he would sometimes help me with my lessons, explaining things in such a rapid impatient way, that nothing ever came of his assistance and after a while he would pocket his pencil and stalk out of the room. At that period he was tall and sallow-complexioned with a dark shadow above his upper lip. His hair was now glossily parted, and he wrote verse in a black copybook which he kept locked up in his drawer.
I once discovered where he kept the key (in a chink of the wall near the white Dutch stove in his room) and I opened that drawer. There was the copybook; also the photograph of a sister of one of his schoolmates; some gold coins; and a small muslin bag of violet sweets. The poems were written in English. We had had English lessons at home not long before my father's death, and although I never could learn to speak the language fluently, I read and wrote it with comparative ease. I dimly recollect the verse was very romantic, full of dark roses and stars and the call of the sea; but one detail stands out perfectly plain in my memory: the signature under each poem was a little black chess-knight drawn in ink.
I have endeavoured to form a coherent picture of what I saw of my half-brother in those childhood days of mine, between say 1910 (my first year of consciousness) and 1919 (the year he left for England). But the task eludes me. Sebastian's image does not appear as part of my boyhood, thus subject to endless selection and development, nor does it appear as a succession of familiar visions, but it comes to me in a few bright patches, as if he were not a constant member of our family, but some erratic visitor passing across a lighted room and then for a long interval fading into the night. I explain this not so much by the fact that my own childish interests precluded any conscious relation with one who was not young enough to be my companion and not old enough to be my guide, but by Sebastian's constant aloofness, which, although I loved him dearly, never allowed my affection either recognition or food. I could perhaps describe the way he walked, or laughed or sneezed, but all this would be no more than sundry bits of cinema-film cut away by scissors and having nothing in common with the essential drama. And drama there was. Sebastian could never forget his mother, nor could he forget that his father had died for her. That her name was never mentioned in our home added morbid glamour to the remembered charm which suffused his impressionable soul. I do not know whether he could recall with any clarity the time when she was his father's wife; probably he could in a way, as a soft radiance in the background of his life. Nor can I tell what he felt at seeing his mother again when a boy of nine. My mother says he was listless and tongue-tied, afterwards never mentioning that short and pathetically incomplete meeting. In Lost Property Sebastian hints at a vaguely bitter feeling towards his happily remarried father, a feeling which changed into one of ecstatic worship when he learnt the reason of his father's fatal duel
'My discovery of England', writes Sebastian (Lost Property), 'puts new life into my most intimate memories…. After Cambridge I took a trip to the Continent and spent a quiet fortnight at Monte Carlo. I think there is some Casino place there, where people gamble, but if so, I missed it, as most of my time was taken up by the composition of my first novel – a very pretentious affair which I am glad to say was turned down by almost as many publishers as my next book had readers. One day I went for a long walk and found a place called Roquebrune. It was at Roquebrune that my mother had died thirteen years before. I well remember the day my father told me of her death and the name of the pension where it occurred. The name was "Les Violettes". I asked a chauffeur whether he knew of such a house, but he did not. Then I asked a fruit-seller and he showed me the way. I came at last to a pinkish villa roofed with the typical Provence round red tiles, and I noticed a bunch of violets clumsily painted on the gate. So this was the house. I crossed the garden and spoke to the landlady. She said she had only lately taken over the pension from the former owner and knew nothing of the past. I asked her permission to sit awhile in the garden. An old man, naked as far down as I could see, peered at me from a balcony, but otherwise there was no one about. I sat down on a blue bench under a great eucalyptus, its bark half stripped away, as seems to be always the case with this sort of tree. Then I tried to see the pink house and the tree and the whole complexion of the place as my mother had seen it. I regretted not knowing the exact window of her room. Judging by the villa's name, I felt sure that there had been before her eyes that same bed of purple pansies. Gradually I worked myself into such a state that for a moment the pink and green seemed to shimmer and float as if seen through a veil of mist. My mother, a dim slight figure in a large hat, went slowly up the steps which seemed to dissolve into water. A terrific thump made me regain consciousness. An orange had rolled down out of the paper bag on my lap. I picked it up and left the garden. Some months later in London I happened to meet a cousin of hers. A turn of the conversation led me to mention that I had visited the place where she had died. "Oh," he said, "but it was the other Roquebrune, the one in the Var."'
It is curious to note that Mr Goodman, quoting the same passage, is content to comment that 'Sebastian Knight was so enamoured of the burlesque side of things and so incapable of caring for their serious core that he managed, without being by nature either callous or cynical, to make fun of intimate emotions, rightly held sacred by the rest of humanity'. No wonder this solemn biographer is out of tune with his hero at every point of the story.
For reasons already mentioned I shall not attempt to describe Sebastian's boyhood with anything like the methodical continuity which I would have normally achieved had Sebastian been a character of fiction. Had it been thus I could have hoped to keep the reader instructed and entertained by picturing my hero's smooth development from infancy to youth. But if I should try this with Sebastian the result would be one of those 'biographies romancйes' which are by far the worst kind of literature yet invented. So let the door be closed leaving but a thin line of taut light underneath, let that lamp go out too in the neighbouring room where Sebastian has gone to bed; let the beautiful olivaceous house on the Nova embankment fade out gradually in the grey-blue frosty night, with gently falling snowflakes lingering in the moon-white blaze of the tall street lamp and powdering the mighty limbs of the two bearded corbel: figures which support with an Atlas-like effort the oriel of my father's room. My father is dead, Sebastian is asleep, or at least mouse-quiet, in the next room – and I am lying in bed, wide awake, staring into the darkness.
Some twenty years later, I undertook a journey to Lausanne in order to find the old Swiss lady who had been first Sebastian's governess, then mine. She must have been about fifty when she left us in 1914; correspondence between us had long ceased, so I was not at all sure of finding her still alive, in 1936. But I did. There existed, as I discovered, a union of old Swiss women who had been governesses in Russia before the Revolution. They 'lived in their past', as the very kind gentleman who guided me there explained; spending their last years – and most of these ladies were decrepit and dotty – comparing notes, having petty feuds with one another and reviling the state of affairs in the Switzerland they had discovered after their many years of life in Russia. Their tragedy lay in the fact that during all those years spent in a foreign country they had kept absolutely immune to its influence (even to the extent of not learning the simplest Russian words); somewhat hostile to their surroundings – how often have I heard Mademoiselle bemoan her exile, complain of being slighted and misunderstood, and yearn for her fair native land; but when these poor wandering souls came home, they found themselves complete strangers in a changed country, so that by a queer trick of sentiment – Russia (which to them had really been an unknown abyss, remotely rumbling beyond a lamplit comer of a stuffy back room with family photographs in mother-of-pearl frames and a water-colour view of Chillon castle), unknown Russia now took on the aspect of a lost paradise, a vast, vague but retrospectively friendly place, peopled with wistful fancies. I found Mademoiselle very deaf and grey, but as voluble as ever, and after the first effusive
embraces she started to recall little facts of my childhood which were either hopelessly distorted, or so foreign to my memory that I doubted their past reality. She knew nothing of my mother's death; nor did she know of Sebastian's having died three months ago. Incidentally, she was also ignorant of his having been a great writer. She was very tearful and her tears were very sincere, but it seemed to annoy her somehow that I did not join in the crying. 'You were always so self-controlled,' she said. I told her I was writing a book about Sebastian and asked her to talk about his childhood. She had come to our house soon after my father's second marriage, but the past in her mind was so blurred and displaced that she talked of my father's first wife ('cette horrible Anglaise') as if she had known her as well as she had my mother ('cette femme admirable'). 'My poor little Sebastian,' she wailed, 'so tender to me, so noble. Ah, how I remember the way he had of flinging his little arms round my neck and saying, "I hate everybody except you, Zelle, you alone understand my soul." And that day when I gently smacked his hand – une toute petite tape – for being rude to your mother – the expression of his eyes – it made me want to cry – and his voice when he said: "I am grateful to you, Zelle. It shall never happen again…."'
She went on in this fashion for quite a long time, making me dismally uncomfortable. I managed at last, after several fruitless attempts, to turn the conversation – I was quite hoarse by that time as she had mislaid her ear-trumpet. Then she spoke of her neighbour, a fat little creature still older than she, whom I had met in the passage. 'The good woman is quite deaf,' she complained, 'and a dreadful liar. I know for certain that she only gave lessons to the Princess Demidov's children – never lived there.' 'Write that book, that beautiful book,' she cried as I was leaving, 'make it a fairy-tale with Sebastian for prince. The enchanted prince… Many a time have I said to him: Sebastian, be careful, women will adore you. And he would reply with a laugh: Well, I'll adore women too….'
I squirmed inwardly. She gave me a smacking kiss and patted my hand and was tearful again. I glanced at her misty old eyes, at the dead lustre of her false teeth, at the well-remembered garnet brooch on her bosom…. We parted. It was raining hard and I felt ashamed and cross at having interrupted my second chapter to make this useless pilgrimage. One impression especially upset me. She had not asked one single thing about Sebastian's later life, not a single question about the way he had died, nothing.
3
In November of 1918 my mother resolved to flee with Sebastian and myself from the dangers of Russia. Revolution was in full swing, frontiers were closed. She got in touch with a man who had made smuggling refugees across the border his profession, and it was settled that for a certain fee, one half of which was paid in advance, he would get us to Finland. We were to leave the train just before the frontier, at a place we could lawfully reach, and then cross over by secret paths, doubly, trebly secret owing to the heavy snowfalls in that silent region. At the starting-point of our train journey, we found ourselves, my mother and I, waiting for Sebastian, who, with the heroic help of Captain Belov, was trundling the luggage from house to station. The train was scheduled to start at 8.40 a.m. Half past and still no Sebastian. Our guide was already in the train and sat quietly reading a newspaper; he had warned my mother that in no circumstances should she talk to him in public, and as the time passed and the train was preparing to leave, a nightmare feeling of numb panic began to come over us. We knew that the man in accordance with the traditions of his profession, would never renew a performance that had misfired at the outset. We knew too that we could not again afford the expenses of flight. The minutes passed and I felt something gurgling desperately in the pit of my stomach. The thought that in a minute or two the train would move off and that we should have to return to a dark cold attic (our house had been nationalized some months ago) was utterly disastrous. On our way to the station we had passed Sebastian and Belov pushing the heavily burdened wheelbarrow through the crunching snow. This picture now stood motionless before my eyes (I was a boy of thirteen and very imaginative) as a charmed thing doomed to its paralysed eternity. My mother, her hands in her sleeves and a wisp of grey hair emerging from beneath her woollen kerchief, walked to and fro, trying to catch the eye of our guide every time she passed by his window. Eight forty-five, eight fifty…. The train was late in starting, but at last the whistle blew, a rush of warm white smoke raced its shadow across the brown snow on the platform, and at the same time Sebastian appeared running, the earflaps of his fur cap flying in the wind. The three of us scrambled into the moving train. It took some time before he managed to tell us that Captain Belov had been arrested in the street just as they were passing the house where he had lived before, and that leaving the luggage to its fate, he, Sebastian, had made a desperate dash for the station. A few months later we learned that our poor friend had been shot, together with a score of people in the same batch, shoulder to shoulder with Palchin, who died as bravely as Belov.
In his last published book, The Doubtful Asphodel (1936), Sebastian depicts an episodical character who has just escaped from an unnamed country of terror and misery. 'What can I tell you of my past, gentlemen [he is saying], I was born in a land where the idea of freedom, the notion of right, the habit of human kindness were things coldly despised and brutally outlawed. Now and then, in the course of history, a hypocrite government would paint the walls of the nation's prison a comelier shade of yellow and loudly proclaim the granting of rights familiar to happier states; but either these rights were solely enjoyed by the jailers or else they contained some secret flaw which made them even more bitter than the decrees of frank tyranny.… Every man in the land was a slave, if he was not a bully; since the soul and everything pertaining to it were denied to man, the infliction of physical pain came to be considered as sufficient to govern and guide human nature…. From time to time a thing called revolution would occur, turning the slaves into bullies and vice versa…. A dark country, a hellish place, gentlemen, and if there is anything of which I am certain in life it is that I shall never exchange the liberty of my exile for the vile parody of home….'
Owing to there being in this character's speech a chance reference to 'great woods and snow-covered plains', Mr Goodman promptly assumes that the whole passage tallies with Sebastian Knight's own attitude to Russia. This is a grotesque misconception; it should be quite clear to any unbiased reader that the quoted words refer rather to a fanciful amalgamation of tyrannic iniquities than to any particular nation or historical reality. And if I attach them to that part of my story which deals with Sebastian's escape from revolutionary Russia it is because I want to follow it up immediately with a few sentences borrowed from his most autobiographical work: 'I always think', he writes (Lost Property), 'that one of the purest emotions is that of the banished man pining after the land of his birth. I would have liked to show him straining his memory to the utmost in a continuous effort to keep alive and bright the vision of his past: the blue remembered hills and the happy highways, the hedge with its unofficial rose and the field with its rabbits, the distant spire and the near bluebell…. But because the theme has already been treated by my betters and also because I have an innate distrust of what I feel easy to express, no sentimental wanderer will ever be allowed to land on the rock of my unfriendly prose.'
Whatever the particular conclusion of this passage, it is obvious that only one who has known what it is to leave a dear country could thus be tempted by the picture of nostalgia. I find it impossible to believe that Sebastian, no matter how gruesome the aspect of Russia was at the time of our escape, did not feel the wrench we all experienced. All things considered, it had been his home, and the set of kindly, well-meaning, gentle-mannered people driven to death or exile for the sole crime of their existing, was the set to which he too belonged. His dark youthful broodings, the romantic – and let me add, somewhat artificial – passion for his mother's land, could not, I am sure, exclude real affection for the country where he had been born and bred.
After having tumbled silently into Finland, we lived for a time in Helsingfors. Then our ways parted. My mother acting on the suggestion of an old friend took me to Paris, where I continued my education. And Sebastian went to London and Cambridge. His mother had left him a comfortable income and whatever worries assailed him in later life, they were never monetary. Just before he left, we sat down, the three of us, for the minute of silence according to Russian tradition. I remember the way my mother sat, with her hands in her lap twirling my father's wedding ring (as she usually did when inactive) which she wore on the same finger as her own and which was so large that she had tied it to her own with black thread. I remember Sebastian's pose too; he was dressed in a dark-blue suit and he sat with his legs crossed, the upper foot gently swinging. I stood up first, then he, then my mother. He had made us promise not to see him to the boat, so it was there, in that whitewashed room, that we said good-bye. My mother made a quick little sign of the cross over his inclined face and a moment later we saw him through the window, getting into the taxi with his bag, in the last hunch-backed attitude of the departing.
The Real Life of Sebastian Knight Page 2