Владимир Набоков: The Real Life of Sebastian Knight

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.

We did not hear from him very often, nor were his letters very long. During the three years at Cambridge, he visited us in Paris but twice – better say once, for the second time was when he came over for my mother's funeral. She and I talked of him fairly frequently, especially in the last years of her life, when she was quite aware of her approaching end. It was she who told me of Sebastian's strange adventure in 1917 of which I then knew nothing, as at the time I had happened to be on a holiday in the Crimea. It appears that Sebastian had developed a friendship with the futurist poet Alexis Pan and his wife Larissa, a weird couple who rented a cottage close to our country estate near Luga. He was a noisy robust little man with a gleam of real talent concealed in the messy obscurity of his verse. But because he did his best to shock people with his monstrous mass of otiose words (he was the inventor of the 'submental grunt' as he called it), his main output seems now so nugatory, so false, so old-fashioned (super-modern things have a queer knack of dating much faster than others) that his true value is only remembered by a few scholars who admire the magnificent translations of English poems made by him at the very outset of his literary career – one of these at least being a very miracle of verbal transfusion: his Russian rendering of Keats's 'La Belle Dame Sans Merci'.

So one morning in early summer seventeen-year-old Sebastian disappeared, leaving my mother a short note which informed her that he was accompanying Pan and his wife on a journey to the East. At first she took it to be a joke (Sebastian, for all his moodiness, at times devised some piece of ghoulish fun, as when in a crowded tramcar he had the ticket-collector transmit to a girl in the far end of the car a scribbled message which really ran thus: I am only a poor ticket-collector, but I love you); when, however, she called upon the Pans she actually found that they had left. It transpired somewhat later that Pan's idea of a Marcopolian journey consisted in gently working eastwards from one provincial town to another, arranging in every one a 'lyrical surprise', that is, renting a hall (or a shed if no hall was available) and holding there a poetical performance whose net profit was supposed to get him, his wife, and Sebastian to the next town. It was never made clear in what Sebastian's functions, help or duties lay, or if he was merely supposed to hover around, to fetch things when needed and to be nice to Larissa, who had a quick temper and was not easily soothed. Alexis Pan generally appeared on the stage dressed in a morning coat, perfectly correct but for its being embroidered with huge lotus flowers. A constellation (the Greater Dog) was painted on his bald brow. He delivered his verse in a great booming voice which, coming from so small a man, made one think of a mouse engendering mountains. Next to him on the platform sat Larissa, a large equine woman in a mauve dress, sewing on buttons or patching up a pair of old trousers, the point being that she never did any of these things for her husband in everyday life. Now and then, between two poems, Pan would perform a slow dance – a mixture of Javanese wrist-play and his own rhythmic inventions. After recitals he got gloriously soused – and this was his undoing. The journey to the East ended in Simbirsk with Alexis dead-drunk and penniless in a filthy inn and Larissa and her tantrums locked up at the police-station for having slapped the face of some meddlesome official who had disapproved of her husband's noisy genius. Sebastian came home as nonchalantly as he had left. 'Any other boy,' added my mother, 'would have looked rather sheepish and rightly ashamed of the whole foolish affair,' but Sebastian talked of his trip as of some quaint incident of which he had been a dispassionate observer. Why he had joined in that ludicrous show and what in fact had led him to pal with that grotesque couple remained a complete mystery (my Mother thought that perhaps he had been ensnared by Larissa but the woman was perfectly plain, elderly, and violently in love with her freak of a husband). They dropped out of Sebastian's life soon after. Two or three years later Pan enjoyed a short artificial vogue in Bolshevik surroundings which was due I think to the queer notion (mainly based on a muddle of terms) that there is a natural connexion between extreme politics and extreme art. Then, in 1922 or 1923 Alexis Pan committed suicide with the aid of a pair of braces.