Punin and Baburin Page #4

"Punin and Baburin" is a novella by the renowned Russian author Ivan Turgenev, written in 1872. The story revolves around two central characters: the introspective Punin, a middle-aged man who grapples with his philosophical musings on life, love, and society, and the boisterous Baburin, a more practical and straightforward individual. Set against the backdrop of 19th-century Russia, the narrative explores themes of friendship, the clash of differing worldviews, and the complexities of human relationships. Through sharp dialogue and rich character development, Turgenev delves into the nuances of personal ambition and social dynamics, offering a poignant reflection on the human condition.

• Novel

								

quite disappeared. It is needless to say that of Punin I had no fear; I
did not even respect him; I looked upon him--not to put too fine a point
on it--as a buffoon; but I loved him with my whole soul! To spend hours
at a time in his company, to be alone with him, to listen to his
stories, became a genuine delight to me. My grandmother was anything but
pleased at this intimité with a person of the 'lower classes'--du
commun; but, whenever I could break away, I flew at once to my queer,
amusing, beloved friend. Our meetings became more frequent after the
departure of Mademoiselle Friquet, whom my grandmother sent back to
Moscow in disgrace because, in conversation with a military staff
captain, visiting in the neighbourhood, she had had the insolence to
complain of the dulness which reigned in our household. And Punin, for
his part, was not bored by long conversations with a boy of twelve; he
seemed to seek them of himself. How often have I listened to his
stories, sitting with him in the fragrant shade, on the dry, smooth
grass, under the canopy of the silver poplars, or among the reeds above
the pond, on the coarse, damp sand of the hollow bank, from which the
knotted roots protruded, queerly interlaced, like great black veins,
like snakes, like creatures emerging from some subterranean region!
Punin told me the whole story of his life in minute detail, describing
all his happy adventures, and all his misfortunes, with which I always
felt the sincerest sympathy! His father had been a deacon;--'a splendid
man--but, under the influence of drink, stern to the last extreme.'

Punin himself had received his education in a seminary; but, unable to
stand the severe thrashings, and feeling no inclination for the priestly
calling, he had become a layman, and in consequence had experienced all
sorts of hardships; and, finally, had become a vagrant. 'And had I not
met with my benefactor, Paramon Semyonitch,' Punin commonly added (he
never spoke of Baburin except in this way), 'I should have sunk into the
miry abysses of poverty and vice.' Punin was fond of high-sounding
expressions, and had a great propensity, if not for lying, for romancing
and exaggeration; he admired everything, fell into ecstasies over
everything.... And I, in imitation of him, began to exaggerate and be
ecstatic, too. 'What a crazy fellow you've grown! God have mercy on
you!' my old nurse used to say to me. Punin's narratives used to
interest me extremely; but even better than his stories I loved the
readings we used to have together.

It is impossible to describe the feeling I experienced when, snatching
a favourable moment, suddenly, like a hermit in a tale or a good fairy,
he appeared before me with a ponderous volume under his arm, and
stealthily beckoning with his long crooked finger, and winking
mysteriously, he pointed with his head, his eyebrows, his shoulders,
his whole person, toward the deepest recesses of the garden, whither no
one could penetrate after us, and where it was impossible to find us
out. And when we had succeeded in getting away unnoticed; when we had
satisfactorily reached one of our secret nooks, and were sitting side
by side, and, at last, the book was slowly opened, emitting a pungent
odour, inexpressibly sweet to me then, of mildew and age;--with what a
thrill, with what a wave of dumb expectancy, I gazed at the face, at
the lips of Punin, those lips from which in a moment a stream of such
delicious eloquence was to flow! At last the first sounds of the
reading were heard. Everything around me vanished ... no, not vanished,
but grew far away, passed into clouds of mist, leaving behind only an
impression of something friendly and protecting. Those trees, those
green leaves, those high grasses screen us, hide us from all the rest
of the world; no one knows where we are, what we are about--while with
us is poetry, we are saturated in it, intoxicated with it, something
solemn, grand, mysterious is happening to us.... Punin, by preference,
kept to poetry, musical, sonorous poetry; he was ready to lay down his
life for poetry. He did not read, he declaimed the verse majestically,
in a torrent of rhythm, in a rolling outpour through his nose, like a
man intoxicated, lifted out of himself, like the Pythian priestess. And
another habit he had: first he would lisp the verses through softly, in
a whisper, as it were mumbling them to himself.... This he used to call
the rough sketch of the reading; then he would thunder out the same
verse in its 'fair copy,' and would all at once leap up, throw up his
hand, with a half-supplicating, half-imperious gesture.... In this way
we went through not only Lomonosov, Sumarokov, and Kantemir (the older
the poems, the more they were to Punin's taste), but even Heraskov's
Rossiad. And, to tell the truth, it was this same Rossiad which
aroused my enthusiasm most. There is in it, among others, a mighty
Tatar woman, a gigantic heroine; I have forgotten even her name now;
but in those days my hands and feet turned cold as soon as it was
mentioned. 'Yes,' Punin would say, nodding his head with great
significance, 'Heraskov, he doesn't let one off easily. At times one
comes upon a line, simply heart-breaking.... One can only stick to it,
and do one's best.... One tries to master it, but he breaks away again
and trumpets, trumpets, with the crash of cymbals. His name's been well
bestowed on him--the very word, Herrraskov!' Lomonosov Punin found
fault with for too simple and free a style; while to Derzhavin he
maintained an attitude almost of hostility, saying that he was more of
a courtier than a poet. In our house it was not merely that no
attention was given to literature, to poetry; but poetry, especially
Russian poetry, was looked upon as something quite undignified and
vulgar; my grandmother did not even call it poetry, but 'doggrel
verses'; every author of such doggrel was, in her opinion, either a
confirmed toper or a perfect idiot. Brought up among such ideas, it was
inevitable that I should either turn from Punin with disgust--he was
untidy and shabby into the bargain, which was an offence to my
seignorial habits--or that, attracted and captivated by him, I should
follow his example, and be infected by his passion for poetry.... And
so it turned out. I, too, began reading poetry, or, as my grandmother
expressed it, poring over doggrel trash.... I even tried my hand at
versifying, and composed a poem, descriptive of a barrel-organ, in
which occurred the following two lines:

  'Lo, the barrel turns around,
  And the cogs within resound.'

Punin commended in this effort a certain imitative melody, but
disapproved of the subject itself as low and unworthy of lyrical
treatment.

Alas! all those efforts and emotions and transports, our solitary
readings, our life together, our poetry, all came to an end at once.
Trouble broke upon us suddenly, like a clap of thunder.

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