The Jew and Other Stories
Иван Тургенев
THE JEW AND OTHER STORIES
BY IVAN TURGENEV
Translated from the Russian
By CONSTANCE GARNETT
TO THE MEMORY OF STEPNIAK
WHOSE LOVE OF TURGENEV
SUGGESTED THIS TRANSLATION
INTRODUCTION
In studying the Russian novel it is amusing to note the childish attitude of certain English men of letters to the novel in general, their depreciation of its influence and of the public's 'inordinate' love of fiction. Many men of letters to-day look on the novel as a mere story-book, as a series of light-coloured, amusing pictures for their 'idle hours,' and on memoirs, biographies, histories, criticism, and poetry as the age's serious contribution to literature. Whereas the reverse is the case. The most serious and significant of all literary forms the modern world has evolved is the novel; and brought to its highest development, the novel shares with poetry to-day the honour of being the supreme instrument of the great artist's literary skill.
To survey the field of the novel as a mere pleasure-garden marked out for the crowd's diversion—a field of recreation adorned here and there by the masterpieces of a few great men—argues in the modern critic either an academical attitude to literature and life, or a one-eyed obtuseness, or merely the usual insensitive taste. The drama in all but two countries has been willy-nilly abandoned by artists as a coarse playground for the great public's romps and frolics, but the novel can be preserved exactly so long as the critics understand that to exercise a delicate art is the one serious duty of the artistic life. It is no more an argument against the vital significance of the novel that tens of thousands of people—that everybody, in fact—should to-day essay that form of art, than it is an argument against poetry that for all the centuries droves and flocks of versifiers and scribblers and rhymesters have succeeded in making the name of poet a little foolish in worldly eyes. The true function of poetry! That can only be vindicated in common opinion by the severity and enthusiasm of critics in stripping bare the false, and in hailing as the true all that is animated by the living breath of beauty. The true function of the novel! That can only be supported by those who understand that the adequate representation and criticism of human life would be impossible for modern men were the novel to go the way of the drama, and be abandoned to the mass of vulgar standards. That the novel is the most insidious means of mirroring human society Cervantes in his great classic revealed to seventeenth-century Europe. Richardson and Fielding and Sterne in their turn, as great realists and impressionists, proved to the eighteenth century that the novel is as flexible as life itself. And from their days to the days of Henry James the form of the novel has been adapted by European genius to the exact needs, outlook, and attitude to life of each successive generation. To the French, especially to Flaubert and Maupassant, must be given the credit of so perfecting the novel's technique that it has become the great means of cosmopolitan culture. It was, however, reserved for the youngest of European literatures, for the Russian school, to raise the novel to being the absolute and triumphant expression by the national genius of the national soul.
Turgenev's place in modern European literature is best defined by saying that while he stands as a great classic in the ranks of the great novelists, along with Richardson, Fielding, Scott, Balzac, Dickens, Thackeray, Meredith, Tolstoi, Flaubert, Maupassant, he is the greatest of them all, in the sense that he is the supreme artist. As has been recognised by the best French critics, Turgenev's art is both wider in its range and more beautiful in its form than the work of any modern European artist. The novel modelled by Turgenev's hands, the Russian novel, became the great modern instrument for showing 'the very age and body of the time his form and pressure.' To reproduce human life in all its subtlety as it moves and breathes before us, and at the same time to assess its values by the great poetic insight that reveals man's relations to the universe around him,—that is an art only transcended by Shakespeare's own in its unique creation of a universe of great human types. And, comparing Turgenev with the European masters, we see that if he has made the novel both more delicate and more powerful than their example shows it, it is because as the supreme artist he filled it with the breath of poetry where others in general spoke the word of prose. Turgenev's horizon always broadens before our eyes: where Fielding and Richardson speak for the country and the town, Turgenev speaks for the nation. While Balzac makes defile before us an endless stream of human figures, Turgenev's characters reveal themselves as wider apart in the range of their spirit, as more mysteriously alive in their inevitable essence, than do Meredith's or Flaubert's, than do Thackeray's or Maupassant's. Where Tolstoi uses an immense canvas in War and Peace, wherein Europe may see the march of a whole generation, Turgenev in Fathers and Children concentrates in the few words of a single character, Bazarov, the essence of modern science's attitude to life, that scientific spirit which has transformed both European life and thought. It is, however, superfluous to draw further parallels between Turgenev and his great rivals. In England alone, perhaps, is it necessary to say to the young novelist that the novel can become anything, can be anything, according to the hands that use it. In its application to life, its future development can by no means be gauged. It is the most complex of all literary instruments, the chief method to-day of analysing the complexities of modern life. If you love your art, if you would exalt it, treat it absolutely seriously. If you would study it in its highest form, the form the greatest artist of our time has perfected—remember Turgenev.
EDWARD GARNETT.
November 1899.
CONTENTS
THE JEW
AN UNHAPPY GIRL
THE DUELLIST
THREE PORTRAITS
ENOUGH
THE JEW
...'Tell us a story, colonel,' we said at last to Nikolai Ilyitch.
The colonel smiled, puffed out a coil of tobacco smoke between his moustaches, passed his hand over his grey hair, looked at us and considered. We all had the greatest liking and respect for Nikolai Ilyitch, for his good-heartedness, common sense, and kindly indulgence to us young fellows. He was a tall, broad-shouldered, stoutly-built man; his dark face, 'one of the splendid Russian faces,' [Footnote: Lermontov in the Treasurer's Wife.—AUTHOR'S NOTE.] straight-forward, clever glance, gentle smile, manly and mellow voice—everything about him pleased and attracted one.
'All right, listen then,' he began.
It happened in 1813, before Dantzig. I was then in the E—— regiment of cuirassiers, and had just, I recollect, been promoted to be a cornet. It is an exhilarating occupation—fighting; and marching too is good enough in its way, but it is fearfully slow in a besieging army. There one sits the whole blessed day within some sort of entrenchment, under a tent, on mud or straw, playing cards from morning till night. Perhaps, from simple boredom, one goes out to watch the bombs and redhot bullets flying.
At first the French kept us amused with sorties, but they quickly subsided. We soon got sick of foraging expeditions too; we were overcome, in fact, by such deadly dulness that we were ready to howl for sheer ennui. I was not more than nineteen then; I was a healthy young fellow, fresh as a daisy, thought of nothing but getting all the fun I could out of the French... and in other ways too... you understand what I mean... and this is what happened. Having nothing to do, I fell to gambling. All of a sudden, after dreadful losses, my luck turned, and towards morning (we used to play at night) I had won an immense amount. Exhausted and sleepy, I came out into the fresh air, and sat down on a mound. It was a splendid, calm morning; the long lines of our fortifications were lost in the mist; I gazed till I was weary, and then
began to doze where I was sitting.
A discreet cough waked me: I opened my eyes, and saw standing before me a Jew, a man of forty, wearing a long-skirted grey wrapper, slippers, and a black smoking-cap. This Jew, whose name was Girshel, was continually hanging about our camp, offering his services as an agent, getting us wine, provisions, and other such trifles. He was a thinnish, red-haired, little man, marked with smallpox; he blinked incessantly with his diminutive little eyes, which were reddish too; he had a long crooked nose, and was always coughing.
He began fidgeting about me, bowing obsequiously.
'Well, what do you want?' I asked him at last.
'Oh, I only—I've only come, sir, to know if I can't be of use to your honour in some way...'
'I don't want you; you can go.'
'At your honour's service, as you desire.... I thought there might be, sir, something....'
'You bother me; go along, I tell you.'
'Certainly, sir, certainly. But your honour must permit me to congratulate you on your success....'
'Why, how did you know?'
'Oh, I know, to be sure I do.... An immense sum... immense....Oh! how immense....'
Girshel spread out his fingers and wagged his head.
'But what's the use of talking,' I said peevishly; 'what the devil's the good of money here?'
'Oh! don't say that, your honour; ay, ay, don't say so. Money's a capital thing; always of use; you can get anything for money, your honour; anything! anything! Only say the word to the agent, he'll get you anything, your honour, anything! anything!'
'Don't tell lies, Jew.'
'Ay! ay!' repeated Girshel, shaking his side-locks. 'Your honour doesn't believe me.... Ay... ay....' The Jew closed his eyes and slowly wagged his head to right and to left.... 'Oh, I know what his honour the officer would like.... I know,... to be sure I do!'
The Jew assumed an exceedingly knowing leer.
'Really!'
The Jew glanced round timorously, then bent over to me.
'Such a lovely creature, your honour, lovely!...' Girshel again closed his eyes and shot out his lips.
'Your honour, you've only to say the word... you shall see for yourself... whatever I say now, you'll hear... but you won't believe... better tell me to show you... that's the thing, that's the thing!'
I did not speak; I gazed at the Jew.
'Well, all right then; well then, very good; so I'll show you then....'
Thereupon Girshel laughed and slapped me lightly on the shoulder, but skipped back at once as though he had been scalded.
'But, your honour, how about a trifle in advance?'
'But you 're taking me in, and will show me some scarecrow?'
'Ay, ay, what a thing to say!' the Jew pronounced with unusual warmth, waving his hands about. 'How can you! Why... if so, your honour, you order me to be given five hundred... four hundred and fifty lashes,' he added hurriedly....' You give orders—'
At that moment one of my comrades lifted the edge of his tent and called me by name. I got up hurriedly and flung the Jew a gold coin.
'This evening, this evening,' he muttered after me.
I must confess, my friends, I looked forward to the evening with some impatience. That very day the French made a sortie; our regiment marched to the attack. The evening came on; we sat round the fires... the soldiers cooked porridge. My comrades talked. I lay on my cloak, drank tea, and listened to my comrades' stories. They suggested a game of cards—I refused to take part in it. I felt excited. Gradually the officers dispersed to their tents; the fires began to die down; the soldiers too dispersed, or went to sleep on the spot; everything was still. I did not get up. My orderly squatted on his heels before the fire, and was beginning to nod. I sent him away. Soon the whole camp was hushed. The sentries were relieved. I still lay there, as it were waiting for something. The stars peeped out. The night came on. A long while I watched the dying flame.... The last fire went out. 'The damned Jew was taking me in,' I thought angrily, and was just going to get up.
'Your honour,'... a trembling voice whispered close to my ear.
I looked round: Girshel. He was very pale, he stammered, and whispered something.
'Let's go to your tent, sir.' I got up and followed him. The Jew shrank into himself, and stepped warily over the short, damp grass. I observed on one side a motionless, muffled-up figure. The Jew beckoned to her—she went up to him. He whispered to her, turned to me, nodded his head several times, and we all three went into the tent. Ridiculous to relate, I was breathless.
'You see, your honour,' the Jew whispered with an effort, 'you see. She's a little frightened at the moment, she's frightened; but I've told her his honour the officer's a good man, a splendid man.... Don't be frightened, don't be frightened,' he went on—'don't be frightened....'
The muffled-up figure did not stir. I was myself in a state of dreadful confusion, and didn't know what to say. Girshel too was fidgeting restlessly, and gesticulating in a strange way....
'Any way,' I said to him, 'you get out....' Unwillingly, as it seemed, Girshel obeyed.
I went up to the muffled-up figure, and gently took the dark hood off her head. There was a conflagration in Dantzig: by the faint, reddish, flickering glow of the distant fire I saw the pale face of a young Jewess. Her beauty astounded me. I stood facing her, and gazed at her in silence. She did not raise her eyes. A slight rustle made me look round. Girshel was cautiously poking his head in under the edge of the tent. I waved my hand at him angrily,... he vanished.
'What's your name?' I said at last.
'Sara,' she answered, and for one instant I caught in the darkness the gleam of the whites of her large, long-shaped eyes and little, even, flashing teeth.
I snatched up two leather cushions, flung them on the ground, and asked her to sit down. She slipped off her shawl, and sat down. She was wearing a short Cossack jacket, open in front, with round, chased silver buttons, and full sleeves. Her thick black hair was coiled twice round her little head. I sat down beside her and took her dark, slender hand. She resisted a little, but seemed afraid to look at me, and there was a catch in her breath. I admired her Oriental profile, and timidly pressed her cold, shaking fingers.
'Do you know Russian?'
'Yes... a little.'
'And do you like Russians?'
'Yes, I like them.'
'Then, you like me too?'
'Yes, I like you.'
I tried to put my arm round her, but she moved away quickly....
'No, no, please, sir, please...'
'Oh, all right; look at me, any way.'
She let her black, piercing eyes rest upon me, and at once turned away with a smile, and blushed.
I kissed her hand ardently. She peeped at me from under her eyelids and softly laughed.
'What is it?'
She hid her face in her sleeve and laughed more than before.
Girshel showed himself at the entrance of the tent and shook his finger at her. She ceased laughing.
'Go away!' I whispered to him through my teeth; 'you make me sick!'
Girshel did not go away.
I took a handful of gold pieces out of my trunk, stuffed them in his hand and pushed him out.
'Your honour, me too....' she said.
I dropped several gold coins on her lap; she pounced on them like a cat.
'Well, now I must have a kiss.'
'No, please, please,' she faltered in a frightened and beseeching voice.
'What are you frightened of?'
'I'm afraid.'
'Oh, nonsense....'
'No, please.'
She looked timidly at me, put her head a little on one side and clasped her hands. I let her alone.
'If you like... here,' she said after a brief silence, and she raised her hand to my lips. With no great eagerness, I kissed it. Sara laughed again.
My blood was boiling. I was annoyed with myself and did not know what to do. Really, I thought at last, what a foo
l I am.
I turned to her again.
'Sara, listen, I'm in love with you.'
'I know.'
'You know? And you're not angry? And do you like me too?'
Sara shook her head.
'No, answer me properly.'
'Well, show yourself,' she said.
I bent down to her. Sara laid her hands on my shoulders, began scrutinising my face, frowned, smiled.... I could not contain myself, and gave her a rapid kiss on her cheek. She jumped up and in one bound was at the entrance of the tent.
'Come, what a shy thing you are!'
She did not speak and did not stir.
'Come here to me....'
'No, sir, good-bye. Another time.'
Girshel again thrust in his curly head, and said a couple of words to her; she bent down and glided away, like a snake.
I ran out of the tent in pursuit of her, but could not get another glimpse of her nor of Girshel.
The whole night long I could not sleep a wink.
The next night we were sitting in the tent of our captain; I was playing, but with no great zest. My orderly came in.
'Some one's asking for you, your honour.'
'Who is it?'
'A Jew.'
'Can it be Girshel?' I wondered. I waited till the end of the rubber, got up and went out. Yes, it was so; I saw Girshel.
'Well,' he questioned me with an ingratiating smile, 'your honour, are you satisfied?'
'Ah, you———!' (Here the colonel glanced round. 'No ladies present, I believe.... Well, never mind, any way.') 'Ah, bless you!' I responded, 'so you're making fun of me, are you?'
'How so?'
'How so, indeed! What a question!'
'Ay, ay, your honour, you 're too bad,' Girshel said reproachfully, but never ceasing smiling. 'The girl is young and modest.... You frightened her, indeed, you did.'
'Queer sort of modesty! why did she take money, then?'
'Why, what then? If one's given money, why not take it, sir?'
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