none nearer and dearer and more important to him than this slight woman, lost in a small-town crowd, a woman perfectly unremarkable, with a vulgar lorgnette in her hand. He saw her husband and remembered her qualifying him as a flunkey — he distinctly resembled one.
A remarkably fine scene follows when Gurov manages to talk to her, and then their mad swift walk up all kinds of staircases and corridors, and down again, and up again, amid people in the various uniforms of provincial officials. Neither does Chekhov forget 'two schoolboys who smoked on the stairs and looked down at him and her.'
' 'You must leave,' Anna Sergeievna went on in a whisper. 'Do you hear, Dmitri Dmitrich? I will come and see you in Moscow. I have never been happy; I am unhappy now, and I never, never shall be happy, never! So don't make me suffer still more! I swear I'll come to Moscow. But now let us part. My dear, good, precious one, let us part!'
'She pressed his hand and walked rapidly downstairs, turning to look round at him, and from her eyes he could see that she really was unhappy. Gurov stood for a while, listening, then when all grew quiet, he found his coat and left the theatre.'
The fourth and last little chapter gives the atmosphere of their secret meetings in Moscow. As soon as she would arrive she used to send a red-capped messenger to Gurov. One day he was on his way to her and his daughter was with him. She was going to school, in the same direction as he. Big damp snowflakes were slowly coming down.
The thermometer, Gurov was saying to his daughter, shows a few degrees above freezing point (actually 37° above, fahrenheit), but nevertheless snow is falling. The explanation is that this warmth applies only to the surface of the earth, while in the higher layers of the atmosphere the temperature is quite different.
And as he spoke and walked, he kept thinking that not a soul knew or would ever know about these secret meetings.
What puzzled him was that all the false part of his life, his bank, his club, his conversations, his social obligations—all this happened openly, while the real and interesting part was hidden.
'He had two lives : an open one, seen and known by all who needed to know it, full of conventional truth and conventional falsehood, exactly like the lives of his friends and acquaintances; and another life that went on in secret. And through some strange, perhaps accidental, combination of circumstances, everything that was of interest and importance to him, everything that was essential to him, everything about which he felt sincerely and did not deceive himself, everything that constituted the core of his life, was going on concealed from others; while all that was false, the shell in which he hid to cover the truth—his work at the bank for instance, his discussions at the club, his references to the 'inferior race,' his appearances at anniversary celebrations with his wife—all that went on in the open. Judging others by himself, he did not 162
believe what he saw, and always fancied that every man led his real, most interesting life under cover of secrecy as under cover of night. The personal life of every individual is based on secrecy, and perhaps it is partly for that reason that civilized man is so nervously anxious that personal privacy should be respected.'
The final scene is full of that pathos which has been suggested in the very beginning. They meet, she sobs, they feel that they are the closest of couples, the tenderest of friends, and he sees that his hair is getting a little gray and knows that only death will end their love.
'The shoulders on which his hands rested were warm and quivering. He felt compassion for this life, still so warm and lovely, but probably already about to begin to fade and wither like his own. Why did she love him so much? He always seemed to women different from what he was, and they loved in him not himself, but the man whom their imagination had created and whom they had been eagerly seeking all their lives; and afterwards, when they saw their mistake, they loved him nevertheless. And not one of them had been happy with him. In the past he had met women, come together with them, parted from them, but he had never once loved; it was anything you please, but not love. And only now when his head was gray he had fallen in love, really, truly—for the first time in his life.'
They talk, they discuss their position, how to get rid of the necessity of this sordid secrecy, how to be together always. They find no solution and in the typical Chekhov way the tale fades out with no definite full-stop but with the natural motion of life.
'And it seemed as though in a little while the solution would be found, and then a new and glorious life would begin; and it was clear to both of them that the end was still far off, and that what was to be most complicated and difficult for them was only just beginning.'
All the traditional rules of story telling have been broken in this wonderful short story of twenty pages or so. There is no problem, no regular climax, no point at the end. And it is one of the greatest stories ever written.
We will now repeat the different features that are typical for this and other Chekhov tales.
First: The story is told in the most natural way possible, not beside the after-dinner fireplace as with Turgenev or Maupassant but in the way one person relates to another the most important things in his life, slowly and yet without a break, in a slightly subdued voice.
Second: Exact and rich characterization is attained by a careful selection and careful distribution of minute but striking features, with perfect contempt for the sustained description, repetition, and strong emphasis of ordinary authors. In this or that description one detail is chosen to illume the whole setting.
Third: There is no special moral to be drawn and no special message to be received. Compare this to the special delivery stories of Gorki or Thomas Mann.
Fourth : The story is based on a system of waves, on the shades of this or that mood. If in Gorki's world the molecules forming it are matter, here, in Chekhov, we get a world of waves instead of particles of matter, which, incidentally, is a nearer approach to the modern scientific understanding of the universe.
Fifth: The contrast of poetry and prose stressed here and there with such insight and humor is, in the long run, a contrast only for the heroes; in reality we feel, and this is again typical of authentic genius, that for Chekhov the lofty and the base are
Sixth: The story does not really end, for as long as people are alive, there is no possible and definite conclusion to their troubles or hopes or dreams.
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Seventh: The storyteller seems to keep going out of his way to allude to trifles, every one of which in another type of story would mean a signpost denoting a turn in the action—for instance, the two boys at the theatre would be eavesdroppers, and rumors would spread, or the inkstand would mean a letter changing the course of the story; but just because these trifles are meaningless, they are all-important in giving the real atmosphere of this particular story.
'In the Gully' (1900)
The action of 'In the Gully' (usually translated as 'In the Ravine') takes place half-a-century ago—the story was written in 1900. The place, somewhere in Russia, is a village called Ukleyevo :
Here at least was a beam of fun, a smile, something human. All the rest was not only drab, it was also evil —a gray wasp nest of deception and injustice. 'There were only two decent houses built of brick with iron roofs; one of them was occupied by the rural administration; in the other, a two-storied house just opposite the church, lived Grigori Petrovich Tsybukin, a merchant who hailed from Yepi-fan.' Both of these houses were abodes of evil. Everything in the story, except the children and the child-wife Lipa, is going to be a succession of deceptions, a
