He could not sleep, but he sank into the drowsy numbness of a journey. Images of the past rose slowly as before, floated in his soul, mixed and tangled up with other fancies. Lavretsky, for some unknown reason, began to think about Robert Peel, … about French history—of how he would gain a battle, if he were a general; he fancied the shots and the cries. … His head slipped on one side, he opened his eyes. The same fields, the same steppe scenery; the polished shoes of the trace-horses flashed alternately through the driving dust; the coachman’s shirt, yellow with red gussets, was puffed out by the wind. … “A nice homecoming!” glanced through Lavretsky’s brain; and he cried, “Get on!” wrapped himself in his cloak and pressed close into the cushion. The carriage jolted; Lavretsky sat up and opened his eyes wide. On the slope before him stretched a small hamlet; a little to the right could be seen an ancient manor house of small size, with closed shutters and a winding flight of steps; nettles, green and thick as hemp, grew over the wide courtyard from the very gates; in it stood a storehouse built of oak, still strong. This was Vassilyevskoe.
The coachman drove to the gates and drew up; Lavretsky’s groom stood up on the box and as though in preparation for jumping down, shouted, “Hey!” There was a sleepy, muffled sound of barking, but not even a dog made its appearance; the groom again made ready for a jump, and again shouted “Hey!” The feeble barking was repeated, and an instant after a man from some unseen quarter ran into the courtyard, dressed in a nankeen coat, his head as white as snow; he stared at the coach, shading his eyes from the sun; all at once he slapped his thighs with both hands, ran to and fro a little, then rushed to open the gates. The coach drove into the yard, crushing the nettles with the wheels, and drew up at the steps. The white-headed man, who seemed very alert, was already standing on the bottom step, his legs bent and wide apart, he unfastened the apron of the carriage, holding back the strap with a jerk and aiding his master to alight; he kissed his hand.
“How do you do, how do you do, brother?” began Lavretsky. “Your name’s Anton, I think? You are still alive, then?” The old man bowed without speaking, and ran off for the keys. While he went, the coachman sat motionless, sitting sideways and staring at the closed door, but Lavretsky’s groom stood as he had leaped down in a picturesque pose with one arm thrown back on the box. The old man brought the keys, and, quite needlessly, twisting about like a snake, with his elbows raised high, he opened the door, stood on one side, and again bowed to the earth.
“So here I am at home, here I am back again,” thought Lavretsky, as he walked into the diminutive passage, while one after another the shutters were being opened with much creaking and knocking, and the light of day poured into the deserted rooms.
XIX
The small manor-house to which Lavretsky had come and in which two years before Glafira Petrovna had breathed her last, had been built in the preceding century of solid pinewood; it looked ancient, but it was still strong enough to stand another fifty years or more. Lavretsky made the tour of all the rooms, and to the great discomfiture of the aged languid flies, settled under the lintels and covered with white dust, he ordered the windows to be opened everywhere; they had not been opened ever since the death of Glafira Petrovna. Everything in the house had remained as it was; the thin-legged white miniature couches in the drawing-room, covered with glossy grey stuff, threadbare and rickety, vividly suggested the days of Catherine; in the drawing-room, too, stood the mistress’s favourite armchair, with high straight back, against which she never leaned even in her old age. On the principal wall hung a very old portrait of Fedor’s great-grandfather, Andrey Lavretsky; the dark yellow face was scarcely distinguishable from the warped and blackened background; the small cruel eyes looked grimly out from beneath the eyelids, which dropped as if they were swollen; his black unpowdered hair rose bristling above his heavy indented brow. In the corner of the portrait hung a wreath of dusty immortelles. “Glafira Petrovna herself was pleased to make it,” Anton announced. In the bedroom stood a narrow bedstead, under a canopy of old-fashioned and very good striped material; a heap of faded cushions and a thin quilted counterpane lay on the bed, and at the head hung a picture of the Presentation in the Temple of the Holy Mother of God; it was the very picture which the old maid, dying alone and forgotten by everyone, had for the last time pressed to her chilling lips. A little toilet table of inlaid wood, with brass fittings and a warped looking-glass in a tarnished frame stood in the window. Next to the bedroom was the little icon room with bare walls and a heavy case of holy images in the corner; on the floor lay a threadbare rug spotted with wax; Glafira Petrovna used to pray bowing to the ground upon it. Anton went away with Lavretsky’s groom to unlock the stable and coach-house; to replace him appeared an old woman of about the same age, with a handkerchief tied round to her very eyebrows; her head shook, and her eyes were dim, but they expressed zeal, the habit of years of submissive service, and at the same time a kind of respectful commiseration. She kissed Lavretsky’s hand and stood still in the doorway awaiting his orders. He positively could not recollect her name and did not even remember whether he had ever seen her. Her name, it appeared, was Apraxya; forty years before, Glafira Petrovna had
