And he was annoyed that she had visitors.
'Shall I go back?' he thought with his hand on the bell, but he rang all the same, and went up the familiar staircase. From the entry he glanced into the reception hall. There were about five men there -- all landowners and officials of his acquaintance; one, a tall, thin gentleman, was sitting at the piano, singing, and striking the keys with his long, thin fingers. The others were listening and grinning with enjoyment. Kryukov looked himself up and down in the looking-glass, and was about to go into the hall, when Susanna Moiseyevna herself darted into the entry, in high spirits and wearing the same black dress. . . . Seeing Kryukov, she was petrified for an instant, then she uttered a little scream and beamed with delight.
'Is it you?' she said, clutching his hand. 'What a surprise!'
'Here she is!' smiled Kryukov, putting his arm round her waist. 'Well! Does the destiny of Europe still lie in the hands of the French and the Russians?'
'I'm so glad,' laughed the Jewess, cautiously removing his arm. 'Come, go into the hall; they're all friends there. . . . I'll go and tell them to bring you some tea. Your name's Alexey, isn't it? Well, go in, I'll come directly. . . .'
She blew him a kiss and ran out of the entry, leaving behind her the same sickly smell of jasmine. Kryukov raised his head and walked into the hall. He was on terms of friendly intimacy with all the men in the room, but scarcely nodded to them; they, too, scarcely responded, as though the places in which they met were not quite decent, and as though they were in tacit agreement with one another that it was more suitable for them not to recognise one another.
From the hall Kryukov walked into the drawing-room, and from it into a second drawing-room. On the way he met three or four other guests, also men whom he knew, though they barely recognised him. Their faces were flushed with drink and merriment. Alexey Ivanovitch glanced furtively at them and marvelled that these men, respectable heads of families, who had known sorrow and privation, could demean themselves to such pitiful, cheap gaiety! He shrugged his shoulders, smiled, and walked on.
'There are places,' he reflected, 'where a sober man feels sick, and a drunken man rejoices. I remember I never could go to the operetta or the gipsies when I was sober: wine makes a man more good-natured and reconciles him with vice. . . .'
Suddenly he stood still, petrified, and caught hold of the door-post with both hands. At the writing-table in Susanna's study was sitting Lieutenant Alexandr Grigoryevitch. He was discussing something in an undertone with a fat, flabby-looking Jew, and seeing his cousin, flushed crimson and looked down at an album.
The sense of decency was stirred in Kryukov and the blood rushed to his head. Overwhelmed with amazement, shame, and anger, he walked up to the table without a word. Sokolsky's head sank lower than ever. His face worked with an expression of agonising shame.
'Ah, it's you, Alyosha!' he articulated, making a desperate effort to raise his eyes and to smile. 'I called here to say good-bye, and, as you see. . . . But to-morrow I am certainly going.'
'What can I say to him? What?' thought Alexey Ivanovitch. 'How can I judge him since I'm here myself?'
And clearing his throat without uttering a word, he went out slowly.
' 'Call her not heavenly, and leave her on earth. . . .' '
The bass was singing in the hall. A little while after, Kryukov's racing droshky was bumping along the dusty road.
NOTES
meeting of Jacob and Esau: Gen 33:1-11
?olina harp: an instrument that makes music by the action of the wind on stretched strings
Queen Tamara: Tamara (1160-1212), Queen of Georgia, (falsely) described by Lemontov in
* * *
Hush!
by Anton Chekhov
IVAN YEGORITCH KRASNYHIN, a fourth-rate journalist, returns home late at night, grave and careworn, with a peculiar air of concentration. He looks like a man expecting a police-raid or contemplating suicide. Pacing about his rooms he halts abruptly, ruffles up his hair, and says in the tone in which Laertes announces his intention of avenging his sister:
'Shattered, soul-weary, a sick load of misery on the heart . . . and then to sit down and write. And this is called life! How is it nobody has described the agonizing discord in the soul of a writer who has to amuse the crowd when his heart is heavy or to shed tears at the word of command when his heart is light? I must be playful, coldly unconcerned, witty, but what if I am weighed down with misery, what if I am ill, or my child is dying or my wife in anguish!'
He says this, brandishing his fists and rolling his eyes. . . . Then he goes into the bedroom and wakes his wife.
'Nadya,' he says, 'I am sitting down to write. . . . Please don't let anyone interrupt me. I can't write with children crying or cooks snoring. . . . See, too, that there's tea and . . . steak or something. . . . You know that I can't write without tea. . . . Tea is the one thing that gives me the energy for my work.'
Returning to his room he takes off his coat, waistcoat, and boots. He does this very slowly; then, assuming an expression of injured innocence, he sits down to his table.
There is nothing casual, nothing ordinary on his writing-table, down to the veriest trifle everything bears the stamp of a stern, deliberately planned programme. Little busts and photographs of distinguished writers, heaps of rough manuscripts, a volume of Byelinsky with a page turned down, part of a skull by way of an ash-tray, a sheet of newspaper folded carelessly, but so that a passage is uppermost, boldly marked in blue pencil with the word 'disgraceful.' There are a dozen sharply-pointed pencils and several penholders fitted with new nibs, put in readiness that no accidental breaking of a pen may for a single second interrupt the flight of his creative fancy.
Ivan Yegoritch throws himself back in his chair, and closing his eyes concentrates himself on his subject. He hears his wife shuffling about in her slippers and splitting shavings to heat the samovar. She is hardly awake, that is apparent from the way the knife and the lid of the samovar keep dropping from her hands. Soon the hissing of the samovar and the spluttering of the frying meat reaches him. His wife is still splitting shavings and rattling with the doors and blowers of the stove.
All at once Ivan Yegoritch starts, opens frightened eyes, and begins to sniff the air.
'Heavens! the stove is smoking!' he groans, grimacing with a face of agony. 'Smoking! That insufferable woman makes a point of trying to poison me! How, in God's Name, am I to write in such surroundings, kindly tell me that?'
He rushes into the kitchen and breaks into a theatrical wail. When a little later, his wife, stepping cautiously on tiptoe, brings him in a glass of tea, he is sitting in an easy chair as before with his eyes closed, absorbed in his article. He does not stir, drums lightly on his forehead with two fingers, and pretends he is not aware of his wife's presence. . . . His face wears an expression of injured innocence.
Like a girl who has been presented with a costly fan, he spends a long time coquetting, grimacing, and posing to himself before he writes the title. . . . He presses his temples, he wriggles, and draws his legs up under his chair as though he were in pain, or half closes his eyes languidly like a cat on the sofa. At last, not without hesitation, he stretches out his hand towards the inkstand, and with an expression as though he were signing a death-warrant, writes the title. . . .
'Mammy, give me some water!' he hears his son's voice.
'Hush!' says his mother. 'Daddy's writing! Hush!'
Daddy writes very, very quickly, without corrections or pauses, he has scarcely time to turn over the pages. The busts and portraits of celebrated authors look at his swiftly racing pen and, keeping stock still, seem to be thinking: 'Oh my, how you are going it!'
'Sh!' squeaks the pen.
