On the Eve

Elena was afraid of the chill of the churches for Insarov; but she remembered the Accademia di Belle Arti, and told the gondolier to go towards it. They quickly walked through all the rooms of that little museum. Being neither connoisseurs nor dilettantes, they did not stop before every picture; they put no constraint on themselves; a spirit of lighthearted gaiety came over them. Everything seemed suddenly very entertaining. (Children know this feeling very well.) To the great scandal of three English visitors, Elena laughed till she cried over the St. Mark of Tintoretto, skipping down from the sky like a frog into the water, to deliver the tortured slave; Insarov in his turn fell into raptures over the back and legs of the sturdy man in the green cloak, who stands in the foreground of Titian’s Assumption and holds his arms outstretched after the Madonna; but the Madonna⁠—a splendid, powerful woman, calmly and majestically making her way towards the bosom of God the Father⁠—impressed both Insarov and Elena; they liked, too, the austere and reverent painting of the elder Cima da Conegliano. As they were leaving the Accademia, they took another look at the Englishmen behind them⁠—with their long rabbit-like teeth and drooping whiskers⁠—and laughed; they glanced at their gondolier with his abbreviated jacket and short breeches⁠—and laughed; they caught sight of a woman selling old clothes with a knob of grey hair on the very top of her head⁠—and laughed more than ever; they looked into one another’s face⁠—and went off into peals of laughter, and directly they had sat down in the gondola, they clasped each other’s hand in a close, close grip. They reached their hotel, ran into their room, and ordered dinner to be brought in. Their gaiety did not desert them at dinner. They pressed each other to eat, drank to the health of their friends in Moscow, clapped their hands at the waiter for a delicious dish of fish, and kept asking him for live frutti di mare; the waiter shrugged his shoulders and scraped with his feet, but when he had left them, he shook his head and once even muttered with a sigh, poveretti! (poor things!) After dinner they set off for the theatre.

They were giving an opera of Verdi’s, which though, honestly speaking, rather vulgar, has already succeeded in making the round of all the European theatres, an opera, well-known among Russians, La Traviata. The season in Venice was over, and none of the singers rose above the level of mediocrity; everyone shouted to the best of their abilities. The part of Violetta was performed by an artist, of no renown, and judging by the cool reception given her by the public, not a favourite, but she was not destitute of talent. She was a young, and not very pretty, black-eyed girl with an unequal and already overstrained voice. Her dress was ill-chosen and naively gaudy; her hair was hidden in a red net, her dress of faded blue satin was too tight for her, and thick Swedish gloves reached up to her sharp elbows. Indeed, how could she, the daughter of some Bergamese shepherd, know how Parisian dames aux camélias dress! And she did not understand how to move on the stage; but there was much truth and artless simplicity in her acting, and she sang with that passion of expression and rhythm which is only vouchsafed to Italians. Elena and Insarov were sitting alone together in a dark box close to the stage; the mirthful mood which had come upon them in the Accademia di Belle Arti had not yet passed off. When the father of the unhappy young man who had fallen into the snares of the enchantress came on to the stage in a yellow frock-coat and a dishevelled white wig, opened his mouth awry, and losing his presence of mind before he had begun, only brought out a faint bass tremolo, they almost burst into laughter.⁠ ⁠… But Violetta’s acting impressed them.

“They hardly clap that poor girl at all,” said Elena, “but I like her a thousand times better than some conceited second-rate celebrity who would grimace and attitudinise all the while for effect. This girl seems as though it were all in earnest; look, she pays no attention to the public.”

Insarov bent over the edge of the box, and looked attentively at Violetta.

“Yes,” he commented, “she is in earnest; she’s on the brink of the grave herself.”

Elena was mute.

The third act began. The curtain rose⁠—Elena shuddered at the sight of the bed, the drawn curtains, the glass of medicine, the shaded lamps. She recalled the near past. “What of the future? What of the present?” flashed across her mind. As though in response to her thought, the artist’s mimic cough on the stage was answered in the box by the hoarse, terribly real cough of Insarov. Elena stole a glance at him, and at once gave her features a calm and untroubled expression; Insarov understood her, and he began himself to smile, and softly to hum the tune of the song.

But he was soon quiet. Violetta’s acting became steadily better, and freer. She had thrown aside everything subsidiary, everything superfluous, and found herself; a rare, a lofty delight for an artist! She had suddenly crossed the limit, which it is impossible to define, beyond which is the abiding place of beauty. The audience was thrilled and astonished. The plain girl with the broken voice began to get a hold on it, to master it. And the singer’s voice even did not sound broken now; it had gained mellowness and strength. Alfredo made his entrance; Violetta’s cry of happiness almost raised that storm in the audience known as fanatismo, beside which all the applause of our northern audiences is nothing. A brief interval passed⁠—and again the audience were in transports. The duet began, the best thing in the opera, in which the composer has