In my present state of mind five minutes of him is enough to sicken me as though I had been seeing and hearing him for an eternity. I hate the poor fellow. His soft, smooth voice and bookish language exhaust me, and his stories stupefy me.... He cherishes the best of feelings for me, and talks to me simply in order to give me pleasure, and I repay him by looking at him as though I wanted to hypnotize him, and think, "Go, go, go!..." But he is not amenable to thought-suggestion, and sits on and on and on....
While he is with me I can never shake off the thought, "It's possible when I die he will be appointed to succeed me," and my poor lecture-hall presents itself to me as an oasis in which the spring is died up; and I am ungracious, silent, and surly with Pyotr Ignatyevitch, as though he were to blame for such thoughts, and not I myself. When he begins, as usual, praising up the German savants, instead of making fun of him good-humouredly, as I used to do, I mutter sullenly:
"Asses, your Germans!..."
That is like the late Professor Nikita Krylov, who once, when he was bathing with Pirogov at Revel and vexed at the water's being very cold, burst out with, "Scoundrels, these Germans!" I behave badly with Pyotr Ignatyevitch, and only when he is going away, and from the window I catch a glimpse of his grey hat behind the garden-fence, I want to call out and say, "Forgive me, my dear fellow!"
Dinner is even drearier than in the winter. Gnekker, whom now I hate and despise, dines with us almost every day. I used to endure his presence in silence, now I aim biting remarks at him which make my wife and daughter blush. Carried away by evil feeling, I often say things that are simply stupid, and I don't know why I say them. So on one occasion it happened that I stared a long time at Gnekker, and, a propos of nothing, I fired off:
"An eagle may perchance swoop down below a cock,
But never will the fowl soar upwards to the clouds..."
And the most vexatious thing is that the fowl Gnekker shows himself much cleverer than the eagle professor. Knowing that my wife and daughter are on his side, he takes up the line of meeting my gibes with condescending silence, as though to say:
"The old chap is in his dotage; what's the use of talking to him?"
Or he makes fun of me good-naturedly. It is wonderful how petty a man may become! I am capable of dreaming all dinner-time of how Gnekker will turn out to be an adventurer, how my wife and Liza will come to see their mistake, and how I will taunt them—and such absurd thoughts at the time when I am standing with one foot in the grave!
There are now, too, misunderstandings of which in the old days I had no idea except from hearsay. Though I am ashamed of it, I will describe one that occurred the other day after dinner.
I was sitting in my room smoking a pipe; my wife came in as usual, sat down, and began saying what a good thing it would be for me to go to Harkov now while it is warm and I have free time, and there find out what sort of person our Gnekker is.
"Very good; I will go," I assented.
My wife, pleased with me, got up and was going to the door, but turned back and said:
"By the way, I have another favour to ask of you. I know you will be angry, but it is my duty to warn you.... Forgive my saying it, Nikolay Stepanovitch, but all our neighbours and acquaintances have begun talking about your being so often at Katya's. She is clever and well-educated; I don't deny that her company may be agreeable; but at your age and with your social position it seems strange that you should find pleasure in her society.... Besides, she has such a reputation that..."
All the blood suddenly rushed to my brain, my eyes flashed fire, I leaped up and, clutching at my head and stamping my feet, shouted in a voice unlike my own:
"Let me alone! let me alone! let me alone!"
Probably my face was terrible, my voice was strange, for my wife suddenly turned pale and began shrieking aloud in a despairing voice that was utterly unlike her own. Liza, Gnekker, then Yegor, came running in at our shouts....
"Let me alone!" I cried; "let me alone! Go away!"
My legs turned numb as though they had ceased to exist; I felt myself falling into someone's arms; for a little while I still heard weeping, then sank into a swoon which lasted two or three hours.
Now about Katya; she comes to see me every day towards evening, and of course neither the neighbours nor our acquaintances can avoid noticing it. She comes in for a minute and carries me off for a drive with her. She has her own horse and a new chaise bought this summer. Altogether she lives in an expensive style; she has taken a big detached villa with a large garden, and has taken all her town retinue with her—two maids, a coachman... I often ask her:
"Katya, what will you live on when you have spent your father's money?"
"Then we shall see," she answers.
"That money, my dear, deserves to be treated more seriously. It was earned by a good man, by honest labour."
"You have told me that already. I know it."
At first we drive through the open country, then through the pine-wood which is visible from my window. Nature seems to me as beautiful as it always has been, though some evil spirit whispers to me that these pines and fir trees, birds, and white clouds on the sky, will not notice my absence when in three or four months I am dead. Katya loves driving, and she is pleased that it is fine weather and that I am sitting beside her. She is in good spirits and does not say harsh things.
"You are a very good man, Nikolay Stepanovitch," she says. "You are a rare specimen, and there isn't an actor who would understand how to play you. Me or Mihail Fyodorovitch, for instance, any poor actor could do, but not you. And I envy you, I envy you horribly! Do you know what I stand for? What?"
She ponders for a minute, and then asks me:
"Nikolay Stepanovitch, I am a negative phenomenon! Yes?"
"Yes," I answer.
"H'm! what am I to do?"
What answer was I to make her? It is easy to say "work," or "give your possessions to the poor," or "know yourself," and because it is so easy to say that, I don't know what to answer.
My colleagues when they teach therapeutics advise "the individual study of each separate case." One has but to obey this advice to gain the conviction that the methods recommended in the textbooks as the best and as providing a safe basis for treatment turn out to be quite unsuitable in individual cases. It is just the same in moral ailments.
But I must make some answer, and I say:
"You have too much free time, my dear; you absolutely must take up some occupation. After all, why shouldn't you be an actress again if it is your vocation?"
"I cannot!"
"Your tone and manner suggest that you are a victim. I don't like that, my dear; it is your own fault. Remember, you began with falling out with people and methods, but you have done nothing to make either better. You did not struggle with evil, but were cast down by it, and you are not the victim of the struggle, but of your own impotence. Well, of course you were young and inexperienced then; now it may all be different. Yes, really, go on the stage. You will work, you will serve a sacred art."
"Don't pretend, Nikolay Stepanovitch," Katya interrupts me. "Let us make a compact once for all; we will talk about actors, actresses, and authors, but we will let art alone. You are a splendid and rare person, but you don't know enough about art sincerely to think it sacred. You have no instinct or feeling for art. You have been hard at work all your life, and have not had time to acquire that feeling. Altogether... I don't like talk about art," she goes on nervously. "I don't like it! And, my goodness, how they have vulgarized it!"
"Who has vulgarized it?"
"They have vulgarized it by drunkenness, the newspapers by their familiar attitude, clever people by philosophy."
"Philosophy has nothing to do with it."
"Yes, it has. If any one philosophizes about it, it shows he does not understand it."
To avoid bitterness I hasten to change the subject, and then sit a long time silent. Only when we are driving out of the wood and turning towards Katya's villa
I go back to my former question, and say:
"You have still not answered me, why you don't want to go on the stage."
"Nikolay Stepanovitch, this is cruel!" she cries, and suddenly flushes all over. "You want me to tell you the truth aloud? Very well, if... if you like it! I have no talent! No talent and... and a great deal of vanity! So there!"
After making this confession she turns her face away from me, and to hide the trembling of her hands tugs violently at the reins.
As we are driving towards her villa we see Mihail Fyodorovitch walking near the gate, impatiently awaiting us.
"That Mihail Fyodorovitch again!" says Katya with vexation. "Do rid me of him, please! I am sick and tired of him... bother him!"
Mihail Fyodorovitch ought to have gone abroad long ago, but he puts off going from week to week. Of late there have been certain changes in him. He looks, as it were, sunken, has taken to drinking until he is tipsy, a thing which never used to happen to him, and his black eyebrows are beginning to turn grey. When our chaise stops at the gate he does not conceal his joy and his impatience. He fussily helps me and Katya out, hurriedly asks questions, laughs, rubs his hands, and that gentle, imploring, pure expression, which I used to notice only in his eyes, is now suffused all over his face. He is glad and at the same time he is ashamed of his gladness, ashamed of his habit of spending every evening with Katya. And he thinks it necessary to explain his visit by some obvious absurdity such as: "I was driving by, and I thought I would just look in for a minute."
We all three go indoors; first we drink tea, then the familiar packs of cards, the big piece of cheese, the fruit, and the bottle of Crimean champagne are put upon the table. The subjects of our conversation are not new; they are just the same as in the winter. We fall foul of the University, the students, and literature and the theatre; the air grows thick and stifling with evil speaking, and poisoned by the breath, not of two toads as in the winter, but of three. Besides the velvety baritone laugh and the giggle like the gasp of a concertina, the maid who waits upon us hears an unpleasant cracked "He, he!" like the chuckle of a general in a vaudeville.
V
There are terrible nights with thunder, lightning, rain, and wind, such as are called among the people "sparrow nights." There has been one such night in my personal life.
I woke up after midnight and leaped suddenly out of bed. It seemed to me for some reason that I was just immediately going to die. Why did it seem so? I had no sensation in my body that suggested my immediate death, but my soul was oppressed with terror, as though I had suddenly seen a vast menacing glow of fire.
I rapidly struck a light, drank some water straight out of the decanter, then hurried to the open window. The weather outside was magnificent. There was a smell of hay and some other very sweet scent. I could see the spikes of the fence, the gaunt, drowsy trees by the window, the road, the dark streak of woodland, there was a serene, very bright moon in the sky and not a single cloud, perfect stillness, not one leaf stirring. I felt that everything was looking at me and waiting for me to die....
It was uncanny. I closed the window and ran to my bed. I felt for my pulse, and not finding it in my wrist, tried to find it in my temple, then in my chin, and again in my wrist, and everything I touched was cold and clammy with sweat. My breathing came more and more rapidly, my body was shivering, all my inside was in commotion; I had a sensation on my face and on my bald head as though they were covered with spiders' webs.
What should I do? Call my family? No; it would be no use. I could not imagine what my wife and Liza would do when they came in to me.
I hid my head under the pillow, closed my eyes, and waited and waited.... My spine was cold; it seemed to be drawn inwards, and I felt as though death were coming upon me stealthily from behind.
"Kee-vee! kee-vee!" I heard a sudden shriek in the night's stillness, and did not know where it was—in my breast or in the street—"Kee-vee! kee-vee!"
"My God, how terrible!" I would have drunk some more water, but by then it was fearful to open my eyes and I was afraid to raise my head. I was possessed by unaccountable animal terror, and I cannot understand why I was so frightened: was it that I wanted to live, or that some new unknown pain was in store for me?
Upstairs, overhead, some one moaned or laughed. I listened. Soon afterwards there was a sound of footsteps on the stairs. Some one came hurriedly down, then went up again. A minute later there was a sound of steps downstairs again; some one stopped near my door and listened.
"Who is there?" I cried.
The door opened. I boldly opened my eyes, and saw my wife. Her face was pale and her eyes were tear-stained.
"You are not asleep, Nikolay Stepanovitch?" she asked.
"What is it?"
"For God's sake, go up and have a look at Liza; there is something the matter with her...."
"Very good, with pleasure," I muttered, greatly relieved at not being alone. "Very good, this minute...."
I followed my wife, heard what she said to me, and was too agitated to understand a word. Patches of light from her candle danced about the stairs, our long shadows trembled. My feet caught in the skirts of my dressing-gown; I gasped for breath, and felt as though something were pursuing me and trying to catch me from behind.
"I shall die on the spot, here on the staircase," I thought. "On the spot...." But we passed the staircase, the dark corridor with the Italian windows, and went into Liza's room. She was sitting on the bed in her nightdress, with her bare feet hanging down, and she was moaning.
"Oh, my God! Oh, my God!" she was muttering, screwing up her eyes at our candle. "I can't bear it."
"Liza, my child," I said, "what is it?"
Seeing me, she began crying out, and flung herself on my neck.
"My kind papa!..." she sobbed—"my dear, good papa... my darling, my pet, I don't know what is the matter with me.... I am miserable!"
She hugged me, kissed me, and babbled fond words I used to hear from her when she was a child.
"Calm yourself, my child. God be with you," I said. "There is no need to cry. I am miserable, too."
I tried to tuck her in; my wife gave her water, and we awkwardly stumbled by her bedside; my shoulder jostled against her shoulder, and meanwhile I was thinking how we used to give our children their bath together.
"Help her! help her!" my wife implored me. "Do something!"
What could I do? I could do nothing. There was some load on the girl's heart; but I did not understand, I knew nothing about it, and could only mutter:
"It's nothing, it's nothing; it will pass. Sleep, sleep!"
To make things worse, there was a sudden sound of dogs howling, at first subdued and uncertain, then loud, two dogs howling together. I had never attached significance to such omens as the howling of dogs or the shrieking of owls, but on that occasion it sent a pang to my heart, and I hastened to explain the howl to myself.
"It's nonsense," I thought, "the influence of one organism on another. The intensely strained condition of my nerves has infected my wife, Liza, the dog—that is all.... Such infection explains presentiments, forebodings...."
When a little later I went back to my room to write a prescription for Liza, I no longer thought I should die at once, but only had such a weight, such a feeling of oppression in my soul that I felt actually sorry that I had not died on the spot. For a long time I stood motionless in the middle of the room, pondering what to prescribe for Liza. But the moans overhead ceased, and I decided to prescribe nothing, and yet I went on standing there....
There was a deathlike stillness, such a stillness, as some author has expressed it, "it rang in one's ears." Time passed slowly; the streaks of moonlight on the window-sill did not shift their position, but seemed as though frozen.... It was still some time before dawn.
But the gate in the fence creaked, some one stole in and, breaking a twig from one of those scraggy trees, cautiously tapped on the window with it.
"Nikolay Stepanovitch," I h
eard a whisper. "Nikolay Stepanovitch."
I opened the window, and fancied I was dreaming: under the window, huddled against the wall, stood a woman in a black dress, with the moonlight bright upon her, looking at me with great eyes. Her face was pale, stern, and weird-looking in the moonlight, like marble, her chin was quivering.
"It is I," she said—"I... Katya."
In the moonlight all women's eyes look big and black, all people look taller and paler, and that was probably why I had not recognized her for the first minute.
"What is it?"
"Forgive me!" she said. "I suddenly felt unbearably miserable... I couldn't stand it, so came here. There was a light in your window and... and I ventured to knock.... I beg your pardon. Ah! if you knew how miserable I am! What are you doing just now?"
"Nothing.... I can't sleep."
"I had a feeling that there was something wrong, but that is nonsense."
Her brows were lifted, her eyes shone with tears, and her whole face was lighted up with the familiar look of trustfulness which I had not seen for so long.
"Nikolay Stepanovitch," she said imploringly, stretching out both hands to me, "my precious friend, I beg you, I implore you.... If you don't despise my affection and respect for you, consent to what I ask of you."
"What is it?"
"Take my money from me!"
"Come! what an idea! What do I want with your money?"
"You'll go away somewhere for your health.... You ought to go for your health. Will you take it? Yes? Nikolay Stepanovitch darling, yes?"
She looked greedily into my face and repeated: "Yes, you will take it?"
"No, my dear, I won't take it," I said. "Thank you."
She turned her back upon me and bowed her head. Probably I refused her in a tone which made further conversation about money impossible.
Tales of Chekhov 05- The Wife and other stories Page 15