And so — eight years have passed by. Once more the breezes of spring breathed brightness and rejoicing from the heavens; once more spring was smiling upon the earth and upon men; once more under her caresses everything was turning to blossom, to love, to song. The town of O — — - had undergone little change in the course of these eight years; but Marya Dmitrievna’s house seemed to have grown younger; its freshly - painted walls gave a bright welcome, and the panes of its open windows were crimson, shining in the setting sun; from these windows the light merry sound of ringing young voices and continual laughter floated into the street; the whole house seemed astir with life and brimming over with gaiety. The lady of the house herself had long been in her tomb; Marya Dmitrievna had died two years after Lisa took the veil, and Mafa Timofyevna had not long survived her niece; they lay side by side in the cemetery of the town. Nastasya Karpovna too was no more; for several years! the faithful old woman had gone every week to say a prayer over her friend’s ashes..... Her time had come, and now her bones too lay in the damp earth. But Marya Dmitreivna’s house had not passed into stranger’s hands, it had not gone out of her family, the home had not been broken upon. Lenotchka, transformed into a slim, beautiful young girl, and her betrothed lover — a fair - haired officer of hussars; Marya Dmitrievna’s son, who had just been married in Petersburg and had come with his young wife for the spring to O — — - ; his wife’s sister, a school - girl of sixteen, with glowing cheeks and bright eyes; Shurotchka, grown up and also pretty, made up the youthful household, whose laughter and talk set the walls of the Kalitins’ house resounding. Everything in the house was changed, everything was in keeping with its new inhabitants. Beardless servant lads, grinning and full of fun, had replaced the sober old servants of former days. Two setter dogs dashed wildly about and gambolled over the sofas, where the fat Roska had at one time waddled in solemn dignity. The stables were filled with slender racers, spirited carriage horses, fiery out - riders with plaited manes, and riding horses from the Don. The breakfast, dinner, and supper - hours were all in confusion and disorder; in the words of the neighbours, “unheard - of arrangements” were made.
On the evening of which we are speaking, the inhabitants of the Kalitins’ house (the eldest of them, Lenotchka’s betrothed, was only twenty - four) were engaged in a game, which, though not of a very complicated nature, was, to judge from their merry laughter, exceedingly entertaining to them; they were running about the rooms, chasing one another; the dogs, too, were running and barking, and the canaries, hanging in cages above the windows, were straining their throats in rivalry and adding to the general uproar by the shrill trilling of their piercing notes. At the very height of this deafening merry - making a mud - bespattered carriage stopped at the gate, and a man of five - and forty, in a travelling dress, stepped out of it and stood still in amazement. He stood a little time without stirring, watching the house with attentive eyes; then went through the little gate in the courtyard, and slowly mounted the steps. In the hall he met no one; but the door of a room was suddenly! flung open, and out of it rushed Shurotchka, flushed and hot, and instantly, with a ringing shout, all the young party in pursuit of her. They stopped short at once and were quiet at the sight of a stranger; but their clear eyes fixed on him wore the same friendly expression, and their fresh faces were still smiling as Marya Dmitreivna’s son went up to the visitor and asked him cordially what he could do for him.
“I am Lavretsky,” replied the visitor.
He was answered by a shout in chorus — and not because these young people were greatly delighted at the arrival of a distant, almost forgotten relation, but simply because they were ready to be delighted and make noise at every opportunity. They surrounded Lavretsky at once; Lenotchka, as an old acquaintance, was the first to mention her own name, and assured him that in a little while she would have certainly recognised him. She presented him to the rest of the party, calling each, even her betrothed, by their pet names. They all trooped through the dining - room into the drawing - room. The walls of both rooms had been repapered; but the furniture remained the same. Lavretsky recognised the piano; even the embroidery - frame in the window was just the same, and in the same position, and it seemed with the same unfinished embroidery on it, as eight years ago. They made him sit down in a comfortable arm - chair; all sat down politely in a circle round him. Questions, exclamations, and anecdotes followed.
“It’s a long time since we have seen you,” observed Lenotchka simply, “and Varvara Pavlovna we have seen nothing of either.”
“Well, no wonder!” her brother hastened to interpose. “I carried you off to Petersburg, and Fedor Ivanitch has been living all the time in the country.”
“Yes, and mamma died soon after then.”
“And Marfa Timofyevna,” observed Shurotchka.
“And Nastasya Karpovna,” added Lenotchka, “and Monsier Lemm.”
“What? is Lemm dead?” inquired Lavretsky.
“Yes,” replied young Kalitin, “he left here for Odessa; they say some one enticed him there; and there he died.”
“You don’t happen to know,... did he leave any music?”
“I don’t know; not very likely.”
All were silent and looked about them. A slight cloud of melancholy flitted over all the young faces.
“But Matross is alive,” said Lenotchka suddenly.
“And Gedeonovsky,” added her brother.
At Gedeonovsky’s name a merry laugh broke out at once.
“Yes, he is alive, and as great a liar as ever,” Marya Dmitrievna’s son continued; “and only fancy, yesterday this madcap” — pointing to the school - girl, his wife’s sister — ”put some pepper in his snuff - box.”
“How he did sneeze!” cried Lenotchka, and again there was a burst of unrestrained laughter.
“We have had news of Lisa lately,” observed young Kalitin, and again a hush fell upon all; “there was good news of her; she is recovering her health a little now.”
“She is still in the same convent?” Lavretsky asked, not without some effort.
“Yes, still in the same.”
“Does she write to you?”
“No, never; but we get news through other people.”
A sudden and profound silence followed. “A good angel is passing over,” all were thinking.
“Wouldn’t you like to go into the garden?” said Kalitin, turning to Lavretsky; “it is very nice now, though we have let it run wild a little.”
Lavretsky went out into the garden, and the first thing that met his eyes was the very garden seat on which he had once spent with Lisa those few blissful moments, never repeated; it had grown black and warped; but he recognised it, and his soul was filled with that emotion, unequalled for sweetness and for bitterness — the emotion of keen sorrow for vanished youth, for the happiness which has once been possessed.
He walked along the avenues with the young people; the lime - trees looked hardly older or taller in the eight years, but their shade was thicker; on the other hand, all the bushes had sprung up, the raspberry bushes had grown strong, the hazels were tangled thicket, and from all sides rose the fresh scent of the trees and grass and lilac.
“This would be a nice place for Puss - in - the - Corner,” cried Lenotchka suddenly, as they came upon a small green lawn, surrounded by lime - trees, “and we are just five, too.”
“Have you forgotten Fedor Ivanitch?” replied her brother,... “or didn’t you count yourself?”
Lenotchka blushed slightly.
“But would Fedor Ivanitch, at his age — — - “ she began.
“Please, play your games,” Lavretsky hastened to interpose; “don’t pay attention to me. I shall be happier myself, when I am sure I am not in your way. And there’s no need for you to entertain me; we old fellows have an occupation which you know nothing of yet, and which no amusement can replace — our memories.”
The young people listened to Lavretsky with polite but rather ironical resp
ect — as though a teacher were giving them a lesson — and suddenly they all dispersed, and ran to the lawn; four stood near trees, one in the middle, and the game began.
And Lavretsky went back into the house, went into the dining - room, drew near the piano and touched one of the keys; it gave out a faint but clear sound; on that note had begun the inspired melody with which long ago on that same happy night Lemm, the dead Lemm, had thrown him into such transports. Then Lavretsky went into the drawing - room, and for a long time he did not leave it; in that room where he had so often seen Lisa, her image rose most vividly before him; he seemed to feel the traces of her presence round him; but his grief for her was crushing, not easy to bear; it had none of the peace which comes with death. Lisa still lived somewhere, hidden and afar; he thought of her as of the living, but he did not recognize the girl he had once loved in that dim pale shadow, cloaked in a nun’s dress and encircled in misty clouds of incense. Lavretsky would not have recognized himself, could he have looked at himself, as mentally he looked at Lisa. In the course of these eight years he had passed that turning - point in life, which many never pass, but without which no one can be a good man to the end; he had really ceased to think of his own happiness, of his personal aims. He had grown calm, and — why hide the truth? — he had grown old not only in face and in body, he had grown old in heart; to keep a young heart up to old age, as some say, is not only difficult, but almost ridiculous; he may well be content who has not lost his belief in goodness, his steadfast will, and his zeal for work. Lavretsky had good reason to be content; he had become actually an excellent farmer, he had really learnt to cultivate the land, and his labours were not only for himself; he had, to the best of his powers, secured on a firm basis the welfare of his peasants.
Lavretsky went out of the house into the garden, and sat down on the familiar garden seat. And on this loved spot, facing the house where for the last time he had vainly stretched out his hand for the enchanted cup which frothed and sparkled with the golden wine of delight, he, a solitary homeless wanderer, looked back upon his life, while the joyous shouts of the younger generation who were already filling his place floated across the garden to him. His heart was sad, but not weighed down, nor bitter; much there was to regret, nothing to be ashamed of.
“Play away, be gay, grow strong, vigorous youth!” he thought, and there was no bitterness in his meditations; “your life is before you, and for you life will be easier; you have not, as we had, to find out a path for yourselves, to struggle, to fall, and to rise again in the dark; we had enough to do to last out — and how many of us did not last out? — but you need only do your duty, work away, and the blessing of an old man be with you. For me, after to - day, after these emotions, there remains to take my leave at last, — and though sadly, without envy, without any dark feelings, to say, in sight of the end, in sight of God who awaits me: ‘Welcome, lonely old age! burn out, useless life!’“
Lavretsky quietly rose and quietly went away; no one noticed him, no one detained him; the joyous cries sounded more loudly in the garden behind the thick green wall of high lime - trees. He took his seat in the carriage and bade the coachman drive home and not hurry the horses.
“And the end?” perhaps the dissatisfied reader will inquire. “What became of Lavretsky afterwards, and of Lisa?” But what is there to tell of people who, though still alive, have withdrawn from the battlefield of life? They say, Lavretsky visited that remote convent where Lisa had hidden herself — that he saw her. Crossing over from choir to choir, she walked close past him, moving with the even, hurried, but meek walk of a nun; and she did not glance at him; only the eyelashes on the side towards him quivered a little, only she bent her emaciated face lower, and the fingers of her clasped hands, entwined with her rosary, were pressed still closer to one another. What were they both thinking, what were they feeling? Who can know? who can say? There are such moments in life, there are such feelings... One can but point to them — and pass them by.
ON THE EVE
Translated by Constance Garnett, 1895
Turgenev published this novel in 1859. Though at heart a love story, Turgenev’s third novel offers perceptive observations on middle class life, art and philosophy. The narrative revolves around Elena, a girl with a very affected mother and a father who is a retired guards lieutenant and keeps a mistress. On the eve of the Crimean War, Elena is pursued by the free - spirited sculptor Shubin and the tense student Berzeniev. But when latter’s dashing Bulgarian friend Insarov meets Elena, they soon fall in love.
Turgenev, close to the time of publication
CONTENTS
INTRODUCTION
THE NAMES OF THE CHARACTERS IN THE BOOK
I
II
III
IV
V
VI
VII
VIII
IX
X
XI
XII
XIII
XIV
XV
XVI
XVII
XVIII
XIX
XX
XXI
XXII
XXIII
XXIV
XXV
XXVI
XXVII
XXVIII
XXIX
XXX
XXXI
XXXII
XXXIII
XXXIV
XXXV
INTRODUCTION
This exquisite novel, first published in 1859, like so many great works of art, holds depths of meaning which at first sight lie veiled under the simplicity and harmony of the technique. To the English reader On the Eve is a charmingly drawn picture of a quiet Russian household, with a delicate analysis of a young girl’s soul; but to Russians it is also a deep and penetrating diagnosis of the destinies of the Russia of the fifties.
Elena, the Russian girl, is the central figure of the novel. In comparing her with Turgenev’s other women, the reader will remark that he is allowed to come into closer spiritual contact with her than even with Lisa. The successful portraits of women drawn by men in fiction are generally figures for the imagination to play on; however much that is told to one about them, the secret springs of their character are left a little obscure, but when Elena stands before us we know all the innermost secrets of her character. Her strength of will, her serious, courageous, proud soul, her capacity for passion, all the play of her delicate idealistic nature troubled by the contradictions, aspirations, and unhappiness that the dawn of love brings to her, all this is conveyed to us by the simplest and the most consummate art. The diary (chapter xvi.) that Elena keeps is in itself a masterly revelation of a young girl’s heart; it has never been equalled by any other novelist. How exquisitely Turgenev reveals his characters may be seen by an examination of the parts Shubin the artist, and Bersenyev the student, play towards Elena. Both young men are in love with her, and the description of their after relations as friends, and the feelings of Elena towards them, and her own self - communings are interwoven with unfaltering skill. All the most complex and baffling shades of the mental life, which in the hands of many latter - day novelists build up characters far too thin and too unconvincing, in the hands of Turgenev are used with deftness and certainty to bring to light that great kingdom which is always lying hidden beneath the surface, beneath the common - place of daily life. In the difficult art of literary perspective, in the effective grouping of contrasts in character and the criss - cross of the influence of the different individuals, lies the secret of Turgenev’s supremacy. As an example the reader may note how he is made to judge Elena through six pairs of eyes. Her father’s contempt for his daughter, her mother’s affectionate bewilderment, Shubin’s petulant criticism, Bersenyev’s half hearted enthralment, Insarov’s recognition, and Zoya’s indifference, being the facets for converging light on Elena’s sincerity and depth of soul. Again one may note Turgenev’s method for rehabilitating Shubin in our eyes; Shubin is simply mad
e to criticise Stahov; the thing is done in a few seemingly careless lines, but these lines lay bare Shubin’s strength and weakness, the fluidity of his nature. The reader who does not see the art which underlies almost every line of On the Eve is merely paying the highest tribute to that art; as often the clear waters of a pool conceal its surprising depth. Taking Shubin’s character as an example of creative skill, we cannot call to mind any instance in the range of European fiction where the typical artist mind, on its lighter sides, has been analysed with such delicacy and truth as here by Turgenev. Hawthorne and others have treated it, but the colour seems to fade from their artist characters when a comparison is made between them and Shubin. And yet Turgenev’s is but a sketch of an artist, compared with, let us say, the admirable figure of Roderick Hudson. The irresponsibility, alertness, the whimsicality and mobility of Shubin combine to charm and irritate the reader in the exact proportion that such a character affects him in actual life; there is not the least touch of exaggeration, and all the values are kept to a marvel. Looking at the minor characters, perhaps one may say that the husband, Stahov, will be the most suggestive, and not the least familiar character, to English households. His essentially masculine meanness, his self - complacency, his unconscious indifference to the opinion of others, his absurdity as ‘un pere de famille’ is balanced by the foolish affection and jealousy which his wife, Anna Vassilyevna, cannot help feeling towards him. The perfect balance and duality of Turgenev’s outlook is here shown by the equal cleverness with which he seizes on and quietly derides the typical masculine and typical feminine attitude in such a married life as the two Stahovs’.
Turning to the figure of the Bulgarian hero, it is interesting to find from the Souvenirs sur Tourguenev (published in 1887) that Turgenev’s only distinct failure of importance in character drawing, Insarov, was not taken from life, but was the legacy of a friend Karateieff, who implored Turgenev to work out an unfinished conception. Insarov is a figure of wood. He is so cleverly constructed, and the central idea behind him is so strong, that his wooden joints move naturally, and the spectator has only the instinct, not the certainty, of being cheated. The idea he incarnates, that of a man whose soul is aflame with patriotism, is finely suggested, but an idea, even a great one, does not make an individuality. And in fact Insarov is not a man, he is an automaton. To compare Shubin’s utterances with his is to perceive that there is no spontaneity, no inevitability in Insarov. He is a patriotic clock wound up to go for the occasion, and in truth he is very useful. Only on his deathbed, when the unexpected happens, and the machinery runs down, do we feel moved. Then, he appears more striking dead than alive — a rather damning testimony to the power Turgenev credits him with. This artistic failure of Turgenev’s is, as he no doubt recognised, curiously lessened by the fact that young girls of Elena’s lofty idealistic type are particularly impressed by certain stiff types of men of action and great will - power, whose capacity for moving straight towards a certain goal by no means implies corresponding brain - power. The insight of a Shubin and the moral worth of a Bersenyev are not so valuable to the Elenas of this world, whose ardent desire to be made good use of, and to seek some great end, is best developed by strength of aim in the men they love.
Works of Ivan Turgenev (Illustrated) Page 35