In a large auditorium situated in that same Ruadze House there took place on March 2, 1862, Chernyshevski’s first (if you do not count his dissertation defense and the graveside speech in the frost) public address. Officially the proceeds of the evening were to go to needy students; but in actual fact it was in aid of the political prisoners Mihailov and Obruchev, who had recently been arrested. Rubinstein brilliantly performed an extremely stirring march, Professor Pavlov spoke of Russia’s millennium—and added ambiguously that if the government stopped at the first step (the emancipation of the peasants) “it would stop on the brink of an abyss—let those with ears to hear, hear.” (They heard him; he was immediately ex-pulsed.) Nekrasov read some poor but “powerful” verses dedicated to the memory of Dobrolyubov, and Kurochkin read a translation of Béranger’s “The Little Bird” (the captive’s languishment and the rapture of sudden freedom); Chernyshevski’s speech was also on Dobrolyubov.
Greeted with massive applause (the youth of those days had a way of keeping their palms hollowed while they clapped, so that the result resembled a cannon salvo), he stood for a while, blinking and smiling. Alas, his appearance did not please the ladies eagerly awaiting the tribune—whose portrait was unobtainable. An uninteresting, they said, face, haircut à la moujik, and for some reason wearing not tails but a short coat with braid and a horrible tie—“a color catastrophe” (Olga Ryzhkov, A Woman of the Sixties: Memoirs). Besides that he came somehow unprepared, oratory was new to him, and trying to conceal his agitation he adopted a conversational tone which seemed too modest to his friends and too familiar to his ill-wishers. He began by talking about his briefcase (from which he took a notebook), explaining that the most remarkable part of it was the lock with a small cogwheel: “Look, you give it a turn and the briefcase is locked, and if you want to lock it even more positively, it turns a different way and then comes off and goes in your pocket, and on the spot where it was, here on this plaque, there are carved arabesques: very, very nice.” Then in a high, edifying voice he started to read an article by Dobrolyubov that everybody knew, but suddenly broke off and (as in the authorial digressions in What to Do?) chummily taking the audience into his confidence, began to explain in great detail that he had not been Dobrolyubov’s guide; while speaking, he played ceaselessly with his watch chain—something that stuck in the minds of all the memoirists and was to provide a theme for scoffing journalists; but, when you come to think of it, he might have been fiddling with his watch because there was indeed very little free time left to him (four months in all!). His tone of voice, “négligé with spirit” as they used to say in the seminary, and the complete absence of revolutionary insinuations annoyed his audience; he had no success whatsoever, while Pavlov was almost chaired. The memoirist Nikoladze remarks that as soon as Pavlov had been banished from St. Petersburg, people understood and appreciated Chernyshevski’s caution; he himself—subsequently, in his Siberian wilderness, where a live and avid auditorium appeared to him sometimes only in febrile dreams—keenly regretted that lame speech, that fiasco, repining at himself for not having seized that unique opportunity (since he was in any case doomed to ruin!) and not delivering from that lectern in the Ruadze Hall a speech of iron and fire, that very speech which the hero of his novel was about to give, very likely, when upon returning to freedom he took a droshky and cried to the driver: “The Galleries!”
Events went very fast that windy spring. Fires broke out here and there. And suddenly—against this orange-and-black background—a vision. Running and holding on to his hat, Dostoevski sweeps by: where to?
Whit Monday (May 28, 1862), a strong wind is blowing; a conflagration has begun on the Ligovka and then the desperadoes set fire to the Apraxin Market. Dostoevski is running, firemen are galloping “and in pharmacy windows, in gaudy glass globes, upside down are in passing reflected” (as seen by Nekrasov). And over there, thick smoke billows over the Fontanka canal in the direction of Chernyshyov Street, where presently a new, black column arises…. Meanwhile Dostoevski has arrived. He has arrived at the heart of the blackness, at Chernyshevski’s place, and starts to beg him hysterically to put a stop to all this. Two aspects are interesting here: the belief in Nikolay Gavrilovich’s satanic powers, and the rumors that the arson was being carried out according to the same plan which the Petrashevskians had drawn up as early as 1849.
Secret agents, in tones also not void of mystic horror, reported that during the night at the height of the disaster “laughter was heard coming from Chernyshevski’s window.” The police endowed him with a devilish resourcefulness and smelled a trick in his every move. Nikolay Gavrilovich’s family went to spend the summer at Pavlovsk, a few miles from St. Petersburg, and there, a few days after the fires, on June 10th to be precise (dusk, mosquitoes, music), a certain Lyubetski, adjutant major of the Uhlan regiment of the Guards, a dashing fellow, with a name like a kiss, noticed as he was leaving the “vauxhall” two ladies capering about like mad things, and in the simpleness of his heart taking them for young Camelias (loose women), he “made an attempt to grasp them both by the waist.” The four students who were with them surrounded him and threatened him with retribution, announcing that one of the ladies was the wife of the writer Chernyshevski and the other her sister. What, in the opinion of the police, is the husband’s design? He tries to get the case to be submitted to the court of the officers’ association—not out of considerations of honor but merely for the clandestine purpose of bringing military men and university students together. On July 5th he had to visit the Secret Police Department in connection with his complaint. Potapov, its chief, refused his petition, saying that according to his information the Uhlan was prepared to apologize. Chernyshevski curtly renounced any claims and changing the subject asked: “Tell me, the other day I sent my family off to Saratov and am preparing myself to go there for a rest [The Contemporary had already been closed]; but if I should need to take my wife abroad, to a spa—you see she suffers from nervous pains—could I leave without hindrance?” “Of course you could,” replied Potapov good-naturedly; and two days later the arrest took place.
All this was preceded by the following event: a “universal exhibition” has just opened in London (the nineteenth century was unusually fond of exhibiting its wealth—a plentiful and tasteless dowry, which the present one has squandered); gathered there were tourists and merchants, correspondents and spies; one day at an enormous banquet Herzen, in a fit of carelessness, in view of everyone handed a certain Vetoshnikov, who was preparing to leave for Russia, a letter to the radical journalist Serno-Solovievich, who was asked to direct Chernyshevski’s attention to the announcement made in The Bell concerning its willingness to publish The Contemporary abroad. The nimble foot of the messenger had hardly had time to touch Russia’s sands when he was seized.
Chernyshevski was then living near the church of St. Vladimir (later his Astrakhan addresses were also defined by their proximity to this or that holy building) in a house where, before him, had lived Muravyov (later a cabinet minister), whom he was to depict with such helpless loathing in The Prologue. On July 7th two friends had come to see him: Doctor Bokov (who subsequently used to send medical advice to the exile) and Antonovich (a member of “Land and Freedom,” who in spite of his close friendship with Chernyshevski did not suspect that the latter was connected with that society). They were sitting in the drawing room, where they were presently joined by Colonel Rakeev, a thickset black-uniformed police officer with an unpleasant, wolfish profile. He sat down with the air of a guest; actually, he had come to arrest Chernyshevski. Again historical patterns come into that odd contact “which thrills the gamester in a historian” (Strannolyubski): this was the same Rakeev who as an embodiment of the government’s contemptible scurry had whisked Pushkin’s coffin out of the capital into posthumous exile. Having chatted a few minutes for the sake of decorum, Rakeev informed Chernyshevski with a polite smile (which caused Doctor Bokov to “turn chill inside”) that he would like to have
a word with him alone. “Then let’s go to my study,” replied the latter and headed for it so precipitately that Rakeev, though not exactly disconcerted—he was too experienced for that—did not consider it possible in his role of guest to follow him with equal speed. But Chernyshevski immediately returned, his Adam’s apple convulsively bobbing as he washed something down with cold tea (swallowed papers according to Antonovich’s sinister guess), and looking over his spectacles, he let his guest enter first. His friends, having nothing better to do (waiting in the drawing room where most of the furniture was shrouded in dust-covers seemed uncommonly bleak), went out for a stroll (“It can’t be… I can’t believe it,” Bokov kept repeating), and when they returned to the house, the fourth in Bolshoy Moskovski street, they were alarmed to see that there now stood at the door—in a kind of meek and thus all the more loathsome expectation—a prison carriage. First Bokov went in to say good-by to Chernyshevski, then—Antonovich. Nikolay Gavrilovich was sitting at his desk, playing with a pair of scissors, while the colonel sat next to it, one leg folded over the other; they were chatting—still for the sake of decorum—about the advantages of Pavlovsk over other holiday areas. “And then the company there is so excellent,” the colonel was saying with a slight cough.
“What, you too are going without waiting for me?” said Chernyshevski, turning to his apostle. “Unfortunately I have to …” replied Antonovich, in deep confusion. “Well, good-by then,” said Nikolay Gavrilovich in a joking tone of voice, and lifting his hand high, he lowered it with a swoop into Antonovich’s: a type of comradely farewell which subsequently became very widespread among Russian revolutionaries.
“And so,” exclaims Strannolyubski at the beginning of the greatest chapter in his incomparable monograph, “Chernyshevski has been seized!” That night the news of the arrest flies around the whole city. Many a breast is swelled with resonant indignation. Many a hand is clenched…. But there were not a few gloating sneers: Aha, they’ve put the ruffian away, removed the “impudent, yowling yokel,” as it was expressed by the (slightly cracked, anyway) lady novelist Kokhanovski. Next, Strannolyubski gives a striking description of the complex work which the authorities had to carry out in order to create the evidence “which should have been there but was not,” for a very curious situation had arisen: judicially speaking there was nothing to fasten on to and they had to build a scaffolding for the law to climb up and work. So they worked with “dummy quantities,” calculating to remove carefully all the dummies only when the emptiness enclosed by the law was filled up by something actual. The case built up against Chernyshevski was a phantom; but it was the phantom of genuine guilt; and then—from outside, artificially, by a roundabout route—they managed to find a certain solution to the problem which almost coincided with the true one.
We have three points: C, K, P. A cathetus is drawn, CK. To offset Chernyshevski, the authorities picked out a retired Uhlan cornet, Vladislav Dmitrievich Kostomarov, who the previous August in Moscow had been reduced to the ranks for printing seditious publications—a man with a touch of madness and a pinch of Pechorinism about him, and also a verse-maker: he left a scolopendrine trace in literature as the translator of foreign poets. Another cathetus is drawn, KP. The critic Pisarev in the periodical The Russian Word writes about these translations, scolding the author for “The magnificent tiara’s Coruscation like a pharos” [from Hugo], praising his “simple and heartfelt” rendering of some lines by Burns (which came out as “And first of all, and first of all / Let all men honest be / Let’s pray that man be to each man / A brother first of all… etc.), and in connection with Kostomarov’s report to his readers that Heine died an unrepentant sinner, the critic roguishly advises the “grim denouncer” to “take a good look at his own public activities.” Kostomarov’s derangement was evidenced in his florid graphomania, in the senseless somnambulistic (even though made-to-order) composition of counterfeit letters studded with French phrases; and finally in his macabre playfulness: he signed his reports to Putilin (a detective): Feofan Otchenashenko (Theophanus Ourfatherson) or Ventseslav Lyutyy (Wenceslaus the Fiend). And, indeed, he was fiendish in his taciturnity, funest and false, boastful and cringing. Endowed with curious abilities, he could write in a feminine hand—explaining this himself by the fact that he was “visited at the full moon by the spirit of Queen Tamara.” The plurality of hands he could imitate in addition to the circumstance (yet one more of destiny’s jokes) that his normal handwriting recalled that of Chernyshevski considerably heightened the value of this hypnotic betrayer. For indirect evidence that the appeal proclamation “To the Serfs of Landowners” had been written by Chernyshevski, Kostomarov was given, first, the task of fabricating a note, allegedly from Chernyshevski, containing a request to alter one word in the appeal; and, secondly, of preparing a letter (to “Aleksey Nikolaevich”) that would furnish proof of Chernyshevski’s active participation in the revolutionary movement. Both the one and the other were then and there concocted by Kostomarov. The forgery of the handwriting is quite evident: at the beginning the forger still took pains but then he seems to have grown bored by the work and to be in a hurry to get it over: to take but the word “I,” ya (formed in Russian script somewhat like a proofreader’s dele). In Chernyshevski’s genuine manuscripts it ends with an outgoing stroke which is straight and strong—and even curves a little to the right—while here, in the forgery, this stroke curves with a kind of queer jauntiness to the left, toward the head, as if the ya were saluting.
While these preparations went on, Nikolay Gavrilovich was held in the Alekseevski Ravelin of the Peter-and-Paul Fortress, in close proximity to the twenty-two-year-old Pisarev, who had been imprisoned there four days before him: the hypotenuse is drawn, CP, and the fateful triangle CPK is consolidated. At first, life in prison did not oppress Chernyshevski: the absence of importunate visitors even seemed refreshing… but the hush of the unknown soon began to chafe him. A “deep” matting swallowed without a trace the steps of the sentries pacing along the corridors…. The only sound that came from the outside was a clock’s classic striking which vibrated long in one’s ears…. It was a life whose portrayal demands from a writer an abundance of dots…. It was that unkind Russian isolation from which sprang the Russian dream of a kind multitude. By lifting a corner of the green baize curtain the sentry could look through the peephole in the door at the prisoner sitting on his green wooden bed or on a green chair, wearing a dressing gown of frieze and a peaked cap—one was permitted to keep one’s own headgear as long as it was not a top hat—which does credit to the government’s sense of harmony but creates by the law of negatives a rather tenacious image (as for Pisarev, he sported a fez). He was allowed a goose-quill pen, and one could write on a small green table with a sliding drawer, “whose bottom, like Achilles’ heel, had remained unpainted” (Strannolyubski).
Autumn passed. A small rowan tree grew in the prison yard. Prisoner number nine was not fond of walking; at the beginning, however, he went out every day, reasoning (a quirk of thought extremely characteristic for him) that during this time the cell was searched—consequently a refusal to go out for a walk would cause the administration to suspect he was hiding something there; but when he had become convinced that this was not so (by leaving threads here and there as marks), he sat down to write with a light heart: by winter he had finished his translation of Schlosser and had begun to translate Gervinus and T. B. Macaulay. He also wrote one or two things of his own. Let us recall the “Diary”—and from one of our much earlier paragraphs let us pick up the loose ends of some sentences dealing in advance with his writings in the fortress… or no—let us go, if you please, even further back, to the “lachrymatory theme,” which began to rotate on the initial pages of our mysteriously revolving story.
Before us is Chernyshevski’s famous letter to his wife dated December 5, 1862: a yellow diamond among the dust of his numerous works. We examine this harsh-looking and ugly but amazingly legible handwriting, with its resolut
e strokes at the tails of the words, with loopy R’s and P’s and the broad, fervent crosses of the “hard signs”—and our lungs dilate with a pure emotion such as we have not experienced for a long time. Strannolyubski justly designates this letter as the beginning of Cherynshevski’s brief flowering. All the fire, all the power of will and mind allotted him, everything that was supposed to burst forth at the hour of a national uprising, to burst forth and clutch in its hold, even if only for a short time, the supreme power… to jerk violently the bridle and perhaps to crimson the lip of Russia, the rearing steed, with blood—all this now found a sick outlet in his correspondence. One can say, in fact, that here was the aim and crown of all his life’s dialectic, which had long been accumulating in muffled depths—these iron, fury-driven epistles to the commission examining his case, which he included in letters to his wife, the exultant rage of his arguments and this chain-rattling megalomania. “Men will remember us with gratitude,” he wrote to Olga Sokratovna, and he turned out to be right: it was precisely this sound which echoed and spread through all the remaining space of the century, making the hearts of millions of intellectual provincials beat with sincere and noble tenderness. We have already referred to that part of the letter where he talks of his plans for compiling dictionaries. After the words “as was Aristotle” come the words: “I have begun speaking, however, of my thoughts: they are a secret; you must not tell anyone about what I say to you alone.” “Here,” comments Steklov, “on these two lines a teardrop has fallen and Chernyshevski had to repeat the blurred letters.” This is not quite right. The teardrop fell (near the fold of the sheet) before the writing of these two lines; Chernyshevski had to rewrite two words, “secret” and “about” (one at the beginning of the first line, the other at the beginning of the second), words which he had started to trace each time on the wet place and which remained therefore unfinished.
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