¡°Marevo¡± was also the title of Constantine Balmont¡¯s ¨¦migr¨¦ book of poems (Paris, 1922), attached.
This copy signed to Marina Tsvetaeva (¡°To my beloved sister Marina Tsvetaeva, whose voice is that of a songbird¡±) was sold last sping at a Moscow auction for Rb 600K ($ 20K), see
http://vnikitskom.com/ru/antique/auction/14/4993/
Victor Fet
From: Vladimir Nabokov Forum [mailto:NABOKV-L@LISTSERV.UCSB.EDU]
On Behalf Of Alexey Sklyarenko
Sent: Wednesday, August 07, 2013 6:30 PM
To: NABOKV-L@LISTSERV.UCSB.EDU
Subject: [NABOKV-L] Marevo in LATH
Vadim's favorite manor where he first looked at the harlequins is Marevo:
When the book made its belated appearance, as I gently aged, I might enjoy entertaining a few dear sycophantic friends in the arbor of my favorite manor of Marevo (where I had first "looked at the
harlequins") with its alley of fountains and its shimmering view of a virgin bit of Volgan steppe-land. (1.5)
Marevo (mirage) is mentioned by Hodasevich in his essay Peterburgskie povesti Pushkina ("Pushkin's St. Petersburg Tales"):
§´§à§ð §Ø§Ö §à§ã§Ö§ß§î§ð 1830 §Ô§à§Õ§Ñ, §ä§Ñ§Þ §Ø§Ö, §Ó §¢§à§Ý§Õ§Ú§ß§Ö, §á§à§é§ä§Ú §à§Õ§ß§à§Ó§â§Ö§Þ§Ö§ß§ß§à §ã "§¥§à§Þ§Ú§Ü§à§Þ §Ó §¬§à§Ý§à§Þ§ß§Ö" §ß§Ñ§á§Ú§ã§Ñ§ß§í "§¬§Ñ§Þ§Ö§ß§ß§í§Û §¤§à§ã§ä§î" §Ú "§¤§â§à§Ò§à§Ó§ë§Ú§Ü". §±§â§ñ§Þ§Ñ§ñ §ã§Ó§ñ§Ù§î §Þ§Ö§Ø§Õ§å §á§à§ã§Ý§Ö§Õ§ß§Ú§Þ§Ú §Õ§Ó§å§Þ§ñ §á§â§à§Ú§Ù§Ó§Ö§Õ§Ö§ß§Ú§ñ§Þ§Ú §Ù§à§â§Ü§à §Ù§Ñ§Þ§Ö§é§Ö§ß§Ñ §Ò§í§Ý§Ñ
§Ö§ë§× §¡.§³. §ª§ã§Ü§à§Ù§à§Þ §Ó §Ö§Ô§à §ã§ä§Ñ§ä§î§Ö §à "§±§à§Ó§Ö§ã§ä§ñ§ç §¢§Ö§Ý§Ü§Ú§ß§Ñ", §ç§à§ä§ñ §Ú §Ò§í§Ý§Ñ §Ú§ã§ä§à§Ý§Ü§à§Ó§Ñ§ß§Ñ §ß§Ö§ã§Ü§à§Ý§î§Ü§à §Ú§ß§Ñ§é§Ö. §£ §ã§Ñ§Þ§à§Þ §Õ§Ö§Ý§Ö: §Ó§í§Ù§à§Ó §á§î§ñ§ß§à§Ô§à §Ú §Ô§Ý§å§á§à§Ô§à §Ô§â§à§Ò§à§Ó§ë§Ú§Ü§Ñ §ã§à§Ó§Ö§â§ê§Ö§ß§ß§à §ä§à§Ø§Õ§Ö§ã§ä§Ó§Ö§ß §ã §Ó§í§Ù§à§Ó§à§Þ §¥§à§ß §¨§å§Ñ§ß§Ñ: §Ú §ä§à§ä §Ú §Õ§â§å§Ô§à§Û §Ó §á§à§â§í§Ó§Ö §Õ§Ö§â§Ù§à§ã§ä§Ú §Ù§à§Ó§å§ä §Þ§Ö§â§ä§Ó§Ö§è§à§Ó §Ü §ã§Ö§Ò§Ö §ß§Ñ §å§Ø§Ú§ß. §®§Ö§â§ä§Ó§Ö§è§í
§á§â§Ú§ç§à§Õ§ñ§ä. §¯§à §ã§à§Ù§ß§Ñ§ä§Ö§Ý§î§ß§à §Õ§Ö§â§Ù§Ü§Ú§Û §¨§å§Ñ§ß §á§à§Ô§Ú§Ò§Ñ§Ö§ä: §à§Ø§Ú§Ó§ê§Ñ§ñ §ã§ä§Ñ§ä§å§ñ §Ô§å§Ò§Ú§ä §Ö§Ô§à, §Ü§Ñ§Ü §á§à§Ô§å§Ò§Ú§Ý §à§Ø§Ú§Ó§ê§Ú§Û §£§ã§Ñ§Õ§ß§Ú§Ü §¦§Ó§Ô§Ö§ß§Ú§ñ. §¡ §Õ§Ö§â§Ù§ß§å§Ó§ê§Ú§Û §ã§á§î§ñ§ß§Ñ, §á§à §Ô§Ý§å§á§à§ã§ä§Ú §Ô§â§à§Ò§à§Ó§ë§Ú§Ü §á§â§Ú§ß§Ú§Þ§Ñ§Ö§ä §å §ã§Ö§Ò§ñ §è§Ö§Ý§å§ð §ä§à§Ý§á§å §Þ§×§â§ä§Ó§í§ç, §ß§à §á§à§ä§à§Þ §á§â§à§ã§í§á§Ñ§Ö§ä§ã§ñ -- §Ú §Ó§ã§× §à§Ü§Ñ§Ù§í§Ó§Ñ§Ö§ä§ã§ñ §Ó§Ù§Õ§à§â§à§Þ,
§Þ§Ñ§â§Ö§Ó§à§Þ, §ã§ß§à§Þ, §Ú §à§ß §Þ§Ú§â§ß§à §ã§Ñ§Õ§Ú§ä§ã§ñ §á§Ú§ä§î §é§Ñ§Û.
(Hodasevich compares the hero of Pushkin's story
Grobovshchik, "The Coffin-Maker", to Don Juan [Guan], the hero of Kamennyi gost', "The Stone Guest".* Both Adrian Prokhorov and Don Juan recklessly invite the dead to supper. But while Don Juan perishes, killed by the live statue, the stupid
coffin-maker - who was drunk when he invited his clients - is visited by a whole crowd of the dead; but then he wakes up and everything turns out to be nonsense, a mirage [marevo], a dream and he quietly sits down to drink his tea.)
Like Pushkin's Grobovshchik, LATH ends in tea drinking:
"I had been promised some rum with my tea--Ceylon and Jamaica, the sibling islands (mumbling comfortably, dropping off, mumble dying away)--" (7.4)
*both the story and the little tragedy were written in Boldino, in the fall of 1830, almost simultaneously with "The Small Cottage in Kolomna"
Alexey Sklyarenko
All private editorial communications are read by both co-editors.