DiesIraeV1, Main, Corpus, bibRecord, 000500

GOR'KII ANDIUSHKEVICH'S LEON DREI

Identifieur interne : 000500 ( Main/Corpus ); précédent : 000499; suivant : 000501

GOR'KII ANDIUSHKEVICH'S LEON DREI

Auteurs : Ruth Rischin

Source :

Canadian-American Slavic Studies [ 0090-8290 ] ; 2003.

RBID : ISTEX:CBFB6509C25104D367988024EF4A91666F58CE63

English descriptors

Teeft :
- Aleksandr bakhrakh, Boris zaitsev, Caballero andante, Derekh eretz, Drei, First part, First time, Imli, Iushkevich, Jewish life, Khodasevich, Leon, Leon drei, Likha beda nachalo, Literary expression, Middle class, Odessa, Petty demon, Prussian resort, Rozen family, Russkii berlin, Ruth rischin, Semen, Semen iushkevich, Shifs karta, Sholem aleichem, Sobranie sochinenii, Third part, Untitled essay, Viktor shklovskii, Vladislav khodasevich, Wedding guests, Znanie.

Url:

https://api.istex.fr/document/CBFB6509C25104D367988024EF4A91666F58CE63/fulltext/pdf

DOI: 10.1163/221023903X00486

Links to Exploration step

ISTEX:CBFB6509C25104D367988024EF4A91666F58CE63

Le document en format XML

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		<p>RUTH RISCHIN (San Francisco, CA, USA) GOR'KII AND IUSHKEVICH'S LEON DREI Gor'kii's relationship to Semen Iushkevich in 1922-1923, when they were living in their respective German outposts, is one resonant with "untimely thoughts," as Gor'kii phrased it in his famous article, and unexpectedly as well, a paradoxical replay o f the literary polemics o f the post-1905 period.i In December 1922, Semen Iushkevich, a member o f the Russian emigre colony in Berlin, wrote to his old colleague, Maksim Gor'kii, living near Frankfort- on-the-Oder, about the confiscation and suppression o f his novel, Leon Drei. A searing indictment o f the hedonistic middle class, this picaresque novel, the first part o f which Gor'kii had rejected for publication by "Znanie" in 1908, traces the rise and fall o f the liar, egotist, and fortune-seeking rake, Leon Drei.2 When Part I had appeared in the modernist journal Shipovnik [Sweet- briar],3 Gor'kii had viewed it as a document o f defection from the "Znanie" publishing house where Iushkevich first had established his reputation as a Realist writer and as a betrayal o f its methods and program.4 In the years im- 1. Semen Solomonovich Iushkevich, together with his wife and two daughters, fled Odessa in 1920 and after two years in Paris moved to Berlin. From the spring o f 1922 to the fall o f 1923 he and his family resided in the Charlottenburg area o f the city, summering in the Prussian resort o f Bad Ems. N i n a B e r b e r o v a states that G o r ' k i i moved to Saarow on September 25, 1922. See Maxim Gorky: Selected Letters, trans. and ed. b y A n d r e w Barratt and Barry P. Scherr (Oxford: Clarendon Press, 1997), pp. 2 1 9 - 4 l . " N e s v o e v r e m e n n y e mysli" was the title o f a column w h i c h Gor'kii wrote for N o v a i a z h i z n ' ( 1 9 1 7 - 1 9 1 8 ) in which he set forth some o f his anti-Bolshevik views. The pieces were published as Nesvoevremennye mysli. Zametki o revoliutsii i k u l ' t u r e (Petrograd: "The E n l i g h t e n m e n t Society, ' C u l t u r e and Freedom,' in Memory o f February 27, 1917," 1918). I am u s i n g it to suggest the independence o f G o r ' k i i ' s positions on writers and political leaders in the period o f his residence in Germany. See Vladislav Khodasevich, " G o r ' k i i , " Sovremennye zapiski 63 (1937): 264-92; 70 (1940):131-56; L. Fleishman et al., "Iz perepiski M a k s i m a G o r ' k o g o , " Russkii Berlin, pp. 337-424; N i n a Berberova, Kursiv moi. Avto- b i o g r a j i i a v dvukh tomakh (New York: Russica, 1983), 1: 203. The suppression of Leon D r e i is recorded in Iushkevich's letter to Gor'kii o f D e c e m b e r 14, 1922, Berlin, IMLI, Arkhiv G o r ' k o g o [hereafter, AG] , KG-P, 90-18-10. 2. In a letter to G o r ' k i i o f January 27, 1908, Iushkevich had solicited G o r ' k i i ' s interest in publishing Part I; nonetheless, G o r ' k i i informed K. P. Piatnitskii that he would n o t c o n s e n t to publication o f the novel. 3 � S. S. Iushkevich, " P o k h o z h d e n i i a Leona Dreia," Shipovnik 4 (1908), 53-234. 4. "Contemporary literature creates a strange impression on m e - only Bunin is true to him- self; all the others have flown into some kind o f wild rage and obviously do n o t m a k e a self- accounting o f their affairs. One senses s o m e t h i n g o d d - an evil, harmful, corrupting influence o f</p>

		<p>mediately following the failed Revolution o f 1905, Gor'kii had regarded lushkevich's defection as unpardonable. Almost fifteen years later, the out- come o f the Revolution o f 1917 raised a new problematic for literary expres- sion - that o f literary freedom abroad, no less than in Russia. As Iushkevich explained in a letter to Gor'kii, Leon Drai was printed by the Vunsdorf shop o f the Young M e n ' s Christian Association for the Berlin- based Knigoizdatei'stvo "Moskva." The Y M C A organization found the novel repugnant, and it bought up the entire run o f the novel, as well as copies that had reached the bookstores, paying the publisher nine million German Marks. This action on the part o f the Y M C A removed Iushkevich's novel from circu- l a t i o n . ` In Russia at the turn o f the century Iushkevich had been assailed by ob- scurantists from all sides. His novella, The Jews, which had appeared along with The Cheery O r c h a r d in the second "Znanie" miscellany, had been muti- lated by the censor and the publication o f the volume itself had been delayed. Jewish audiences had hooted o f f the stage Komediia braka [The Comedy o f Marriage] and Bes [The Devil]. In 1908 and later in 1913 Iushkevich had been criticized by puritanical Populist critics and by outraged members o f the Russian-Jewish middle class alike for his depiction o f a fortune-seeking Jew- ish cad, only to learn in emigration that Bolsheviks back home, indiscrimi- nately had condemned h i m as a writer, along with other Russians and Jews for "spoiling the Revolution." N o w Iushkevich was experiencing the dark side o f emigre politics. On the sixth o f November 1922, he was present at the Berlin D o m Iskusstv the eve- ning that Ivan Puni's talk on Soviet art ended in a scuffle.6 The previous week Iushkevich had been dismayed b y an attack in the Literary Supplement to the newspaper Nakanune [On the Eve], denouncing the writings of Il'ia Erenburg as self-serving and unprincipled.7 For Iushkevich, Berlin had become "a de- people, and for the time being, it seems that it's become harmful to you all." See A. M. Gor'kii to E. N. Chirikov, March 20, 1907, Capri, in Perepi.ska A. M Gor'kogo v dvukh tornakh (Mos- cow: Khudozhestvennaia Literatura, 1986), 1: 328. 5. S. S. Iushkevich to A. M. Gor'kii, Dec. 14, 1922, Berlin, IMLI, AG, KG-P, 90-18-10. See also "Pis'mo v redaktsiiu," Dni , Dec. 29, 1922. 6. Following a paper by Ivan Puni, Viktor Shklovskii in an assessment of the works of Soviet artist, Natan Al'tman acknowledged that there are some works that have genuine artistic merit but that there are others that not even a "Schieber " [black market profiteer] would buy. A mem- ber of the audience retorted, "that is because he himself is a Schieber." This led to a fist fight between Natan Al'tman, then visiting Berlin, and his detractor. See L. Fleishman et al., Russkii Berlin (Paris: YMCA-Press, 1983), pp. 47 and 67, n. 163. The incident was reported in Dni , no. 7, Nov. 5, 1922, p. 10. 7. lushkevich is referring to the article by I. Vasilevskii [Ne-Bukva], "Tataren iz Taganroga. ( 0 dvenadtsati novykh knigakh g. Il'i Erenburga)," Literaturnoe prilozhenie k 'Nakanune', 24, Oct. 29, 1922, pp. 4-7. See Fleishman et al., Russkii Berlin, pp. 46-47, 67.</p>

		<p>sert island," as he lamented to Gor'kii, where all standards o f civility had been discarded.8 The Leon Drei incident seemed to confirm a pattern that mixed anti-eroticism and anti-Semitism with anti-Soviet hostility. "Whatever the organization had in mind," Iushkevich stated to Gor'kii,"one cannot help but say that the confiscation o f Leon Drei was a barbarous and anti-social act."9 Indeed, it was perplexing. At the time o f the Leon Drei episode, the YMCA-press that recently had been established in Prague, was sending reli- gious material into Russia, where, the organization felt, moral anarchy reigned. What led Y M C A to suppress the novel remains unclear.10 Iushke- vich, understandably, was offended and surprised: "Not to have informed the author, not to have spoken with him beforehand, this is inexcusable and i f you take into consideration that the book was written by an author o f twenty-five years' experience, then it seems totally savage. Nor can I forget," Iushkevich reminded Gor'kii, "the nine million Marks are public monies, and students here receive up to 3,000 Marks per month in the way o f assistance from this Society."11 The confiscation and suppression o f Leon D r e i became a scandal o f the Berlin emigration. Informing Gor'kii that Boris Zaitsev was proposing to the Berlin Writers' Club that it circulate a petition o f protest, Iushkevich, out- raged yet bemused, closed his letter with a paraphrase o f Hermann's aria from the opera Pikovaia dama, "Segodnia ia, zavtra ty, poslezavtra, on: likha beda nachalo" [Today I, tomorrow you, the day after tomorrow, he: The first step is the hardest].12 The protest petition appeared in the newspaper Dni, December 29, 1922, and it bore the names of Vadim Andreev, Aleksandr Bakhrakh, An- drei Belyi, Il'ia Erenburg, Vladislav Khodasevich, Pavel Muratov, S. Polia- kov-Litovtsev, Irina Odoevtseva, Boris Pasternak, Viktor Shklovskii, Ivan Shmelev, Boris Z a i t s e v - and Maksim Gor'kii.l3 However much Gor'kii had scorned a piece o f writing that flouted his programmatic standards, despite his 8. S. S. Iushkevich to A. M. G o r ' k i i , Oct. 6, 1922, IMLI, AG, KG-P, 90-18-6. 9. S. S. Iushkevich to A. M. G o r ' k i i , Dec. 14, 1922, Berlin. IMLI, AG, KG-P, 90-18-10. 10. Untitled statement, C a t a l o g u e , Les Editeurs Reunis (Paris: YMCA-Press, 1990-91), n.p. In 1921, the establishment o f the YMCA-Press was assisted by the American religious leader, Dr. John R. M o t t (1865-1955), w h o h a d served as Secretary to the International Committee o f the Y M C A (1888) and as C h a i r m a n o f the Student Voluntary M o v e m e n t (1888-1920). M a r c R a e f f records aspects o f the activity o f the Y M C A - P r e s s in the 1920s in his study, R u s s i a Abroad.yA C u l t u r a l H i s t o r y o f t h e Russian E m i g r a t i o n 1919-1939 (New York-Oxford: Oxford Univ: Press, 1991), passim. .. 11. S. S. Iushkevich to A. M. G o r ' k i i , Dec. 14, 1922, Berlin, h e . cit. ' 12. The aria in T c h a i k o v s k y ' s opera, P i k o v a i a d a m a , opens: " C h t o nasha z h i z n ' ? " Later, "Segodnia ia, zavtra ty, poslezavtra, o n - likha beda nachalo." 13. " P i s ' m o v redaktsii," D n i [Berlin], Dec. 29, 1922. ,.</p>

		<p>"dislike" for the novel, as Iushkevich reminded him, he supported the auton- omy o f the writer and freedom o f publication to vindicate a. moral principles. 14 Earlier, G o r ' k i i ' s opposition to the publication o f Iushkevich's novel had been inseparable from the need to buttress the "Znanie" operation at a time when the departure o f many o f the Realist writers in the Gor'kii "constella- tion" had seemed to have consolidated new alignments.15 Gor'kii had criti- cized the amoralism o f Leon Drei, but he also had entertained a personal pique against its author. The appearance o f Leon Drei in Shipovrcik barely a year after the publication o f Sanin and in the same year as that o f The Petty Demon, had seemingly confirmed its place in the "artsybashevshchina" a n d "solagubshchina" o f the day. 16 B y the time that Part I o f the novel had b e e n completed, Iushkevich already had approached Shipovnik but soon afterward, despite contractual obligations which he had assumed, had sent the manu- script to Gor'kii and asked i f his former editor might publish it in "Znanie." Iushkevich had pleaded that only accidentally had the novel been given to Shipovnik and that its rightful place was with "Znanie," in which he had first established his name in Russian literature. He wrote to Gor'kii, that now in the light o f the "course taken by Shipovnik [he] could not go along with them," fearing that he would be identified with the new themes and artistic methods from which he still wished to maintain a certain distance (or so he claimed). He argued that the work as a satire was appropriate in the current period o f reaction, that his method, i f he succeeded, would "open up a new road" in his own work, and he appealed to Gor'kii to bestow his blessing as he had earlier.17 Gor'kii did not oblige. In fact, he wrote to an associate that Iushkevich had picked the most inopportune moment for publishing such a work. "Is this Semen Solomonovich stupid, or is it that, blinded b y his own fixations, he does not notice anything around him?"18 What Gor'kii was re- ferring to was the inappropriateness o f Iushkevich's attack upon the Jewish middle class at a time when forces o f social reaction had prevailed. W h e n he first had welcomed Iushkevich, Gor'kii had seen in him a writer "nuzhnee Andreeva i talantlivee Evgeniia Nikolaevicha" [more necessary than Leonid Andreev and more talented than Evgenii Nikolayevich (Chirikov)], for Iush- 14. S. S. Iushkevich to A. M. G o r ' k i i , Oct. 19, 1922, Berlin, IMLI, AG, KG-P, 90-18-8. 15. See n. 3 above. 16. M. P. Artsybashev, " S a n i n , " Sovremennyi m i r 1-5 (1907); the novel appeared separately in 1908. F. K.Sologub [Teternikov], " M e l ' k i i bes," Voprosy zhizni 6-11 (1905); the novel ap- peared separately in an edition b y Shipovnik in 1907. 17. S. S. Iushkevich to A. M. G o r ' k i i , Jan. 2 7 , 1 9 0 8 , St. Petersburg. IMLI; AG, KG-P, 90- 18-3. 18. A. M. G o r ' k i i to K. P. Piatnitskii, Febr. 9-10, Capri, #355, in Arkhiv G o r ' k o g o 4, p. 231.</p>

		<p>kevich had depicted the urban Jewish masses with a high social immediacy.19 9 He saw no reason why Iushkevich had changed, since i f Russia could not fmd a place for its Jews, then the hope for liberal democracy had failed. In Gor'kii's view, the former "singer o f the Jewish sorrow" had simply become derailed. Publication o f Part II o f Leon Drei in the modernist journal Zemlia (1913) continued to arouse the antipathy of Gor'kii and o f his common-in-law wife, Mariia Fedorovna Andreeva.20 W h e n Iushkevich had asked the actress, who in 1905 had approached M e i e r k h o l ' d to produce one of Iushkevich's so- cial dramas in his Theatre Studio, to read his Leon Drei, she did so, but she later informed Gor'kii that "from my whole soul, I could only advise him to publish this work nowhere,"21 Indeed, the serial publication o f Parts I and II had roused cries o f "deca- dence." Kornei Chukovskii called the hero, "the Jewish Peredonov," labelling Part I an imitation of Sologub's The Petty Demon : As in Sologub's novel, Drei's personality is revealed in the progres- sion o f trivial episodes, one more disgusting than the other; the milieu in which he moves is the same as that in The Petty Demon; the tone o f both pieces is almost ludicrously similar, that o f an unruffled epic tone so unexpected in a chronicle o f vile and shameful deeds.22 Equally unsparing was the reception to Part II. Writing in Sovremennyi mir, V. P. Kranikhfel'd found it hard to believe that the creator o f so many tragic images o f Jewish prostitution among the poor would succumb to unre- lieved cynicism.z3 Only after Iushkevich's death in 1927 in a collection o f es- says that introduced a volume o f his posthumous works, did a clear-eyed reas- sessment o f the novel emerge.z4 For the first time it was possible to judge the 19. A. M. Gor'kii to K. P. Piatnitskii, end o f M a y 1903, Nizhny-Novgorod, # 1 6 0 , in Arkhiv G o r ' k o g o 4, p. 128. 20. S. S. Iushkevich, "Leon Drei," Zemlia 13 (1913): 128-298. With publication o f Part II, Iushkevich called his novel Leon Drei. 21. M. F. Andreeva to A. M. G o r ' k i i , Sept. 28, 1913, Moscow, #32 in Mariia Fedorovna Andreeva, Perepiska, Vospominaniia, Stat'i, Dokumenty (Moscow: Gos-izd. "Iskusstvo," 1961), p. 216. 22. Konstantin C h u k o v s k i i , "Semen Iushkevich," in Ot Chekhova do nashikh d n e i (St. Pe- tersburg-Moscow: T-vo M. O. V o l ' f , n. d.), p. 155. 23. V. Kranikhfel'd, "Literaturnye otkliki. Oblichenie zhenshchiny," Sovremennyt m i r 13 (1913), p. 215. 24. These included: Petr Nilus, " K r a t k a i a p o v e s t ' o zhizni Semena fushkevicha," pp. 5-40; VI. F. Khodasevich, Untitled essay, pp. 41-81; Andrei Levinson, " 0 nekotorykh chertakh tvor- chestva S. S. lushkevicha," pp. 83-95; St. Ivanovich [S. 1. Portugeis], "Semen Iushkevich i evrei," pp. 97-117 in Semen lushkevicb, S e m ' dnei. Posmertnye p r o i z v e d e n i i a (Paris: Komitet p o izdaniiu sochinenii S e m e n a lushkevicha, 1927). f</p>

		<p>novel in its entirety. Khodasevich best outlined Iushkevich's progressive re- creation o f Leon Drei: The first part, devoted only to the beginning o f the career o f the hero, to his sunrise, is written in the form o f an as yet relatively soft and good-natured satire. But for the second part, Iushkevich introduced the experimentation worked out in his grotesque domestic comedies. W h e n he embarked on the third part, he essentially broadened what was a form already discovered, only deepening and extending the thematic tasks o f the novel.25 This, indeed, was what Iushkevich had in mind, when in October 1922, in- forming Gor'kii that he had instructed Knigoizdatel'stvo "Moskva" to send him the novel, he stated, "after reading the third part, you will see the figure [of Drei] in all o f its magnitude."26 For the first time, critics addressed the anti-Realism o f the novel, and its place within a modernist poetics. In so do- ing, they corroborated what Iushkevich had insisted had been his intention, when in 1908, asking G o r ' k i i to take it for "Znanie," he had said, "just now is the time to peer into life, to expose its contradictions, and to hit it with the whip o f satire."27 To the core a self-sufficient philistine, Leon Drei sets up as his idols not merely wealth, success and the good life, but the ultimate idol, the ego itself. Khodasevich described how "with supernatural ease, Leon Drei becomes the center about which everything rotates. Nothing himself, he mon- strously grows in the eyes o f everyone, turns life around, directs fates, and by his will, makes people happy or unhappy."28 Khodasevich also was the first to note the device o f the grotesque in this novel that verges on the expression- ist. In his essay on Iushkevich's literary evolution, the first piece o f extended Formalist criticism o f Iushkevich's oeuvre, Khodasevich demonstrates that Khlestakov's gluttony, boasting, and lying had served as a model for the lin- guistic braggadocio in Iushkevich's own creation o f a hero who is outside o f any plausible concept o f Realism. Iushkevich constructed a double-voiced discourse for his hero that alternates servility and flattery in his remarks to his interlocutors and coarseness and insult in his private thoughts and musings. Aleksandr Bakhrakh, in his essay on Iushkevich entitled, "The Russian Gil Bias," had written that Iushkevich "had hoped that Drei-ism would become a 25. Vladislav Khodasevich, Untitled essay, p. 59. 26. S. S. Iushkevich to A. M. Gor'kii, Oct. 19, 1922, Berlin, IMLI, AG KG-P, 90-18-8. 27. S. S. Iushkevich to A. M. Gor'kii, Jan. 27, 1908, IMLI, AG KG-P, 90-18-3. 28. Vladislav Khodasevich, Untitled essay, p. 63.</p>

		<p>pejorative, much as had the name Godissar or Peer Gynt."29 These critiques point to the author's intentions which Gor'kii and Iushkevich's first reviewers had missed. At a literary evening in Paris in 1928, commemorating the first anniversary of Iushkevich's death, Vladimir Zhabotinskii had called Iushkevich "the poet- chastizer" o f Russian Jewry. He had stated that criticism from within, such as that advanced by Iushkevich's seemingly anti-Jewish works, could only have appeared "when the waves already had destroyed the three walls o f faith, lan- guage, and nostalgia for the homeland, behind which the Jews o f the Diaspora were sheltered from being swallowed up by the surrounding ocean."3 � Al- though Leon Drei was anticipated by earlier satires on the acquisitiveness o f the Odessa Jewish middle class in the Russian novels o f Osip Rabinovich (i.e., Morits Sefardi, 1850)31 and in such works o f Sholem Aleichem, as Menakhem Mendl (1900-1909),3z the polemic in Leon Drei is relentless. It is a devastating commentary on contemporary urban society, on its materialism, its vacuity, its self-indulgence, and its smug belief in progress. Leon Drei is what may be called a Post-Enlightenment novel. It calls into question the very premise b y means o f which Jews had accommodated to life in the Diaspora, the � idea which had been articulated in the program o f the Jewish Haskalah and which had been enunciated in the concept o f a secular- ized Torah im Derekh Eretz [Torah with the ways o f the land].33 The hero is a self-deifier. He is, as the critic N. Kulisher noted, "the absolute Leon Drei."34 His defmition as an Alphonse, which partakes strongly o f Maupas- sant's novel, Bel-Ami, is one o f a self-reflexiveness carried to the point where even Nature bends to L e o n ' s moods. Leon's quest for self-gratification, the Nietzschean dimension o f his ethics, places him on shaky ground in regard to ethical tradition. Only at life-threatening moments, such as when he contracts syphilis or after he has been exposed and ruined, does he attempt to appeal to a higher authority, only to realize that he lacks the vocabulary to do so. Here, Iushkevich juxtaposes L e o n ' s self-idolatry with sacral rhetoric to suggest that 29. Aleksandr B a k h r a k h , " O b o d e s s k o m zhilblaze," in P o pamiati, p o z a p i s i a m (Paris: La Presse Libre, 1980), p. 106. 30. Quoted from N. P., " V e c h e r pamiati S. S. lushkevicha," Dni, no. 1371, March 27, 1928, p. 3. , 31. 0 . A. Rabinovich, " M o r i t s Sefardi," Giteraturnye v e c h e r a 2 (1850), later reissued in So- b r a n i e sochinenii , 2 (Odessa: Trud, 1888). 32. The sketches, "Tipy maloi b i r z h i , " Odesskii listok (1892), written in Russian b y Rabino- vich, in part served as etudes for the picaresque epistolary novel, Menachem Mendl . 3 3 . By this c o n c e p t the G e r m a n - J e w i s h philosopher Samuel Raphael Hirsch enunciated his b e l i e f in the complementarity o f the Jewish religion with Western secular values. For a recent discussion, see The J e w i s h L e g a c y a n d the G e r m a n Conscience, ed. by Moses Rischin and Raphael Asher (Berkeley, CA: The J u d a h L. Magnes M u s e u m , 1991), pp. 157-69. 34. A. Kulisher, "Pamiati d r u g a , " P o s l e d n i e novosti, Febr. 15, 1927, p. 2. �</p>

		<p>Leon is devoid o f the most fundamental memory o f Jewish teaching. Without these reference points, he tries to bluff his way to prayer: " 0 Lord, M y God," he cowardly mumbled. "Save Leon, save a rake. Show me your mighty arm. How many times have you forgiven your people for its baseness. Forgive also a son o f the people. 0 Lord," he almost yelled, "on Mount S i n a i . . . the Tablets. I can't pray, the hell with it. God will understand what I w a n t . . . . On Mount Sinai. I c a n ' t remember a thing. Some kind o f Tablets."35 By the way, L e o n ' s invocation to a Deity whose sacred writings he cannot recall, comes in the scene o f his final undoing, his attempted seduction o f a nymphette (Nabokov's Lolita, a v a n t la lettre). Leon, who breakfasts English- style on ham and eggs with his rich fiancee, Nina Serebrianaia, also dives into his mother's various fish dishes (such as the kind Iushkevich once had served to Bunin and his wife). Leon fornicates with a succession o f prominent Jewish matrons, but like a good brother, pays for his sister's lavish wedding. A tour de force in the novel, the scene in which Leon marries o f f Liubka, presents Leon in the role o f the marshalik, the traditional Jewish wedding jester. In the folk world, that bard o f irony always reminded the wedding guests o f life's dualities. Leon, as the master o f revels, subverts that function, and the scene rises to a satanic climax o f a floor rocking under the stomping o f the wedding guests. In retrospect, the scene resounds as a .Dies irae, signalling the hero's own demise.36 An expose o f an assimilated society that has deformed even the shell o f the Law which it is powerless to save, Leon Drei, in its assault on a tradition in dissolution, takes particular aim at another failure: specifically at the adulteration o f reading tastes by third-rate Yiddish writers, catering to the ignorance o f a transitional Jewish society.37 Given G o r ' k i i ' s high regard for Yiddish culture, it is surprising that he totally missed this dimension o f the novel. In the subplot, Iushkevich introduces the Rozen family, Saul, who mar- ries Leon's first jilted sweetheart, and his two sisters, one o f whom, Judith, immersed in the third-rate fiction of Ponson de Terrail,3g falls an easy victim to Leon Drei, and unable to distinguish him from the hero o f her trashy nov- els, eventually commits suicide. These chapters in which an exquisite eroti- 35. S. S lushkevich, Leon Drei, Part III (Berlin: S. I. Grzhebin, 1922), pp. 160-61. 36. S. S. Iushkevich, Leon Drei, Part II (Berlin: S. I. Grzhebin), pp. 127-43. 37. The play o f Sholem Asch w h i c h Gor'kii especially liked was N a p u t i v Tsion [On the Road to Zion], performed M a r c h 2, 1906, in the Dramatic Theatre of V. F. Komissarzhevskaia. Bog mesti [God o f Vengeance] was d o n e in 1907 b y the Contemporary Theatre with actors from the Aleksandrinskii Theatre and f r o m the Komissarzhevskaia troupe. 38. Pierre Alexis, V i c o m t e de P o n s o n du Terrail (1829-1871), was a prolific writer o f novels serialized in French journals.</p>

		<p>cism (parodied city-scapes o f the Bois de Boulogne) is juxtaposed to a de- based reality (the genteel marginality o f the Rozen family) were misconstrued as an imitation o f the subplot of Sologub's novel. In fact, the secondary narra- tive line in Leon D r e i was a travesty o f the potboilers o f the Yiddish writer Nahum Maier Shaikovitz, who under the literary pseudonym o f Shomer, wrote adaptations o f European fiction that held up false values o f romantic illusion and monetary success.39 On grounds that Shomer "had spoiled the taste o f the public," Sholem Aleichem had written a biting satire entitled, "The Judgment o f Shomer," condemning the author for having abandoned the progressive values o f the Enlightenment in order to line his own pocket.4o Sholem Aleichem also had faulted Shomer's novels for their "super- entertainment" value. I n the titillating adventures o f its hero and in the bitter- sweet mockery o f the subplot, Leon Drei can be regarded as Iushkevich's own "Judgment o f Shomer," and as such it is a metapoetic novel. In this failure o f taste and morality the larger society is implicated as well. Leon Drei is a mi- crocosm o f European, metropolitan Odessa at the turn o f the century. As a caballero andante, Leon cuts a circuit through its asphalted streets with their new electric lamplights and first automobiles, from the neighborhoods o f the brokerage houses and the mansions o f the well-to-do to the shabby street on which his parents live and where horse carts still clip-clop. The appurtenances o f civilization have b e e n confused with genuine social progress. The movers and shakers are as deceived as poor Judith Rozen who mistook Leon for the Armand de Kergats. Bankruptcy o f promise, suggests the author, stimulates the rise o f the opportunists, for whom no holds are barred. For Odessa's mid- dle class, there is neither Torah, nor is there Derekh Eretz, a social standard worthy o f emulation in private life. The "Znanie" poet, G. V. Petrov [Ski- talets] in an article on another work of Iushkevich, juxtaposing the names o f Moses Mendelssohn, Heinrich Heine, and Semen Iushkevich,41 plotted the curve o f that very failure from the lofty optimism o f Mendelssohn, the em- blematic figure o f the Jewish Enlightenment, who had anticipated that becom- ing modern men and women, Jews could retain their religious integrity, to the sardonic frustrations o f Heine confronting a reactionary world where the dominant society mocks such a synthesis, to the pessimism o f Iushkevich, re- cording the banalities o f his own society. Moreover, the indictment o f materi- 39. N a h u m Maier Shaikovitz ( 1 8 4 9 - 1 9 0 4 wrote plays and comedies for the Yiddish stage in the years after the R u s s o - T u r k i s h W a r when he was a resident o f Odessa. Although his novels have little artistic merit, they stimulated the Jewish masses to read popular literature. 40. S. Rabinovich [ S h o l e m Aleichem], "Shomers Mishpet." For the Russian translation, see "Sud nad S h o m e r o m , " in S h o l e m Aleikhem, S o b r a n i e sochinenii (Moscow: GIKhL, 1 9 6 1 6: 583-625. 41. Skitalets [S. G. Petrov], "Geine, M e n d e l ' s o n , i Iushkevich," Obozrenie tecztrov , no. 613 (1908), p. 6. i.</p>

		<p>alism in Leon Drei matches B u n i n ' s in "The Gentleman from San Francisco," another work o f the period structured on motifs o f false idols.42 The year o f the publication o f Leon D r e i in b o o k form coincided as well with that o f Il'ia Erenburg's story, "Shifs karta" [The Boat Ticket], which also presented a vi- sion o f the end o f Jewish life. For it, El Lissitskii had done a drawing, show- ing two intersecting triangles, on one o f which were superimposed three smokestacks o f a b o a t o f the Hamburg line, on the other, the Hebrew letters, Pei Nun (standing for "Po Nibar," [Here Lies]), in turn, mounted on a page from a tractate o f the Talmud giving the dimensions o f Solomon's Temple. The implication was clear: Jewish life in the Old World was dead.43 At the time when Leon Drei was published by Knigoizdatel'stvo "Mosk- va," Iushkevich had written to Gor'kii, "History may slaughter my other works, but somehow I think it will spare this one."44 The 1922 petition had succeeded. Soon Iushkevich was writing to Gor'kii about options for reissue o f the novel in the Berlin house of Z. I. Grzhebin, where it came out in 1923. It was this edition that Bakhrakh had identified as Iushkevich's major work and which historian Boris Sapir in a letter to me o f 1987 had recalled reading and enjoying as the work o f a "Russian Maupassant."45 In 1923, Iushkevich extended the life o f the p i c a r o figure, publishing Epi- zody lepisodes], a tale o f the Soviet bourgeois, Simkha Grosser.46 This work, begun during the occupation o f Odessa and completed in 1922 at the Prussian resort o f Bad Ems, located near the very park where Alekander II once had strolled, is an expose o f the terror in the Ukraine during the year 1919-1920. It is an inimitable work o f emigre black humor. The English edition translated by Konstantin N a b o k o v was to have carried an introduction by Gor'kii.4 � By 1928 cousins o f Leon Drei began to sprout up in Sovietized Russia. Before he had been wholly realized as the hero o f a novel, Leon had been named Arn (from the noun arnaut, which had come to signify an Asiatic infi- del).48 Arnaut gave its name to a street in Odessa where Iushkevich had lived, and which, the fictional Ostap Bender later had claimed, was the site "where all the smuggling was done."49 The year 1928 also marked the appearance o f 42. I. A. Bunin, " S m e r t ' n a K a p r i , " Slovo 5 (1915), later reissued as "Gospodin iz San Frant- sisko," in P r o i z v e d e n i i a 1 9 1 5 - 1 9 1 6 g g (Berlin: Petropolis, 1935). 43. 1. G. Erenburg, "Shifs karta," in S h e s t ' p o v e s t e i o legkikh kontsakh (Berlin: Gelikon, 1922), pp. 103-35. 44. S. S. Iushkevich to A. M. G o r ' k i i , Oct. 1922, Berlin, ibid. 45. Boris Sapir to Ruth Rischin, Jan. 29, 1987, Amsterdam. 46. S. S. Iushkevich, Epizody (Berlin: Izd. " G a m a i u n , " 1923). 47. S. S. Iushkevich to A. M. G o r ' k i i , M a r c h 9, 1923, Berlin, IMLI, AG, KG-P, 90-18-13. 48. V. I. D a l ' , Tolkovyi s l o v a r ' z h i v o g o velikorusskogo iazyka (Moscow: "Russkii iazyk," 1989), 3: 23. 4 9 . l l ' i a l l ' f i Evgenii Petrov, D v e n a d t s a d t ' s t u l ' e v (Moscow: Izd. "Khud. Lit.," 1968), p. 53.</p>

		<p>Erenburg's Lasik Roitschvanets, a figure who is a direct relation to Iushke- vich's sovbur hero o f Epizody.50 This ongoing life o f Odessa's caballero andante, Leon Drei, was one that neither Iushkevich nor Gor'kii had envisioned, when Iushkevich discovered that his novel o f the same name had become a test case for the freedom o f lit- erary expression, suddenly bringing him the support o f the Russian literary establishment abroad. 50. 1. G. Erenburg, B u r n a i a z h i z n ' L a s i k a Roitshvantsa. See A Rubashkii, "V buri i ottepel', k 100-letiiu so dnia r o z h d e n i i a Il'i E r e n b u r g a , " L i t e r a t u r n a i a g a z e t a , Jan. 30, 1991, p. 12,</p>

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