Selected early short stories 1882-1885

'H'm. . . . To be sure . . . of course! Fleeced. . . plundered. . . . What we give we remember, but we don't remember what we take.'

'I have never taken anything from you.'

'Is that so? But when we weren't a celebrated singer, at whose expense did we live then? And who, allow me to ask, lifted you out of beggary and secured your happiness? Don't you remember that?'

'Come, go to bed. Go along and sleep it off.'

'Do you mean to say you think I am drunk? . . . if I am so low in the eyes of such a grand lady. . . I can go away altogether.'

'Do. A good thing too.'

'I will, too. I have humbled myself enough. And I will go.'

'Oh, my God! Oh, do go, then! I shall be delighted!'

'Very well, we shall see.'

Nikitin mutters something to himself, and, stumbling over the chairs, goes out of the bedroom. Then sounds reach her from the entry of whispering, the shuffling of goloshes and a door being shut. Mari d'elle has taken offence in earnest and gone out.

'Thank God, he has gone!' thinks the singer. 'Now I can sleep.'

And as she falls asleep she thinks of her mari d'elle, what sort of a man he is, and how this affliction has come upon her. At one time he used to live at Tchernigov, and had a situation there as a book-keeper. As an ordinary obscure individual and not the mari d'elle, he had been quite endurable: he used to go to his work and take his salary, and all his whims and projects went no further than a new guitar, fashionable trousers, and an amber cigarette-holder. Since he had become 'the husband of a celebrity' he was completely transformed. The singer remembered that when first she told him she was going on the stage he had made a fuss, been indignant, complained to her parents, turned her out of the house. She had been obliged to go on the stage without his permission. Afterwards, when he learned from the papers and from various people that she was earning big sums, he had 'forgiven her,' abandoned book-keeping, and become her hanger-on. The singer was overcome with amazement when she looked at her hanger-on: when and where had he managed to pick up new tastes, polish, and airs and graces? Where had he learned the taste of oysters and of different Burgundies? Who had taught him to dress and do his hair in the fashion and call her 'Nathalie' instead of Natasha?'

'It's strange,' thinks the singer. 'In old days he used to get his salary and put it away, but now a hundred roubles a day is not enough for him. In old days he was afraid to talk before schoolboys for fear of saying something silly, and now he is overfamiliar even with princes . . . wretched, contemptible little creature!'

But then the singer starts again; again there is the clang of the bell in the entry. The housemaid, scolding and angrily flopping with her slippers, goes to open the door. Again some one comes in and stamps like a horse.

'He has come back!' thinks the singer. 'When shall I be left in peace? It's revolting!' She is overcome by fury.

'Wait a bit. . . . I'll teach you to get up these farces! You shall go away. I'll make you go away!'

The singer leaps up and runs barefoot into the little drawing-room where her mari usually sleeps. She comes at the moment when he is undressing, and carefully folding his clothes on a chair.

'You went away!' she says, looking at him with bright eyes full of hatred. 'What did you come back for?'

Nikitin remains silent, and merely sniffs.

'You went away! Kindly take yourself off this very minute! This very minute! Do you hear?'

Mari d'elle coughs and, without looking at his wife, takes off his braces.

'If you don't go away, you insolent creature, I shall go,' the singer goes on, stamping her bare foot, and looking at him with flashing eyes. 'I shall go! Do you hear, insolent . . . worthless wretch, flunkey, out you go!'

'You might have some shame before outsiders,' mutters her husband. . . .

The singer looks round and only then sees an unfamiliar countenance that looks like an actor's. . . . The countenance, seeing the singer's uncovered shoulders and bare feet, shows signs of embarrassment, and looks ready to sink through the floor.

'Let me introduce . . .' mutters Nikitin, 'Bezbozhnikov, a provincial manager.'

The singer utters a shriek, and runs off into her bedroom.

'There, you see . . .' says mari d'elle, as he stretches himself on the sofa, 'it was all honey just now . . . my love, my dear, my darling, kisses and embraces . . . but as soon as money is touched upon, then. . . . As you see . . . money is the great thing. . . . Good night!'

A minute later there is a snore.

NOTES

mari d'elle: lit., husband of her

THE LOOKING-GLASS

by Anton Chekhov

NEW YEAR'S EVE. Nellie, the daughter of a landowner and general, a young and pretty girl, dreaming day and night of being married, was sitting in her room, gazing with exhausted, half-closed eyes into the looking-glass. She was pale, tense, and as motionless as the looking-glass.

The non-existent but apparent vista of a long, narrow corridor with endless rows of candles, the reflection of her face, her hands, of the frame -- all this was already clouded in mist and merged into a boundless grey sea. The sea was undulating, gleaming and now and then flaring crimson. . . .

Looking at Nellie's motionless eyes and parted lips, one could hardly say whether she was asleep or awake, but nevertheless she was seeing. At first she saw only the smile and soft, charming expression of someone's eyes, then against the shifting grey background there gradually appeared the outlines of a head, a face, eyebrows, beard. It was he, the destined one, the object of long dreams and hopes. The destined one was for Nellie everything, the significance of life, personal happiness, career, fate. Outside him, as on the grey background of the looking-glass, all was dark, empty, meaningless. And so it was not strange that, seeing before her a handsome, gently smiling face, she was conscious of bliss, of an unutterably sweet dream that could not be expressed in speech or on paper. Then she heard his voice, saw herself living under the same roof with him, her life merged into his. Months and years flew by against the grey background. And Nellie saw her future distinctly in all its details.

Picture followed picture against the grey background. Now Nellie saw herself one winter night knocking at the door of Stepan Lukitch, the district doctor. The old dog hoarsely and lazily barked behind the gate. The doctor's windows were in darkness. All was silence.

'For God's sake, for God's sake!' whispered Nellie.

But at last the garden gate creaked and Nellie saw the doctor's cook.

'Is the doctor at home?'

'His honour's asleep,' whispered the cook into her sleeve, as though afraid of waking her master.

'He's only just got home from his fever patients, and gave orders he was not to be waked.'

But Nellie scarcely heard the cook. Thrusting her aside, she rushed headlong into the doctor's house. Running through some dark and stuffy rooms, upsetting two or three chairs, she at last reached the doctor's bedroom. Stepan Lukitch was lying on his bed, dressed, but without his coat, and with pouting lips was breathing into his open hand. A little night-light glimmered faintly beside him. Without uttering a word Nellie sat down and began to cry. She wept bitterly, shaking all over.

'My husband is ill!' she sobbed out. Stepan Lukitch was silent. He slowly sat up, propped his head on his hand, and looked at his visitor with fixed, sleepy eyes. 'My husband is ill!' Nellie continued, restraining her sobs. 'For mercy's sake come quickly. Make haste. . . . Make haste!'

'Eh?' growled the doctor, blowing into his hand.

'Come! Come this very minute! Or . . . it's terrible to think! For mercy's sake!'

And pale, exhausted Nellie, gasping and swallowing her tears, began describing to the doctor her husband's