The House of the Dead

by Fyodor Dostoyevsky

  Kedril is a glutton and a coward. When he hears of devils he turns pale and trembles like a leaf; he would like to run away, but is afraid of his master; besides, he is hungry, he is voluptuous; he is sensual, stupid, though cunning in his way, and, as before said, a poltroon; he cheats his master every moment, though he fears him like fire. This type of servant is a remarkable one in which may be recognised the principal features of the character of Leporello, but indistinct and confused. The part was played in really superior style by Potsiakin, whose talent was beyond discussion, surpassing as it did in my opinion that of Baklouchin himself. But when the next day I spoke to Baklouchin I concealed my impression from him, knowing that it would give him bitter pain.

  As for the convict who played the part of the nobleman, it was not bad. Everything he said was without meaning, incomparable to anything I had ever heard before; but his enunciation was pure and his gestures becoming. While Kedril occupies himself with the valise, his master walks up and down, and announces that from that day forth he means to lead a quiet life. Kedril listens, makes grimaces, and amuses the spectators by his reflections "aside." He has no pity for his master, but he has heard of devils, would like to know what they are like, and thereupon questions him. The nobleman replies that some time ago, being in danger of death, he asked succour from hell. Then the devils aided and delivered him, but the term of his liberty has expired; and if the devils come that evening, it will be to exact his soul, as has been agreed in their compact. Kedril begins to tremble in earnest, but his master does not lose courage, and orders him to prepare the supper. Hearing of victuals, Kedril revives. Taking out a bottle of wine, he taps it on his own account. The audience expands with laughter; but the door grates on its hinges, the winds shakes the shutters, Kedril trembles, and hastily, almost without knowing what he is doing, puts into his mouth an enormous piece of fowl, which he is unable to swallow. There is another gust of wind.

  "Is it ready?" cries the master, still walking backwards and forwards in his room.

  "Directly, sir. I am preparing it," says Kedril, who sits down, and, taking care that his master does not see him, begins to eat the supper himself. The audience is evidently charmed with the cunning of the servant, who so cleverly makes game of the nobleman; and it must be admitted that Poseikin, the representative of the part, deserved high praise. He pronounced admirably the words: "Directly, sir. I—am—preparing—it."

  Kedril eats gradually, and at each mouthful trembles lest his master shall see him. Every time that the nobleman turns round Kedril hides under the table, holding the fowl in his hand. When he has appeased his hunger, he begins to think of his master.

  "Kedril, will it soon be ready?" cries the nobleman.

  "It is ready now," replies Kedril boldly, when all at once he perceives that there is scarcely anything left. Nothing remains but one leg. The master, still sombre and pre-occupied, notices nothing, and takes his seat, while Kedril places himself behind him with a napkin on his arm. Every word, every gesture, every grimace from the servant, as he turns towards the audience to laugh at his master's expense, excites the greatest mirth among the convicts. Just at the moment when the young nobleman begins to eat, the devils arrive. They resemble nothing human or terrestrial. The side-door opens, and the phantom appears dressed entirely in white, with a lighted lantern in lieu of a head, and with a scythe in its hand. Why the white dress, scythe, and lantern? No one could tell me, and the matter did not trouble the convicts. They were sure that this was the way it ought to be done. The master comes forward courageously to meet the apparitions, and calls out to them that he is ready, and that they can take him. But Kedril, as timid as a hare, hides under the table, not forgetting, in spite of his fright, to take a bottle with him. The devils disappear, Kedril comes out of his hiding-place, and the master begins to eat his fowl. Three devils enter the room, and seize him to take him to hell.

  "Save me, Kedril," he cries. But Kedril has something else to think of. He has now with him in his hiding-place not only the bottle, but also the plate of fowl and the bread. He is now alone. The demons are far away, and his master also. Kedril gets from under the table, looks all round, and suddenly his face beams with joy. He winks, like the rogue he is, sits down in his master's place, and whispers to the audience: "I have now no master but myself."

  Every one laughs at seeing him masterless; and he says, always in an under-tone and with a confidential air: "The devils have carried him off! "

  The enthusiasm of the spectators is now without limits. The last phrase was uttered with such roguery, with such a triumphant grimace, that it was impossible not to applaud. But Kedril's happiness does not last long. Hardly has he taken up the bottle of wine, and poured himself out a large glass, which he carries to his lips, than the devils return, slip behind, and seize him. Kedril howls like one possessed, but he dare not turn round. He wishes to defend himself, but cannot, for in his hands he holds the bottle and the glass, from which he will not separate. His eyes starting from his head, his mouth gaping with horror, he remains for a moment looking at the audience with a comic expression of cowardice that might have been painted. At last he is dragged, carried away. His arms and legs are agitated in every direction, but he still sticks to his bottle He also shrieks, and his cries are still heard when he has been carried, from the stage.

  The curtain falls amid general laughter, and every one is delighted. The orchestra now attacks the famous dance tune Kamarinskaia. First it is played softly, pianissimo; but little by little, the motive is developed and played more lightly. The time is quickened, and the wood, as well as the strings of the balalaïki, is made to sound. The musicians enter thoroughly into the spirit of the dance. Glinka [who has arranged the Kamarinskaia in the most ingenious manner, and with harmonies of his own devising, for full orchestra] should have heard it as it was executed in our Convict Prison.

  The pantomimic musical accompaniment is begun; and throughout the Kamarinskaia is played. The stage represents the interior of a hut. A miller and his wife are sitting down, one mending clothes, the other spinning flax. Sirotkin plays the part of the wife, and Nietsvitaeff that of the husband. Our scenery was very poor. In this piece, as in the preceding ones, imagination had to supply what was wanting in reality. Instead of a well at the back of the stage, there was a carpet or a blanket; on the right, shabby screens; while on the left, where the stage was not closed, the camp-bedsteads could be seen; but the spectators were not exacting, and were willing to imagine all that was wanting. It was an easy task for them; all convicts are great dreamers. Directly they are told "this is a garden," it is for them a garden. Informed that "this is a hut," they accept the definition without difficulty. To them it is a hut. Sirotkin was charming in a woman's dress. The miller finishes his work, takes his cap and his whip, goes up to his wife, and gives her to understand by signs, that if during his absence she makes the mistake of receiving any one, she will have to deal with him—and he shows her his whip. The wife listens, and nods affirmatively her head. The whip is evidently known to her; the hussey has often deserved it. The husband goes out. Hardly has he turned upon his heel, than his wife shakes her fist at him. There is a knock; the door opens, and in comes a neighbour, miller also by trade. He wears a beard, is in a kuftan, and he brings as a present a red handkerchief. The woman smiles. Another knock is heard at the door. Where shall she hide him? She conceals him under the table, and takes up her distaff again. Another admirer now presents himself—a farrier in the uniform of a noncommissioned officer.

  Until now the pantomime had gone on capitally; the gestures of the actors being irreproachable. It was astounding to see these improvised players going through their parts in so correct a manner; and involuntarily one said to oneself:

  "What a deal of talent is lost in our Russia, left without use in our prisons and places of exile! "

  The convict who played the part of the farrier had, doubtless, taken part in a performance at some provincial theatre, or had played wit
h amateurs. It seemed to me, in any case, that our actors knew nothing of acting as an art, and bore themselves in the meanest manner. When it was his turn to appear, he came on like one of the classical heroes of the old repertory—taking a long stride with one foot before he raised the other from the ground, throwing back his head on the upper part of his body and casting proud looks around him. If such a gait was ridiculous on the part of classical heroes, still more so was it when the actor was representing a comic character. But the audience thought it quite natural, and accepted the actor's triumphant walk as a necessary fact, without criticising it.

  A moment after the entry of the second admirer there is another knock at the door. The wife loses her head. Where is the farrier to be concealed? In her big box. It fortunately is open. The farrier disappears within it and the lid falls upon him.

  The new arrival is a Brahmin, in full costume. His entry is hailed by the spectators with a formidable laugh. This Brahmin is represented by the convict Cutchin, who plays the part perfectly, thanks, in a great measure, to a suitable physiognomy. He explains in the pantomime his love of the miller's wife, raises his hands to heaven, and then clasps them on his breast.

  There is now another knock at the door—a vigorous one this time. There could be no mistake about it. It is the master of the house. The miller's wife loses her head; the Brahmin runs wildly on all sides, begging to be concealed. She helps him to slip behind the cupboard, and begins to spin, and goes on spinning without thinking of opening the door. In her fright she gets the thread twisted, drops the spindle, and, in her agitation, makes the gesture of turning it when it is lying on the ground. Sirotkin represented perfectly this state of alarm.

  Then the miller kicks open the door and approaches his wife, whip in hand. He has seen everything, for he was spying outside; and he indicates by signs to his wife that she has three lovers concealed in the house. Then he searches them out.

  First, he finds the neighbour, whom he drives out with his fist. The frightened farrier tries to escape. He raises, with his head, the cover of the chest, and is at once seen. The miller thrashes him with his whip, and for once this gallant does not march in the classical style.

  The only one now remaining is the Brahmin, whom the husband seeks for some time without finding him. At last he discovers him in his corner behind the cupboard, bows to him politely, and then draws him by his beard into the middle of the stage. The Brahmin tries to defend himself, and cries out, "Accursed, accursed!"—the only words pronounced throughout the pantomime. But the husband will not listen to him, and, after settling accounts with him, turns to his wife. Seeing that her turn has come, she throws away both wheel and spindle, and runs out, causing an earthen pot to fall as she shakes the room in her fright. The convicts burst into a laugh, and Ali, without looking at me, takes my hand, and calls out, "See, see the Brahmin!" He cannot hold himself upright, so overpowering is his laugh. The curtain falls, and another song begins

  There were two or three more, all broadly humorous and very droll. The convicts had not composed them themselves, but they had contributed something to them. Every actor improvised to such purpose that the part was a different one each evening. The pantomime ended with a ballet, in which there was a burial. The Brahmin went through various incantations over the corpse, and with effect. The dead man returns to life, and, in their joy, all present begin to dance. The Brahmin dances in Brahminical style with the dead man. This was the final scene. The convicts now separated, happy, delighted, and full of praise for the actors and gratitude towards the non-commissioned officers. There was not the least quarrel, and they all went to bed with peaceful hearts, to sleep with a sleep by no means familiar to them.

  This is no fantasy of my imagination, but the truth, the very truth. These unhappy men had been permitted to live for some moments in their own way, to amuse themselves in a human manner, to escape for a brief hour from their sad position as convicts; and a moral change was effected, at least for a time.

  The night is already quite dark. Something makes me shudder, and I awake. The "old believer" is still on the top of the high porcelain stove praying, and he will continue to pray until dawn. Ali is sleeping peacefully by my side. I remember that when he went to bed he was still laughing and talking about the theatre with his brothers. Little by little I began to remember everything; the preceding day, the Christmas holidays, and the whole month. I raised my head in fright and looked at my companions, who were sleeping by the trembling light of the candle provided by the authorities. I look at their unhappy countenances, their miserable beds; I view this nakedness, the wretchedness, and then convince myself that it is not a frightful night there, but a simple reality. Yes, it is a reality. I hear a groan. Some one has moved his arm and made his chains rattle. Another one is agitated in his dreams and speaks aloud, while the old grandfather is praying for the "Orthodox Christians." I listened to his prayer, uttered with regularity, in soft, rather drawling tones "Lord Jesus Christ have mercy upon us."

  "Well, I am not here for ever, but only for a few years," I said to myself, and I again laid my head down on my pillow.

  PART II

  CHAPTER I - THE HOSPITAL

  SHORTLY after the Christmas holidays I felt ill, and had to go to our military hospital, which stood apart at about half a verst (one-third of a mile) from the fortress. It was a one-storey building, very long, and painted yellow. Every summer a great quantity of ochre was expended in brightening it up. In the immense court-yard stood buildings, including those where the chief physicians lived, while the principal building contained only wards intended for the patients. There were a good many of them, but as only two were reserved for the convicts, these latter were nearly always full, above all in summer, so that it was often necessary to bring the beds closer together. These wards were occupied by "unfortunates" of all kinds: first by our own, then by military prisoners, previously incarcerated in the guard-houses. There were others, again, who had not yet been tried, or who were passing through. In this hospital, too, were invalids from the Disciplinary Company, a melancholy institution for bringing together soldiers of bad conduct, with a view to their correction. At the end of a year or two, they come back the most thorough-going rascals that the earth can endure.

  When a convict felt that he was ill, he told the noncommissioned officer, who wrote the man's name down on a card, which he then gave to him and sent him to the hospital under the escort of a soldier. On his arrival he was examined by a doctor, who authorised the convict to remain at the hospital if he was really ill. My name was duly written down, and towards one o'clock, when all my companions had started for their afternoon work, I went to the hospital. Every prisoner took with him such money and bread as he could (for food was not to be expected the first day), a little pipe, and pouch containing tobacco, with flint, steel, and match-paper. The convicts concealed these objects in their boots. On entering the hospital I experienced a feeling of curiosity, for a new aspect of life was now presented.

  The day was hot, cloudy, sad—one of those days when places like a hospital assume a particularly disagreeable and repulsive look. Myself and the soldier escorting me went into the entrance room, where there were two copper baths. There were two convicts waiting there with their warders. An assistant surgeon came in, looked at us with a careless and patronising air, and went away still more carelessly to announce our arrival to the physician on duty. Soon the physician arrived. He examined me, treating me in a very affable manner, and gave me a paper on which my name was inscribed. The ordinary physician of the wards reserved for the convicts was to make the diagnosis of my illness, to prescribe the fitting remedies, together with the necessary diet. I had already heard the convicts say that their doctors could not be too much praised. "They are fathers to us," they would say.

  I took my clothes off to put on another costume. Our clothes and linen were taken away, and we were given hospital linen instead, to which were added long stockings, slippers, cotton nightcaps, and a dres
sing-gown of a very thick brown cloth, which was lined, not with linen, but with filth. The dressing-gown was indeed very filthy, but I soon understood its utility. We were afterwards taken to the convict wards, which were at the head of a long corridor, very high, and very clean. The external cleanliness was quite satisfactory. Everything that could be seen shone; so, at least, it seemed to me, after the dirtiness of the convict prison.

  The two prisoners, whom I had found in the entrance hall, went to the left of the corridor, while I entered a room. Before the padlocked door walked a sentinel, musket on shoulder; and not far off was the soldier who was to replace him. The sergeant of the hospital guard ordered him to let me pass, and suddenly I found myself in the middle of a long narrow room, with beds to the number of twenty-two arranged against the walls. Three or four of them were still unoccupied. These wooden beds were painted green, and, as is notoriously the case with all hospital beds in Russia, were doubtless inhabited by bugs. I went into a corner by the side of the windows. There were very few prisoners dangerously ill and confined to their beds.

  The inmates of the hospital were, for the most part, convalescents, or men who were slightly indisposed. My new companions were stretched out on their couches, or walking about up and down between the rows of beds. There was just space enough for them to come and go. The atmosphere of the ward was stifling with the odour peculiar to hospitals. It was composed of various emanations, each more disagreeable than the other, and of the smell of drugs; though the stove was kept well heated all day long, my bed was covered with a counterpane, which I took off. The bed itself consisted of a cloth blanket lined with linen, and coarse sheets of more than doubtful cleanliness. By the side of the bed was a little table with a pitcher and a pewter mug, together with a diminutive napkin, which had been given to me. The table could, moreover, hold a tea-urn for those patients who were rich enough to drink tea. These men of means, however, were not very numerous. The pipes and the tobacco pouches—for all the patients smoked, even the consumptive ones—could be concealed beneath the mattress. The doctors and the other officials scarcely ever made searches, and when they surprised a patient with a pipe in his month, they pretended not to see. The patients, however, were very prudent, and smoked always at the back of the stove. They never smoked in their beds except at night, when no rounds were made by the officers commanding the hospital.