The Darling and Other Stories

by Anton Chekhov

  "Then I'll turn you out of the house!" shouted Nikolay Yevgrafitch, stamping. "I shall turn you out, you vile, loathsome woman!"

  "We shall see!" she said, and went out.

  It was broad daylight outside, but the doctor still sat at the table moving the pencil over the paper and writing mechanically.

  "My dear Sir. . . . Little foot."

  Or he walked about and stopped in the drawing-room before a photograph taken seven years ago, soon after his marriage, and looked at it for a long time. It was a family group: his father-in-law, his mother-in-law, his wife Olga Dmitrievna when she was twenty, and himself in the rôle of a happy young husband. His father-in-law, a clean-shaven, dropsical privy councillor, crafty and avaricious; his mother-in-law, a stout lady with small predatory features like a weasel, who loved her daughter to distraction and helped her in everything; if her daughter were strangling some one, the mother would not have protested, but would only have screened her with her skirts. Olga Dmitrievna, too, had small predatory-looking features, but more expressive and bolder than her mother's; she was not a weasel, but a beast on a bigger scale! And Nikolay Yevgrafitch himself in the photograph looked such a guileless soul, such a kindly, good fellow, so open and simple-hearted; his whole face was relaxed in the naïve, good-natured smile of a divinity student, and he had had the simplicity to believe that that company of beasts of prey into which destiny had chanced to thrust him would give him romance and happiness and all he had dreamed of when as a student he used to sing the song "Youth is wasted, life is nought, when the heart is cold and loveless."

  And once more he asked himself in perplexity how he, the son of a village priest, with his democratic bringing up—a plain, blunt, straightforward man—could have so helplessly surrendered to the power of this worthless, false, vulgar, petty creature, whose nature was so utterly alien to him.

  When at eleven o'clock he put on his coat to go to the hospital the servant came into his study.

  "What is it?" he asked.

  "The mistress has got up and asks you for the twenty-five roubles you promised her yesterday."

  TALENT

  AN artist called Yegor Savvitch, who was spending his summer holidays at the house of an officer's widow, was sitting on his bed, given up to the depression of morning. It was beginning to look like autumn out of doors. Heavy, clumsy clouds covered the sky in thick layers; there was a cold, piercing wind, and with a plaintive wail the trees were all bending on one side. He could see the yellow leaves whirling round in the air and on the earth. Farewell, summer! This melancholy of nature is beautiful and poetical in its own way, when it is looked at with the eyes of an artist, but Yegor Savvitch was in no humour to see beauty. He was devoured by ennui and his only consolation was the thought that by to-morrow he would not be there. The bed, the chairs, the tables, the floor, were all heaped up with cushions, crumpled bed-clothes, boxes. The floor had not been swept, the cotton curtains had been taken down from the windows. Next day he was moving, to town.

  His landlady, the widow, was out. She had gone off somewhere to hire horses and carts to move next day to town. Profiting by the absence of her severe mamma, her daughter Katya, aged twenty, had for a long time been sitting in the young man's room. Next day the painter was going away, and she had a great deal to say to him. She kept talking, talking, and yet she felt that she had not said a tenth of what she wanted to say. With her eyes full of tears, she gazed at his shaggy head, gazed at it with rapture and sadness. And Yegor Savvitch was shaggy to a hideous extent, so that he looked like a wild animal. His hair hung down to his shoulder-blades, his beard grew from his neck, from his nostrils, from his ears; his eyes were lost under his thick overhanging brows. It was all so thick, so matted, that if a fly or a beetle had been caught in his hair, it would never have found its way out of this enchanted thicket. Yegor Savvitch listened to Katya, yawning. He was tired. When Katya began whimpering, he looked severely at her from his overhanging eyebrows, frowned, and said in a heavy, deep bass:

  "I cannot marry."

  "Why not?" Katya asked softly.

  "Because for a painter, and in fact any man who lives for art, marriage is out of the question. An artist must be free."

  "But in what way should I hinder you, Yegor Savvitch?"

  "I am not speaking of myself, I am speaking in general. . . . Famous authors and painters have never married."

  "And you, too, will be famous—I understand that perfectly. But put yourself in my place. I am afraid of my mother. She is stern and irritable. When she knows that you won't marry me, and that it's all nothing . . . she'll begin to give it to me. Oh, how wretched I am! And you haven't paid for your rooms, either! . . . ."

  "Damn her! I'll pay."

  Yegor Savvitch got up and began walking to and fro.

  "I ought to be abroad!" he said. And the artist told her that nothing was easier than to go abroad. One need do nothing but paint a picture and sell it.

  "Of course!" Katya assented. "Why haven't you painted one in the summer?"

  "Do you suppose I can work in a barn like this?" the artist said ill-humouredly. "And where should I get models?"

  Some one banged the door viciously in the storey below. Katya, who was expecting her mother's return from minute to minute, jumped up and ran away. The artist was left alone. For a long time he walked to and fro, threading his way between the chairs and the piles of untidy objects of all sorts. He heard the widow rattling the crockery and loudly abusing the peasants who had asked her two roubles for each cart. In his disgust Yegor Savvitch stopped before the cupboard and stared for a long while, frowning at the decanter of vodka.

  "Ah, blast you!" he heard the widow railing at Katya. "Damnation take you!"

  The artist drank a glass of vodka, and the dark cloud in his soul gradually disappeared, and he felt as though all his inside was smiling within him. He began dreaming. . . . His fancy pictured how he would become great. He could not imagine his future works but he could see distinctly how the papers would talk of him, how the shops would sell his photographs, with what envy his friends would look after him. He tried to picture himself in a magnificent drawing-room surrounded by pretty and adoring women; but the picture was misty, vague, as he had never in his life seen a drawing-room. The pretty and adoring women were not a success either, for, except Katya, he knew no adoring woman, not even one respectable girl. People who know nothing about life usually picture life from books, but Yegor Savvitch knew no books either. He had tried to read Gogol, but had fallen asleep on the second page.

  "It won't burn, drat the thing!" the widow bawled down below, as she set the samovar. "Katya, give me some charcoal!"

  The dreamy artist felt a longing to share his hopes and dreams with some one. He went downstairs into the kitchen, where the stout widow and Katya were busy about a dirty stove in the midst of charcoal fumes from the samovar. There he sat down on a bench close to a big pot and began:

  "It's a fine thing to be an artist! I can go just where I like, do

  what I like. One has not to work in an office or in the fields.

  I've no superiors or officers over me. . . . I'm my own superior.

  And with all that I'm doing good to humanity!"

  And after dinner he composed himself for a "rest." He usually slept till the twilight of evening. But this time soon after dinner he felt that some one was pulling at his leg. Some one kept laughing and shouting his name. He opened his eyes and saw his friend Ukleikin, the landscape painter, who had been away all the summer in the Kostroma district.

  "Bah!" he cried, delighted. "What do I see?"

  There followed handshakes, questions.

  "Well, have you brought anything? I suppose you've knocked off hundreds of sketches?" said Yegor Savvitch, watching Ukleikin taking his belongings out of his trunk.

  "H'm! . . . Yes. I have done something. And how are you getting on?

  Have you been painting anything?"

  Yegor Savvitch dived behind the be
d, and crimson in the face, extracted a canvas in a frame covered with dust and spider webs.

  "See here. . . . A girl at the window after parting from her betrothed. In three sittings. Not nearly finished yet."

  The picture represented Katya faintly outlined sitting at an open window, from which could be seen a garden and lilac distance. Ukleikin did not like the picture.

  "H'm! . . . There is air and . . . and there is expression," he said. "There's a feeling of distance, but . . . but that bush is screaming . . . screaming horribly!"

  The decanter was brought on to the scene.

  Towards evening Kostyliov, also a promising beginner, an historical painter, came in to see Yegor Savvitch. He was a friend staying at the next villa, and was a man of five-and-thirty. He had long hair, and wore a blouse with a Shakespeare collar, and had a dignified manner. Seeing the vodka, he frowned, complained of his chest, but yielding to his friends' entreaties, drank a glass.

  "I've thought of a subject, my friends," he began, getting drunk. "I want to paint some new . . . Herod or Clepentian, or some blackguard of that description, you understand, and to contrast with him the idea of Christianity. On the one side Rome, you understand, and on the other Christianity. . . . I want to represent the spirit, you understand? The spirit!"

  And the widow downstairs shouted continually:

  "Katya, give me the cucumbers! Go to Sidorov's and get some kvass, you jade!"

  Like wolves in a cage, the three friends kept pacing to and fro from one end of the room to the other. They talked without ceasing, talked, hotly and genuinely; all three were excited, carried away. To listen to them it would seem they had the future, fame, money, in their hands. And it never occurred to either of them that time was passing, that every day life was nearing its close, that they had lived at other people's expense a great deal and nothing yet was accomplished; that they were all bound by the inexorable law by which of a hundred promising beginners only two or three rise to any position and all the others draw blanks in the lottery, perish playing the part of flesh for the cannon. . . . They were gay and happy, and looked the future boldly in the face!

  At one o'clock in the morning Kostyliov said good-bye, and smoothing out his Shakespeare collar, went home. The landscape painter remained to sleep at Yegor Savvitch's. Before going to bed, Yegor Savvitch took a candle and made his way into the kitchen to get a drink of water. In the dark, narrow passage Katya was sitting, on a box, and, with her hands clasped on her knees, was looking upwards. A blissful smile was straying on her pale, exhausted face, and her eyes were beaming.

  "Is that you? What are you thinking about?" Yegor Savvitch asked her.

  "I am thinking of how you'll be famous," she said in a half-whisper. "I keep fancying how you'll become a famous man. . . . I overheard all your talk. . . . I keep dreaming and dreaming. . . ."

  Katya went off into a happy laugh, cried, and laid her hands reverently on her idol's shoulders.

  AN ARTIST'S STORY

  I

  IT was six or seven years ago when I was living in one of the districts of the province of T——, on the estate of a young landowner called Byelokurov, who used to get up very early, wear a peasant tunic, drink beer in the evenings, and continually complain to me that he never met with sympathy from any one. He lived in the lodge in the garden, and I in the old seigniorial house, in a big room with columns, where there was no furniture except a wide sofa on which I used to sleep, and a table on which I used to lay out patience. There was always, even in still weather, a droning noise in the old Amos stoves, and in thunder-storms the whole house shook and seemed to be cracking into pieces; and it was rather terrifying, especially at night, when all the ten big windows were suddenly lit up by lightning.

  Condemned by destiny to perpetual idleness, I did absolutely nothing. For hours together I gazed out of window at the sky, at the birds, at the avenue, read everything that was brought me by post, slept. Sometimes I went out of the house and wandered about till late in the evening.

  One day as I was returning home, I accidentally strayed into a place I did not know. The sun was already sinking, and the shades of evening lay across the flowering rye. Two rows of old, closely planted, very tall fir-trees stood like two dense walls forming a picturesque, gloomy avenue. I easily climbed over the fence and walked along the avenue, slipping over the fir-needles which lay two inches deep on the ground. It was still and dark, and only here and there on the high tree-tops the vivid golden light quivered and made rainbows in the spiders' webs. There was a strong, almost stifling smell of resin. Then I turned into a long avenue of limes. Here, too, all was desolation and age; last year's leaves rusted mournfully under my feet and in the twilight shadows lurked between the trees. From the old orchard on the right came the faint, reluctant note of the golden oriole, who must have been old too. But at last the limes ended. I walked by an old white house of two storeys with a terrace, and there suddenly opened before me a view of a courtyard, a large pond with a bathing-house, a group of green willows, and a village on the further bank, with a high, narrow belfry on which there glittered a cross reflecting the setting sun.

  For a moment it breathed upon me the fascination of something near and very familiar, as though I had seen that landscape at some time in my childhood.

  At the white stone gates which led from the yard to the fields, old-fashioned solid gates with lions on them, were standing two girls. One of them, the elder, a slim, pale, very handsome girl with a perfect haystack of chestnut hair and a little obstinate mouth, had a severe expression and scarcely took notice of me, while the other, who was still very young, not more than seventeen or eighteen, and was also slim and pale, with a large mouth and large eyes, looked at me with astonishment as I passed by, said something in English, and was overcome with embarrassment. And it seemed to me that these two charming faces, too, had long been familiar to me. And I returned home feeling as though I had had a delightful dream.

  One morning soon afterwards, as Byelokurov and I were walking near the house, a carriage drove unexpectedly into the yard, rustling over the grass, and in it was sitting one of those girls. It was the elder one. She had come to ask for subscriptions for some villagers whose cottages had been burnt down. Speaking with great earnestness and precision, and not looking at us, she told us how many houses in the village of Siyanovo had been burnt, how many men, women, and children were left homeless, and what steps were proposed, to begin with, by the Relief Committee, of which she was now a member. After handing us the subscription list for our signatures, she put it away and immediately began to take leave of us.

  "You have quite forgotten us, Pyotr Petrovitch," she said to

  Byelokurov as she shook hands with him. "Do come, and if Monsieur

  N. (she mentioned my name) cares to make the acquaintance of admirers

  of his work, and will come and see us, mother and I will be delighted."

  I bowed.

  When she had gone Pyotr Petrovitch began to tell me about her. The girl was, he said, of good family, and her name was Lidia Voltchaninov, and the estate on which she lived with her mother and sister, like the village on the other side of the pond, was called Shelkovka. Her father had once held an important position in Moscow, and had died with the rank of privy councillor. Although they had ample means, the Voltchaninovs lived on their estate summer and winter without going away. Lidia was a teacher in the Zemstvo school in her own village, and received a salary of twenty-five roubles a month. She spent nothing on herself but her salary, and was proud of earning her own living.

  "An interesting family," said Byelokurov. "Let us go over one day.

  They will be delighted to see you."

  One afternoon on a holiday we thought of the Voltchaninovs, and went to Shelkovka to see them. They—the mother and two daughters —were at home. The mother, Ekaterina Pavlovna, who at one time had been handsome, but now, asthmatic, depressed, vague, and over-feeble for her years, tried to entertain me with conversa
tion about painting. Having heard from her daughter that I might come to Shelkovka, she had hurriedly recalled two or three of my landscapes which she had seen in exhibitions in Moscow, and now asked what I meant to express by them. Lidia, or as they called her Lida, talked more to Byelokurov than to me. Earnest and unsmiling, she asked him why he was not on the Zemstvo, and why he had not attended any of its meetings.

  "It's not right, Pyotr Petrovitch," she said reproachfully. "It's not right. It's too bad."

  "That's true, Lida—that's true," the mother assented. "It isn't right."

  "Our whole district is in the hands of Balagin," Lida went on, addressing me. "He is the chairman of the Zemstvo Board, and he has distributed all the posts in the district among his nephews and sons-in-law; and he does as he likes. He ought to be opposed. The young men ought to make a strong party, but you see what the young men among us are like. It's a shame, Pyotr Petrovitch!"

  The younger sister, Genya, was silent while they were talking of the Zemstvo. She took no part in serious conversation. She was not looked upon as quite grown up by her family, and, like a child, was always called by the nickname of Misuce, because that was what she had called her English governess when she was a child. She was all the time looking at me with curiosity, and when I glanced at the photographs in the album, she explained to me: "That's uncle . . . that's god-father," moving her finger across the photograph. As she did so she touched me with her shoulder like a child, and I had a close view of her delicate, undeveloped chest, her slender shoulders, her plait, and her thin little body tightly drawn in by her sash.