The Created Legend, Fyodor Sologub [ebook reader with android os .txt] 📗

a symbol of Russian revolution the figure of Elisaveta is perhaps meant to stand out with the statuesque boldness of the Victory of Samothrace. The feminine figure, nude or thinly draped, has been used as symbol for ideas in the plastic arts ever since art was born; our puritans have never been faced with the problem of what some of the mythological divinities in stone would do if they should suddenly come to life, become human. Yet it is a problem of this sort that Sologub has attempted to solve⁠—the problem of the gods in exile. As for Elisaveta, Sologub goes indeed the length of describing her previous existence in the second of the series of novels that go under the general head of The Created Legend; she was then the Queen Ortruda of some beautiful isles in the Mediterranean, and she is fated to carry her queenliness into her later life.

The Little Demon is Sologub’s Inferno, The Created Legend his Paradiso. And just as the problem there was the abuse of bodily beauty, so it is here the idealism of bodily beauty. It is natural that the over-draping of our bodies, the supposed symbol of our modesty, but in reality an evidence of our lust, should form part of his thesis. But M. Anatole France has already pointed out brilliantly in Penguin Island how immodesty originated in the invention of clothes.

The conclusion is quite clear: it is beauty that can save the world, it is our eyes and our imaginations behind our eyes that can remodel the world into “a chaste dream.” Like Don Quixote, whom Sologub loves, we must see Dulcinea in our Aldonza, and our persistent thought of her as Dulcinea may make her Dulcinea in actuality.

Such are the thoughts behind this strange book, in which fantasy and reality rub unfriendly shoulders. But it would be robbing the reader of his prerogative to explain the various symbols the author employs; for this is in the full sense a Symbolist novel, and, like a piece of music or a picture in patterns, its charm to him who will like it will lie in individual interpretation. I cannot, however, resist the desire to speak of my own personal preference for Chapter XIII, in which the death of certain musty Russian institutions is brilliantly symbolized by the author in the passage of the risen dead on St. John’s Eve.

In the “quiet children” the author has resurrected, as it were, the child heroes in which his stories abound, and given them an existence on a new plane, “beyond good and evil.” It is only children, beings chaste and impressionable, who are capable of transformation⁠—or shall we say transfiguration?⁠—and if they happen to be in this case more paradisian than earthly it is because truth expressed in symbols must of necessity appear fantastic and exaggerated. It is, for the same reason, that we find the worthlessness of Matov expressed in his being turned by Trirodov into a paperweight. Then there is the Sun, the Flaming Dragon, the infuriator of men’s passions, powerless, however, to affect the “quiet children,” who, freed of all passion⁠—“the beast in man”⁠—may have their white feet covered with the light dust of the earth, but never scorched by the evil heat.

The various references to the art and ideas of the poet Trirodov and to the poet’s tardy recognition are certain to be recognized as autobiographical.

I must add that in the original this first of “Created Legend” novels is called “Drops of Blood,” a phrase which recurs several times in the course of the narrative in connection with the problem of cruelty in life.

John Cournos

February 1916

The Created Legend I

I take a piece of life, coarse and poor, and create from it a delightful legend⁠—because I am a poet. Whether it linger in the darkness; whether it be dim, commonplace, or raging with a furious fire⁠—life is before you; I, a poet, will erect the legend I have created about the enchanting and the beautiful.

Chance caught in the entangling net of circumstance brings about every beginning. Yet it is better to begin with what is splendid in earthly experience, or at any rate with what is beautiful and pleasing. Splendid are the body, the youth, and the gaiety in man; splendid are the water, the light, and the summer in nature.

It was a bright, hot midday in summer, and the heavy glances of the flaming Dragon fell on the River Skorodyen. The water, the light, and the summer beamed and were glad; they beamed because of the sunlight that filled the immense space, they were glad because of the wind that blew from some far land, because of the many birds, because of the two nude maidens.

Two sisters, Elisaveta and Elena, were bathing in the River Skorodyen. And the sun and the water were gay, because the two maidens were beautiful and were naked. And the two girls felt also gay and cool, and they wanted to scamper and to laugh, to chatter and to jest. They were talking about a man who had aroused their curiosity.

They were the daughters of a rich proprietor. The place where they bathed adjoined the spacious old garden of their estate. Perhaps they enjoyed their bathing because they felt themselves the mistresses of these fast-flowing waters and of the sand-shoals under their agile feet. And they swam about and laughed in this river with the assurance and freedom of princesses born to rule. Few know the boundaries of their kingdom⁠—but fortunate are they who know what they possess and exercise their sway.

They swam up and down and across the river, and tried to outswim and outdive one another. Their bodies, immersed in the water, would have presented an entrancing sight to anyone who might have looked down upon them from the bench in the garden on the high bank and watched the exquisite play of their muscles