Rich people are always surrounded by spongers; so are people of science and art. It seems no science or art in the world is free of the presence of “foreign bodies” like this Mr. Gnekker. I’m not a musician, and may be mistaken concerning this Gnekker, whom, moreover, I know only slightly. But his authority, and the dignity with which he stands by the piano and listens while someone sings or plays, strike me as all too suspicious.
You can be a gentleman and a privy councillor a hundred times over, but if you have a daughter, nothing can protect you from the bourgeois vulgarity that is often introduced into your house and into your state of mind by courtships, proposals, and weddings. I, for instance, am quite unable to reconcile myself to the solemn expression my wife acquires each time Gnekker sits down with us, nor can I be reconciled to the bottles of Lafite, port, and sherry that are served only for his sake, to give him ocular evidence of the luxury and largesse of our life. I also can’t stand Liza’s jerky laughter, which she learned at the conservatory, or her way of narrowing her eyes when we have gentleman visitors. And above all I simply cannot understand why it is that I am visited every day by and have dinner every day with a being who is totally alien to my habits, my learning, the whole mode of my life, and who is totally different from the people I like. My wife and the servants whisper mysteriously that he is “the fiancé,” but even so I don’t understand his presence; it arouses the same perplexity in me as if a Zulu were seated at my table. And it also seems strange to me that my daughter, whom I am accustomed to consider a child, should love that necktie, those eyes, those soft cheeks …
Formerly I either liked dinner or was indifferent to it, but now it arouses nothing but boredom and vexation in me. Ever since I became an Excellency13 and was made dean of the faculty, my family has for some reason found it necessary to change our menu and dining habits. Instead of the simple dishes I became accustomed to as a student and a doctor, I’m now fed puréed soup with some sort of white icicles floating in it, and kidneys in Madeira. Renown and the rank of general have deprived me forever of cabbage soup, and tasty pies, and goose with apples, and bream with kasha.14 They have also deprived me of the maid Agasha, a talkative old woman, quick to laugh, instead of whom the dinner is now served by Yegor, a dumb and arrogant fellow with a white glove on his right hand. The intermissions are short, but they seem far too long, because there is nothing to fill them. Gone are the former gaiety, unconstrained conversation, jokes, laughter, gone is the mutual tenderness and joy that animated my children, my wife and myself when we used to come together in the dining room; for a busy man like me, dinner was a time to rest and see my wife and children, and for them it was a festive time—short, it’s true, but bright and joyful— when they knew that for half an hour I belonged not to science, not to my students, but to them alone and no one else. No more the ability to get drunk on a single glass, no more Agasha, no more bream with kasha, no more the noise produced by small dinner scandals, like a fight between the cat and dog under the table or the bandage falling from Katya’s cheek into her plate of soup.
Describing our present-day dinners is as unappetizing as eating them. My wife’s face has an expression of solemnity, an assumed gravity, and her usual worry. She glances uneasily over our plates and says: “I see you don’t like the roast … Tell me: don’t you really?” And I have to answer: “You needn’t worry, my dear, the roast is quite delicious.” And she: “You always stand up for me, Nikolai Stepanych, and never tell the truth. Why, then, has Alexander Adolfovich eaten so little?” and it goes on in the same vein throughout the meal. Liza laughs jerkily and narrows her eyes. I look at the two of them, and only now, at dinner, does it become perfectly clear to me that their inner life escaped my observation long ago. I have the feeling that once upon a time I lived at home with a real family, but now I’m the dinner guest of someone who is not my real wife and am looking at someone who is not the real Liza. An abrupt change has taken place in them both, I missed the long process by which this change came about, and it’s no wonder I don’t understand anything. Why did the change take place? I don’t know. Maybe the whole trouble is that God gave my wife and daughter less strength than He gave me. Since childhood I’ve been accustomed to standing up to external circumstances, and I’ve become rather seasoned; such catastrophes in life as renown, the rank of general, the change from well-being to living beyond one’s means, acquaintance with the nobility, and so on, have barely touched me, and I’ve remained safe and sound; but on my weak, unseasoned wife and Liza it all fell like a big block of snow, and crushed them.
The young ladies and Gnekker are talking about fugues, counterpoint, about singers and pianists, about Bach and Brahms, and my wife, afraid to be suspected of musical ignorance, smiles at them sympathetically and murmurs: “That’s lovely … Really? You don’t say …” Gnekker eats gravely, cracks jokes gravely, and listens condescendingly to the young ladies’ observations. Every once in a while he feels a desire to speak bad French, and then for some reason he finds it necessary to address me as votre excellence.
And I am morose. Obviously I inhibit them all, and they inhibit me. Never before have I been closely acquainted with class antagonism, but now I’m tormented precisely by something of that sort. I try to find only bad features in Gnekker, quickly find them, and am tormented that in the suitor’s place there sits a man not of my circle. His presence affects me badly in yet another respect. Usually, when I’m by myself or in the company of people I like, I never think of my own merits, and if I do begin to think of them, they seem as insignificant to me as if I had become a scientist only yesterday; but in the presence of people like Gnekker, my merits seem like a lofty mountain, its peak disappearing into the clouds, while at its foot, barely visible to the eye, the Gnekkers shift about.
After dinner I go to my study and there light my pipe, the only one of the whole day, a leftover from a long-past bad habit of puffing smoke from morning till night. While I’m smoking, my wife comes in and sits down to talk with me. Just as in the morning, I know beforehand what the talk will be about.
“I must have a serious talk with you, Nikolai Stepanych,” she begins. “It’s about Liza … Why aren’t you paying attention?”
“Meaning what?”
“You make it seem as if you don’t notice anything, but that’s not good. It’s impossible to be unconcerned … Gnekker has intentions towards Liza … What do you say?”
“That he’s a bad man I cannot say, since I don’t know him, but that I dislike him, I’ve already told you a thousand times.”
“But this is impossible … impossible …”
She gets up and paces in agitation.
“It’s impossible to deal this way with such a serious step …” she says. “When it’s a question of your daughter’s happiness, you must set aside everything personal. I know you dislike him … Very well … If we reject him now, break it all off, what assurance do you have that Liza won’t complain about us for the rest of her life? There aren’t so many suitors nowadays, and it may so happen that no other party comes along … He loves Liza very much, and she apparently likes him … Of course, he has no definite position, but what can we do? God willing, he’ll get himself established somewhere in time. He’s from a good family and he’s rich.”
“How do you know that?”
“He said so. His father has a big house in Kharkov and an estate near Kharkov. In short, Nikolai Stepanych, you absolutely must go to Kharkov.”
“What for?”
“You can make inquiries … You have acquaintances among the professors there, they’ll help you. I’d go myself, but I’m a woman. I can’t …”
“I won’t go to Kharkov,” I say morosely.
My wife gets alarmed, and an expression of tormenting pain appears on her face.
“For God’s sake, Nikolai Stepanych!” she implores me, sobbing. “For God’s sake, relieve me of this burden! I’m suffering!”
It’s becoming painful to look at her.
>
“Very well, Varya,” I say tenderly. “If you wish, so be it, I’ll go to Kharkov and do whatever you like.”
She presses her handkerchief to her eyes and goes to her room to cry. I remain alone.
A little later a lamp is brought in. Familiar shadows I’ve long since grown weary of are cast on the walls and floor by the chairs and the lamp shade, and when I look at them, it seems to me that it’s already night and that my cursed insomnia is beginning. I lie down, then get up and pace the room, then lie down again … Usually after dinner, before evening, my nervous agitation reaches its highest pitch. I start weeping for no reason and hide my head under the pillow. In those moments I’m afraid somebody may come in, afraid I may die suddenly; I’m ashamed of my tears, and generally there is something unbearable in my soul. I feel that I can no longer stand the sight of my lamp, the books, the shadows on the floor, or the sound of voices coming from the drawing room. Some invisible and incomprehensible force is roughly pushing me out of the house. I jump up, hastily put on my coat and hat, and cautiously, so that the family won’t notice, go outside. Where to?
The answer to that question has long been sitting in my brain: to Katya.
III
As usual, she’s lying on a Turkish divan or couch and reading something. On seeing me, she raises her head indolently, sits up, and gives me her hand.
“And you’re always lying down,” I say, after pausing briefly to rest. “That’s unhealthy. You ought to find something to do!”
“Eh?”
“I said, you ought to find something to do.”
“What? A woman can only be a menial worker or an actress.”
“Well, then? If you can’t be a worker, be an actress.”
Silence.
“Why don’t you get married?” I say half jokingly.
“There’s nobody to marry. And no reason to.”
“You can’t live like this.”
“Without a husband? A lot it matters! There are men all over, if anybody’s interested.”
“That’s not nice, Katya.”
“What’s not nice?”
“What you just said.”
Noticing that I’m upset, and wishing to smooth over the bad impression, Katya says:
“Come. Over here. Look.”
She leads me to a small, very cozy room and says, pointing to the writing table:
“Look … I’ve made it ready for you. You can work here. Come every day and bring your work. At home they only bother you. Will you work here? Do you want to?”
To avoid upsetting her by saying no, I reply that I will work in her place and that I like the room very much. Then the two of us sit down in this cozy room and begin to talk.
The warmth, the cozy atmosphere, and the presence of a sympathetic person now arouse in me not a feeling of contentment, as before, but a strong urge to complain and grumble. For some reason it seems to me that if I murmur and complain a bit I’ll feel better.
“Things are bad, my dear!” I begin with a sigh. “Very bad …”
“What’s wrong?”
“The thing is this, my friend. The best and most sacred right of kings is the right to show mercy. And I always felt myself a king, because I made boundless use of that right. I never judged, I was tolerant, I willingly forgave everybody right and left. Where others protested and were indignant, I merely advised and persuaded. All my life I tried only to make my company bearable for my family, students, colleagues, and servants. And this attitude of mine towards people, I know, was an education to all those around me. But now I’m no longer a king. Something is going on inside me that is fit only for slaves: spiteful thoughts wander through my head day and night, and feelings such as I’ve never known before are nesting in my soul. I hate and despise, I feel indignant, outraged, afraid. I’ve become excessively severe, demanding, irritable, ungracious, suspicious. Even something that before would have given me an occasion for one more quip and a good-natured laugh, now produces a heavy feeling in me. My logic has also changed in me: before I only despised money, now I harbor a spiteful feeling not for money but for the rich, as if they were to blame; before I hated violence and tyranny, but now I hate the people who use violence, as if they alone were to blame and not all of us, because we’re unable to educate each other. What does it mean? If my new thoughts and feelings proceed from a change of convictions, where could that change have come from? Has the world become worse and I better, or was I blind and indifferent before? And if this change has proceeded from a general decline of physical and mental powers—I’m sick and losing weight every day—then my situation is pathetic: it means that my new thoughts are abnormal, unhealthy, that I should be ashamed of them and consider them worthless …”
“Sickness has nothing to do with it,” Katya interrupts me. “It’s simply that your eyes have been opened, that’s all. You’ve seen something that for some reason you didn’t want to notice before. In my opinion, you must first of all break with your family and leave.”
“What you’re saying is absurd.”
“You don’t love them, so why this duplicity? And is that a family? Nonentities! They could die today, and tomorrow nobody would notice they were gone.”
Katya despises my wife and daughter as much as they hate her. In our day one can hardly talk of people’s right to despise each other. But if one takes Katya’s point of view and acknowledges that such a right exists, one can see that after all she has the same right to despise my wife and Liza as they have to hate her.
“Nonentities!” she repeats. “Did you have dinner today? How is it they didn’t forget to call you to the dining room? How is it they still remember your existence?”
“Katya,” I say sternly, “I ask you to be quiet.”
“And do you think I enjoy talking about them? I’d be glad not to know them at all. Listen to me, my dear: drop everything and leave. Go abroad. The sooner the better.”
“What nonsense! And the university?”
“The university, too. What is it to you? There’s no sense in it anyway. You’ve been lecturing for thirty years now, and where are your disciples? Have you produced many famous scientists? Count them up! And to multiply the number of doctors who exploit ignorance and make hundreds of thousands, there’s no need to be a good and talented man. You’re superfluous.”
“My God, how sharp you are!” I say, horrified. “How sharp you are! Be quiet, or I’ll leave! I don’t know how to reply to your sharpness!”
The maid comes in and invites us to have tea. At the samovar our conversation changes, thank God. Since I’ve already complained, I want to give free rein to my other old man’s weakness— reminiscence. I tell Katya about my past and, to my great astonishment, inform her of such details as I didn’t even suspect were still preserved in my memory. And she listens to me with tenderness, with pride, with bated breath. I especially like telling her how I once studied at the seminary15 and dreamed of going to university.
“I used to walk in our seminary garden …” I tell her. “The squeak of an accordion and a song from a far-off tavern would come on the wind, or a troika with bells would race past the seminary fence, and that was already quite enough for a sense of happiness suddenly to fill not only my breast, but even my stomach, legs, arms … I’d listen to the accordion or to the fading sound of the bells, and imagine myself a doctor and paint pictures—one better than the other. And so, as you see, my dreams have come true. I’ve received more than I dared dream of. For thirty years I’ve been a beloved professor, have had excellent colleagues, have enjoyed honorable renown. I’ve loved, married for passionate love, had children. In short, looking back, my whole life seems to me like a beautiful composition, executed with talent. Now it only remains for me not to ruin the finale. For that I must die like a human being. If death is indeed a danger, I must meet it as befits a teacher, a scientist, and the citizen of a Christian country: cheerfully and with a peaceful soul. But I’m ruining the finale. I’m drowning, I run to yo
u asking for help, and you say to me: drown, that’s how it should be.”
But here the bell rings in the front hall. Katya and I recognize it and say:
“That must be Mikhail Fyodorovich.”
And, indeed, a moment later in comes my colleague, the philologist Mikhail Fyodorovich, a tall, well-built man of around fifty, clean-shaven, with thick gray hair and black eyebrows. He is a kind man and an excellent comrade. He comes from an old aristocratic family, very fortunate and talented, which has played a notable role in the history of our literature and education. He himself is intelligent, talented, very cultivated, but not without his oddities. To a certain degree we’re all odd, we’re all eccentrics, but his oddities seem to his acquaintances to be something exceptional and not entirely harmless. Among those acquaintances I know not a few who are totally unable to see his many virtues through his oddities.
He comes into the room, slowly removes his gloves, and says in a velvety bass:
“Good evening. Having tea? That’s quite appropriate. It’s hellishly cold.”
Then he sits at the table, takes a glass, and immediately starts talking. The most characteristic thing in his manner of talking is his permanently jocular tone, a sort of blend of philosophy and banter, as with Shakespeare’s gravediggers. He always talks about serious things, but never talks seriously. His opinions are always sharp, abusive, but owing to his soft, smooth, jocular tone, it somehow turns out that his sharpness and abuse do not grate on the ear, and you quickly get used to them. Every evening he brings along five or six anecdotes from university life, and when he sits at the table, he usually begins with them.
“Oh, Lord!” he sighs, with a mocking movement of his black eyebrows. “Such comedians there are in the world!”