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“Put Yourself in the Place of a Corncrake”: Chekhov’s Poetics of Reconciliation
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Chekhov for the 21st Century. Carol Apollonio and Angela Brintlinger, eds. Bloomington, IN: Slavica Publishers, 2012, 197–210. “Put Yourself in the Place of a Corncrake”: Chekhov’s Poetics of Reconciliation Radislav Lapushin On 6 March 1888 Chekhov sent a letter from Moscow to Alexei Pleshcheev in Petersburg. Though not nearly as famous as Chekhov’s “credo” formulated the same year in a letter to the same correspondent (“My holy of holies is the human body, health, intelligence, talent, inspiration, love, and the most absolute freedom imaginable, freedom from violence and lies, no matter what form the latter two take”1 ), one key paragraph in this letter is equally reveal-‐‑ ing of Chekhov’s artistic vision and philosophy. The paragraph follows an extended discussion of literary matters: having just read two critiques of his recently published The Steppe (Step’, 1888), Viktor Burenin’s article in New Times, and a private letter from Pyotr Ostrovsky (the younger brother of the playwright Alexander Ostrovsky), Chekhov proceeds from a lengthy discussion of the latter to his overall vision of contemporary literary criticism, and the way it should advance in order to free literature of “a thousand-‐‑score false doctrines.” What is needed, he argues, is “a guerilla-‐‑ style, irregular criticism” (partizanskaia, irreguliarnaia kritika) distributed via pamphlets, as opposed to regular criticism in journals and newspapers. In the third paragraph, which is my subject of inquiry, Chekhov addresses his cor-‐‑ respondent directly: Now—how is your health? Do you ever get out into the fresh air? Judging by Burenin’s criticism of Merezhkovsky, it must be freezing in St. Petersburg now, somewhere between 15◦ and 20◦ below zero… And even though it’s still damned cold, the poor birds are already on their way back to Russia. They are driven on by homesickness, by love for their native land. If poets only knew how many millions of birds fall victim to love and longing for their homes, how many freeze on the way, what [how many] tortures they endure in March and early April when they come home to roost, they would long ago 1 Anton Chekhov’s Life and Thought: Selected Letters and Commentary, ed. Simon Karlin-‐‑ sky, trans. Michael Henry Heim in collaboration with Simon Karlinsky (Evanston, IL: Northwestern University Press, 1999), 109. Alternative translations inserted in brack-‐‑ ets.—R.L. 198 RADISLAV LAPUSHIN have written about it… Put yourself in the place of a rail [corncrake] who walks all the way instead of flying, or the wild goose who is willing to surrender himself to man rather than freeze to death… It’s a hard world to live in! [It’s hard to live in this world!]2 The paragraph opens with a casual (and rather unremarkable) inquiry about the addressee’s physical condition and whether he is taking the air. Then, it briefly returns to literary matters, namely Burenin’s mocking criti-‐‑ cism of Dmitry Merezhkovsky’s poem published in the same issue of The Northern Herald as Chekhov’s The Steppe.3 The mention of this poem becomes a “device” that leads the reader—in this case, the sick Pleshcheev—into the outside world; it serves as a transition from the protective warmth of the house to the cold outside. After opening the space horizontally, the passage follows the author’s gaze from the ground to the sky, or, to put it otherwise, from the world of human beings to that of the “poor birds […] already on their way back to Russia.” The spatial extension signifies a noticeable shift in the narrative voice: from the casual to the poetic style. Though the borderline between these two styles is marked by an ellipsis, the “accidental” rhyme Merezhkovskom – chertovski makes the transition natural and seamless. This poetic style, however, is far from homogeneous: the conversational intonation and syntax (Kholodno chertovski, a ved’ bednye ptitsy uzhe letiat v Rossiiu!) paves the way to the overtly elevated language, especially if applied to birds (toska po rodine; liubov’ k otechestvu) marked by the emphatic triple repetition (how many millions of birds; how many of them freeze; how many tortures), the application of church Slavonicisms (preterpevat’ muki) and addi-‐‑ tional rhymes (aprelia – vospeli). The shift to the poetic is remarkable since the passage seems to be explic-‐‑ itly polemical in regard to poetry and poets. “If poets only knew,” says 2 Ibid., 97. “Теперь – как Ваше здоровье? Выходите ли Вы на воздух? Если судить по критике Буренина о Мережковском, то у Вас теперь будет 15-‐‑20◦ мороза… Холодно чертовски, а ведь бедные птицы уже летят в Россию! Их гонят тоска по родине и любовь к отечеству; если бы поэты знали, сколько миллионов птиц делаются жертвою тоски и любви к родным местам, сколько их мерзнет на пути, сколько мук претерпевают они в марте и в начале апреля, прибыв на родину, то давно бы воспели их… Войдите Вы в положение коростеля, который всю дорогу не летит, а идет пешком, или дикого гуся, отдающегося живьем в руки человека, чтобы только не замерзнуть… Тяжело жить на этом свете!” (Letters 2: 211). 3 In particular, Burenin had written: “The winter this year, as everyone knows, was very cruel, the...