The Tales of Chekhov

by Anton Chekhov

  “Varka, set the samovar!” shouts her mistress.

  Varka splits a piece of wood, but has scarcely time to light the splinters and put them in the samovar, when she hears a fresh order:

  “Varka, clean the master’s goloshes!”

  She sits down on the floor, cleans the goloshes, and thinks how nice it would be to put her head into a big deep golosh, and have a little nap in it. . . . And all at once the golosh grows, swells, fills up the whole room. Varka drops the brush, but at once shakes her head, opens her eyes wide, and tries to look at things so that they may not grow big and move before her eyes.

  “Varka, wash the steps outside; I am ashamed for the customers to see them!”

  Varka washes the steps, sweeps and dusts the rooms, then heats another stove and runs to the shop. There is a great deal of work: she hasn’t one minute free.

  But nothing is so hard as standing in the same place at the kitchen table peeling potatoes. Her head droops over the table, the potatoes dance before her eyes, the knife tumbles out of her hand while her fat, angry mistress is moving about near her with her sleeves tucked up, talking so loud that it makes a ringing in Varka’s ears. It is agonising, too, to wait at dinner, to wash, to sew, there are minutes when she longs to flop on to the floor regardless of everything, and to sleep.

  The day passes. Seeing the windows getting dark, Varka presses her temples that feel as though they were made of wood, and smiles, though she does not know why. The dusk of evening caresses her eyes that will hardly keep open, and promises her sound sleep soon. In the evening visitors come.

  “Varka, set the samovar!” shouts her mistress. The samovar is a little one, and before the visitors have drunk all the tea they want, she has to heat it five times. After tea Varka stands for a whole hour on the same spot, looking at the visitors, and waiting for orders.

  “Varka, run and buy three bottles of beer!”

  She starts off, and tries to run as quickly as she can, to drive away sleep.

  “Varka, fetch some vodka! Varka, where’s the corkscrew? Varka, clean a herring!”

  But now, at last, the visitors have gone; the lights are put out, the master and mistress go to bed.

  “Varka, rock the baby!” she hears the last order.

  The cricket churrs in the stove; the green patch on the ceiling and the shadows from the trousers and the baby-clothes force themselves on Varka’s half-opened eyes again, wink at her and cloud her mind.

  “Hush-a-bye, my baby wee,” she murmurs, “and I will sing a song to thee.”

  And the baby screams, and is worn out with screaming. Again Varka sees the muddy high road, the people with wallets, her mother Pelageya, her father Yefim. She understands everything, she recognises everyone, but through her half sleep she cannot understand the force which binds her, hand and foot, weighs upon her, and prevents her from living. She looks round, searches for that force that she may escape from it, but she cannot find it. At last, tired to death, she does her very utmost, strains her eyes, looks up at the flickering green patch, and listening to the screaming, finds the foe who will not let her live.

  That foe is the baby.

  She laughs. It seems strange to her that she has failed to grasp such a simple thing before. The green patch, the shadows, and the cricket seem to laugh and wonder too.

  The hallucination takes possession of Varka. She gets up from her stool, and with a broad smile on her face and wide unblinking eyes, she walks up and down the room. She feels pleased and tickled at the thought that she will be rid directly of the baby that binds her hand and foot. . . . Kill the baby and then sleep, sleep, sleep. . . .

  Laughing and winking and shaking her fingers at the green patch, Varka steals up to the cradle and bends over the baby. When she has strangled him, she quickly lies down on the floor, laughs with delight that she can sleep, and in a minute is sleeping as sound as the dead.

  Children

  P

  apa and mamma and Aunt Nadya are not at home. They have gone to a christening party at the house of that old officer who rides on a little grey horse. While waiting for them to come home, Grisha, Anya, Alyosha, Sonya, and the cook’s son, Andrey, are sitting at the table in the dining-room, playing at loto. To tell the truth, it is bedtime, but how can one go to sleep without hearing from mamma what the baby was like at the christening, and what they had for supper? The table, lighted by a hanging lamp, is dotted with numbers, nutshells, scraps of paper, and little bits of glass. Two cards lie in front of each player, and a heap of bits of glass for covering the numbers. In the middle of the table is a white saucer with five kopecks in it. Beside the saucer, a half-eaten apple, a pair of scissors, and a plate on which they have been told to put their nutshells. The children are playing for money. The stake is a kopeck. The rule is: if anyone cheats, he is turned out at once. There is no one in the dining-room but the players, and nurse, Agafya Ivanovna, is in the kitchen, showing the cook how to cut a pattern, while their elder brother, Vasya, a schoolboy in the fifth class, is lying on the sofa in the drawing-room, feeling bored.

  They are playing with zest. The greatest excitement is expressed on the face of Grisha. He is a small boy of nine, with a head cropped so that the bare skin shows through, chubby cheeks, and thick lips like a negro’s. He is already in the preparatory class, and so is regarded as grown up, and the cleverest. He is playing entirely for the sake of the money. If there had been no kopecks in the saucer, he would have been asleep long ago. His brown eyes stray uneasily and jealously over the other players’ cards. The fear that he may not win, envy, and the financial combinations of which his cropped head is full, will not let him sit still and concentrate his mind. He fidgets as though he were sitting on thorns. When he wins, he snatches up the money greedily, and instantly puts it in his pocket. His sister, Anya, a girl of eight, with a sharp chin and clever shining eyes, is also afraid that someone else may win. She flushes and turns pale, and watches the players keenly. The kopecks do not interest her. Success in the game is for her a question of vanity. The other sister, Sonya, a child of six with a curly head, and a complexion such as is seen only in very healthy children, expensive dolls, and the faces on bonbon boxes, is playing loto for the process of the game itself. There is bliss all over her face. Whoever wins, she laughs and claps her hands. Alyosha, a chubby, spherical little figure, gasps, breathes hard through his nose, and stares open-eyed at the cards. He is moved neither by covetousness nor vanity. So long as he is not driven out of the room, or sent to bed, he is thankful. He looks phlegmatic, but at heart he is rather a little beast. He is not there so much for the sake of the loto, as for the sake of the misunderstandings which are inevitable in the game. He is greatly delighted if one hits another, or calls him names. He ought to have run off somewhere long ago, but he won’t leave the table for a minute, for fear they should steal his counters or his kopecks. As he can only count the units and numbers which end in nought, Anya covers his numbers for him. The fifth player, the cook’s son, Andrey, a dark-skinned and sickly looking boy in a cotton shirt, with a copper cross on his breast, stands motionless, looking dreamily at the numbers. He takes no interest in winning, or in the success of the others, because he is entirely engrossed by the arithmetic of the game, and its far from complex theory; “How many numbers there are in the world,” he is thinking, “and how is it they don’t get mixed up?”

  They all shout out the numbers in turn, except Sonya and Alyosha. To vary the monotony, they have invented in the course of time a number of synonyms and comic nicknames. Seven, for instance, is called the “ovenrake,” eleven the “sticks,” seventy-seven “Semyon Semyonitch,” ninety “grandfather,” and so on. The game is going merrily.

  “Thirty-two,” cries Grisha, drawing the little yellow cylinders out of his father’s cap. “Seventeen! Ovenrake! Twenty-eight! Lay them straight. . . .”

  Anya sees that Andrey has let twenty-eight slip. At any other time she would have pointed it out to him, but now when her vanit
y lies in the saucer with the kopecks, she is triumphant.

  “Twenty-three!” Grisha goes on, “Semyon Semyonitch! Nine!”

  “A beetle, a beetle,” cries Sonya, pointing to a beetle running across the table. “Aie!”

  “Don’t kill it,” says Alyosha, in his deep bass, “perhaps it’s got children . . . .”

  Sonya follows the black beetle with her eyes and wonders about its children: what tiny little beetles they must be!

  “Forty-three! One!” Grisha goes on, unhappy at the thought that Anya has already made two fours. “Six!”

  “Game! I have got the game!” cries Sonya, rolling her eyes coquettishly and giggling.

  The players’ countenances lengthen.

  “Must make sure!” says Grisha, looking with hatred at Sonya.

  Exercising his rights as a big boy, and the cleverest, Grisha takes upon himself to decide. What he wants, that they do. Sonya’s reckoning is slowly and carefully verified, and to the great regret of her fellow players, it appears that she has not cheated. Another game is begun.

  “I did see something yesterday!” says Anya, as though to herself. “Filipp Filippitch turned his eyelids inside out somehow and his eyes looked red and dreadful, like an evil spirit’s.”

  “I saw it too,” says Grisha. “Eight! And a boy at our school can move his ears. Twenty-seven!”

  Andrey looks up at Grisha, meditates, and says:

  “I can move my ears too. . . .”

  “Well then, move them.”

  Andrey moves his eyes, his lips, and his fingers, and fancies that his ears are moving too. Everyone laughs.

  “He is a horrid man, that Filipp Filippitch,” sighs Sonya. “He came into our nursery yesterday, and I had nothing on but my chemise . . . And I felt so improper!”

  “Game!” Grisha cries suddenly, snatching the money from the saucer. “I’ve got the game! You can look and see if you like.”

  The cook’s son looks up and turns pale.

  “Then I can’t go on playing any more,” he whispers.

  “Why not?”

  “Because . . . because I have got no more money.”

  “You can’t play without money,” says Grisha.

  Andrey ransacks his pockets once more to make sure. Finding nothing in them but crumbs and a bitten pencil, he drops the corners of his mouth and begins blinking miserably. He is on the point of crying. . . .

  “I’ll put it down for you!” says Sonya, unable to endure his look of agony. “Only mind you must pay me back afterwards.”

  The money is brought and the game goes on.

  “I believe they are ringing somewhere,” says Anya, opening her eyes wide.

  They all leave off playing and gaze open-mouthed at the dark window. The reflection of the lamp glimmers in the darkness.

  “It was your fancy.”

  “At night they only ring in the cemetery,” says Andrey.

  “And what do they ring there for?”

  “To prevent robbers from breaking into the church. They are afraid of the bells.”

  “And what do robbers break into the church for?” asks Sonya.

  “Everyone knows what for: to kill the watchmen.”

  A minute passes in silence. They all look at one another, shudder, and go on playing. This time Andrey wins.

  “He has cheated,” Alyosha booms out, apropos of nothing.

  “What a lie, I haven’t cheated.”

  Andrey turns pale, his mouth works, and he gives Alyosha a slap on the head! Alyosha glares angrily, jumps up, and with one knee on the table, slaps Andrey on the cheek! Each gives the other a second blow, and both howl. Sonya, feeling such horrors too much for her, begins crying too, and the dining-room resounds with lamentations on various notes. But do not imagine that that is the end of the game. Before five minutes are over, the children are laughing and talking peaceably again. Their faces are tear-stained, but that does not prevent them from smiling; Alyosha is positively blissful, there has been a squabble!

  Vasya, the fifth form schoolboy, walks into the dining-room. He looks sleepy and disillusioned.

  “This is revolting!” he thinks, seeing Grisha feel in his pockets in which the kopecks are jingling. “How can they give children money? And how can they let them play games of chance? A nice way to bring them up, I must say! It’s revolting!”

  But the children’s play is so tempting that he feels an inclination to join them and to try his luck.

  “Wait a minute and I’ll sit down to a game,” he says.

  “Put down a kopeck!”

  “In a minute,” he says, fumbling in his pockets. “I haven’t a kopeck, but here is a rouble. I’ll stake a rouble.”

  “No, no, no. . . . You must put down a kopeck.”

  “You stupids. A rouble is worth more than a kopeck anyway,” the schoolboy explains. “Whoever wins can give me change.”

  “No, please! Go away!”

  The fifth form schoolboy shrugs his shoulders, and goes into the kitchen to get change from the servants. It appears there is not a single kopeck in the kitchen.

  “In that case, you give me change,” he urges Grisha, coming back from the kitchen. “I’ll pay you for the change. Won’t you? Come, give me ten kopecks for a rouble.”

  Grisha looks suspiciously at Vasya, wondering whether it isn’t some trick, a swindle.

  “I won’t,” he says, holding his pockets.

  Vasya begins to get cross, and abuses them, calling them idiots and blockheads.

  “I’ll put down a stake for you, Vasya!” says Sonya. “Sit down.” He sits down and lays two cards before him. Anya begins counting the numbers.

  “I’ve dropped a kopeck!” Grisha announces suddenly, in an agitated voice. “Wait!”

  He takes the lamp, and creeps under the table to look for the kopeck. They clutch at nutshells and all sorts of nastiness, knock their heads together, but do not find the kopeck. They begin looking again, and look till Vasya takes the lamp out of Grisha’s hands and puts it in its place. Grisha goes on looking in the dark. But at last the kopeck is found. The players sit down at the table and mean to go on playing.

  “Sonya is asleep!” Alyosha announces.

  Sonya, with her curly head lying on her arms, is in a sweet, sound, tranquil sleep, as though she had been asleep for an hour. She has fallen asleep by accident, while the others were looking for the kopeck.

  “Come along, lie on mamma’s bed!” says Anya, leading her away from the table. “Come along!”

  They all troop out with her, and five minutes later mamma’s bed presents a curious spectacle. Sonya is asleep. Alyosha is snoring beside her. With their heads to the others’ feet, sleep Grisha and Anya. The cook’s son, Andrey too, has managed to snuggle in beside them. Near them lie the kopecks, that have lost their power till the next game. Good-night!

  The Runaway

  I

  t had been a long business. At first Pashka had walked with his mother in the rain, at one time across a mown field, then by forest paths, where the yellow leaves stuck to his boots; he had walked until it was daylight. Then he had stood for two hours in the dark passage, waiting for the door to open. It was not so cold and damp in the passage as in the yard, but with the high wind spurts of rain flew in even there. When the passage gradually became packed with people Pashka, squeezed among them, leaned his face against somebody’s sheepskin which smelt strongly of salt fish, and sank into a doze. But at last the bolt clicked, the door flew open, and Pashka and his mother went into the waiting-room. All the patients sat on benches without stirring or speaking. Pashka looked round at them, and he too was silent, though he was seeing a great deal that was strange and funny. Only once, when a lad came into the waiting-room hopping on one leg, Pashka longed to hop too; he nudged his mother’s elbow, giggled in his sleeve, and said: “Look, mammy, a sparrow.”

  “Hush, child, hush!” said his mother.

  A sleepy-looking hospital assistant appeared at the little win
dow.

  “Come and be registered!” he boomed out.

  All of them, including the funny lad who hopped, filed up to the window. The assistant asked each one his name, and his father’s name, where he lived, how long he had been ill, and so on. From his mother’s answers, Pashka learned that his name was not Pashka, but Pavel Galaktionov, that he was seven years old, that he could not read or write, and that he had been ill ever since Easter.

  Soon after the registration, he had to stand up for a little while; the doctor in a white apron, with a towel round his waist, walked across the waiting-room. As he passed by the boy who hopped, he shrugged his shoulders, and said in a sing-song tenor:

  “Well, you are an idiot! Aren’t you an idiot? I told you to come on Monday, and you come on Friday. It’s nothing to me if you don’t come at all, but you know, you idiot, your leg will be done for!”

  The lad made a pitiful face, as though he were going to beg for alms, blinked, and said:

  “Kindly do something for me, Ivan Mikolaitch!”

  “It’s no use saying ‘Ivan Mikolaitch,’” the doctor mimicked him. “You were told to come on Monday, and you ought to obey. You are an idiot, and that is all about it.”

  The doctor began seeing the patients. He sat in his little room, and called up the patients in turn. Sounds were continually coming from the little room, piercing wails, a child’s crying, or the doctor’s angry words:

  “Come, why are you bawling? Am I murdering you, or what? Sit quiet!”

  Pashka’s turn came.

  “Pavel Galaktionov!” shouted the doctor.

  His mother was aghast, as though she had not expected this summons, and taking Pashka by the hand, she led him into the room.

  The doctor was sitting at the table, mechanically tapping on a thick book with a little hammer.

  “What’s wrong?” he asked, without looking at them.