by Антон Чехов
"'Do you know who that lady is, walking on the other bank? That's so-and-so. . . . Her voice is beneath all criticism, but she has a most perfect mastery of it! . . .'
" 'Can you tell me,' I asked the unprepossessing individual, 'who built this bridge?'
" 'I really don't know,' answered the individual; some engineer, I expect.'
" 'And who built the cathedral in your town?' I asked again.
" 'I really can't tell you.'
"Then I asked him who was considered the best teacher in K., who the best architect, and to all my questions the unprepossessing individual answered that he did not know.
" 'And tell me, please,' I asked in conclusion, with whom is that singer living?'
" 'With some engineer called Krikunov.'
"Well, how do you like that, sir? But to proceed. There are no minnesingers or bards nowadays, and celebrity is created almost exclusively by the newspapers. The day after the dedication of the bridge, I greedily snatched up the local Messenger, and looked for myself in it. I spent a long time running my eyes over all the four pages, and at last there it was -- hurrah! I began reading: 'Yesterday in beautiful weather, before a vast concourse of people, in the presence of His Excellency the Governor of the province, so-and-so, and other dignitaries, the ceremony of the dedication of the newly constructed bridge took place,' and so on. . . . Towards the end: Our talented actress so-and-so, the favorite of the K. public, was present at the dedication looking very beautiful. I need not say that her arrival created a sensation. The star was wearing . . .' and so on. They might have given me one word! Half a word. Petty as it seems, I actually cried with vexation!
"I consoled myself with the reflection that the provinces are stupid, and one could expect nothing of them and for celebrity one must go to the intellectual centers -- to Petersburg and to Moscow. And as it happened, at that very time there was a work of mine in Petersburg which I had sent in for a competition. The date on which the result was to be declared was at hand.
"I took leave of K. and went to Petersburg. It is a long journey from K. to Petersburg, and that I might not be bored on the journey I took a reserved compartment and -- well -- of course, I took my singer. We set off, and all the way we were eating, drinking champagne, and -- tra-la--la! But behold, at last we reach the intellectual center. I arrived on the very day the result was declared, and had the satisfaction, my dear sir, of celebrating my own success: my work received the first prize. Hurrah! Next day I went out along the Nevsky and spent seventy kopecks on various newspapers. I hastened to my hotel room, lay down on the sofa, and, controlling a quiver of excitement, made haste to read. I ran through one newspaper -- nothing. I ran through a second -- nothing either; my God! At last, in the fourth, I lighted upon the following paragraph: 'Yesterday the well-known provincial actress so-and-so arrived by express in Petersburg. We note with pleasure that the climate of the South has had a beneficial effect on our fair friend; her charming stage appearance. . .' and I don't remember the rest! Much lower down than that paragraph I found, printed in the smallest type: first prize in the competition was adjudged to an engineer called so-and-so.' That was all! And to make things better, they even misspelt my name: instead of Krikunov it was Kirkutlov. So much for your intellectual center! But that was not all. . . . By the time I left Petersburg, a month later, all the newspapers were vying with one another in discussing our incomparable, divine, highly talented actress, and my mistress was referred to, not by her surname, but by her Christian name and her father's. . . .
"Some years later I was in Moscow. I was summoned there by a letter, in the mayor's own handwriting, to undertake a work for which Moscow, in its newspapers, had been clamoring for over a hundred years. In the intervals of my work I delivered five public lectures, with a philanthropic object, in one of the museums there. One would have thought that was enough to make one known to the whole town for three days at least, wouldn't one? But, alas! not a single Moscow gazette said a word about me There was something about houses on fire, about an operetta, sleeping town councilors, drunken shop keepers -- about everything; but about my work, my plans, my lectures -- mum. And a nice set they are in Moscow! I got into a tram. . . . It was packed full; there were ladies and military men and students of both sexes, creatures of all sorts in couples.
" 'I am told the town council has sent for an engineer to plan such and such a work!' I said to my neighbor, so loudly that all the tram could hear. 'Do you know the name of the engineer?'
"My neighbor shook his head. The rest of the public took a cursory glance at me, and in all their eyes I read: 'I don't know.'
" 'I am told that there is someone giving lectures in such and such a museum?' I persisted, trying to get up a conversation. 'I hear it is interesting.'
"No one even nodded. Evidently they had not all of them heard of the lectures, and the ladies were not even aware of the existence of the museum. All that would not have mattered, but imagine, my dear sir, the people suddenly leaped to their feet and struggled to the windows. What was it? What was the matter?
" 'Look, look!' my neighbor nudged me. 'Do you see that dark man getting into that cab? That's the famous runner, King!'
"And the whole tram began talking breathlessly of the runner who was then absorbing the brains of Moscow.
"I could give you ever so many other examples, but I think that is enough. Now let us assume that I am mistaken about myself, that I am a wretchedly boastful and incompetent person; but apart from myself I might point to many of my contemporaries, men remarkable for their talent and industry, who have nevertheless died unrecognized. Are Russian navigators, chemists, physicists, mechanicians, and agriculturists popular with the public? Do our cultivated masses know anything of Russian artists, sculptors, and literary men? Some old literary hack, hard-working and talented, will wear away the doorstep of the publishers' offices for thirty-three years, cover reams of paper, be had up for libel twenty times, and yet not step beyond his ant-heap. Can you mention to me a single representative of our literature who would have become celebrated if the rumor had not been spread over the earth that he had been killed in a duel, gone out of his mind, been sent into exile, or had cheated at cards?"
The first-class passenger was so excited that he dropped his cigar out of his mouth and got up.
"Yes," he went on fiercely, "and side by side with these people I can quote you hundreds of all sorts of singers, acrobats, buffoons, whose names are known to every baby. Yes!"
The door creaked, there was a draught, and an individual of forbidding aspect, wearing an Inverness coat, a top-hat, and blue spectacles, walked into the carriage. The individual looked round at the seats, frowned, and went on further.
"Do you know who that is?" there came a timid whisper from the furthest corner of the compartment.
That is N. N., the famous Tula cardsharper who was had up in connection with the Y. bank affair."
"There you are!" laughed the first-class passenger. He knows a Tula cardsharper, but ask him whether he knows Semiradsky, Tchaykovsky, or Solovyov the philosopher -- he'll shake his head. . . . It swinish!"
Three minutes passed in silence.
"Allow me in my turn to ask you a question," said the vis-à-vis timidly, clearing his throat. Do you know the name of Pushkov?"
"Pushkov? H'm! Pushkov. . . . No, I don't know it!"
"That is my name,. . ." said the vis-à-vis,, overcome with embarrassment. "Then you don't know it? And yet I have been a professor at one of the Russian universities for thirty-five years, . . . a member of the Academy of Sciences, . . . have published more than one work. . . ."
The first-class passenger and the vis-à-vis looked at each other and burst out laughing.
NOTES
vis-à-vis: opposite; in this case, the person sitting across from him
Pushkin called fame a bright patch on a ragged garment: Aleksandr S. Pushkin (1799-1837) was Russia's greatest poet; the poem referred to is "The Conversation between the Boo
kseller and the Poet," lines 171-172; which Nabokov translates: "What's fame? It is a gaudy patch/ upon the songster's threadbare rags."
Talent
by Anton Chekhov
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 bed, 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!
