he would have supper in freedom with his wife, then tumble into bed and to sleep. And he was delighted as he looked at his parcel, in which there was caviare, cheese, and white salmon.
The sun was setting by the time he found his villa and recognized it. The old servant told him that her mistress was not at home, but that most likely she would soon be in. The villa, very uninviting in appearance, with low ceilings papered with writing-paper and with uneven floors full of crevices, consisted only of three rooms. In one there was a bed, in the second there were canvases, brushes, greasy papers, and men's overcoats and hats lying about on the chairs and in the windows, while in the third Dymov found three unknown men; two were dark-haired and had beards, the other was clean-shaven and fat, apparently an actor. There was a samovar boiling on the table.
'What do you want?' asked the actor in a bass voice, looking at Dymov ungraciously. 'Do you want Olga Ivanovna? Wait a minute; she will be here directly.'
Dymov sat down and waited. One of the dark-haired men, looking sleepily and listlessly at him, poured himself out a glass of tea, and asked:
'Perhaps you would like some tea?'
Dymov was both hungry and thirsty, but he refused tea for fear of spoiling his supper. Soon he heard footsteps and a familiar laugh; a door slammed, and Olga Ivanovna ran into the room, wearing a wide-brimmed hat and carrying a box in her hand; she was followed by Ryabovsky, rosy and good-humoured, carrying a big umbrella and a camp-stool.
'Dymov!' cried Olga Ivanovna, and she flushed crimson with pleasure. 'Dymov!' she repeated, laying her head and both arms on his bosom. 'Is that you? Why haven't you come for so long? Why? Why?'
'When could I, little mother? I am always busy, and whenever I am free it always happens somehow that the train does not fit.'
'But how glad I am to see you! I have been dreaming about you the whole night, the whole night, and I was afraid you must be ill. Ah! if you only knew how sweet you are! You have come in the nick of time! You will be my salvation! You are the only person who can save me! There is to be a most original wedding here tomorrow,' she went on, laughing, and tying her husband's cravat. 'A young telegraph clerk at the station, called Tchikeldyeev, is going to be married. He is a handsome young man and -- well, not stupid, and you know there is something strong, bearlike in his face . . . you might paint him as a young Norman. We summer visitors take a great interest in him, and have promised to be at his wedding. . . . He is a lonely, timid man, not well off, and of course it would be a shame not to be sympathetic to him. Fancy! the wedding will be after the service; then we shall all walk from the church to the bride's lodgings . . . you see the wood, the birds singing, patches of sunlight on the grass, and all of us spots of different colours against the bright green background -- very original, in the style of the French impressionists. But, Dymov, what am I to go to the church in?' said Olga Ivanovna, and she looked as though she were going to cry. 'I have nothing here, literally nothing! no dress, no flowers, no gloves . . . you must save me. Since you have come, fate itself bids you save me. Take the keys, my precious, go home and get my pink dress from the wardrobe. You remember it; it hangs in front. . . . Then, in the storeroom, on the floor, on the right side, you will see two cardboard boxes. When you open the top one you will see tulle, heaps of tulle and rags of all sorts, and under them flowers. Take out all the flowers carefully, try not to crush them, darling; I will choose among them later. . . . And buy me some gloves.'
'Very well!' said Dymov; 'I will go tomorrow and send them to you.'
'Tomorrow?' asked Olga Ivanovna, and she looked at him surprised. 'You won't have time tomorrow. The first train goes tomorrow at nine, and the wedding's at eleven. No, darling, it must be today; it absolutely must be today. If you won't be able to come tomorrow, send them by a messenger. Come, you must run along. . . . The passenger train will be in directly; don't miss it, darling.'
'Very well.'
'Oh, how sorry I am to let you go!' said Olga Ivanovna, and tears came into her eyes. 'And why did I promise that telegraph clerk, like a silly?'
Dymov hurriedly drank a glass of tea, took a cracknel, and, smiling gently, went to the station. And the caviare, the cheese, and the white salmon were eaten by the two dark gentlemen and the fat actor.
IV
On a still moonlight night in July Olga Ivanovna was standing on the deck of a Volga steamer and looking alternately at the water and at the picturesque banks. Beside her was standing Ryabovsky, telling her the black shadows on the water were not shadows, but a dream, that it would be sweet to sink into forgetfulness, to die, to become a memory in the sight of that enchanted water with the fantastic glimmer, in sight of the fathomless sky and the mournful, dreamy shores that told of the vanity of our life and of the existence of something higher, blessed, and eternal. The past was vulgar and uninteresting, the future was trivial, and that marvellous night, unique in a lifetime, would soon be over, would blend with eternity; then, why live?
And Olga Ivanovna listened alternately to Ryabovsky's voice and the silence of the night, and thought of her being immortal and never dying. The turquoise colour of the water, such as she had never seen before, the sky, the river-banks, the black shadows, and the unaccountable joy that flooded her soul, all told her that she would make a great artist, and that somewhere in the distance, in the infinite space beyond the moonlight, success, glory, the love of the people, lay awaiting her. . . . When she gazed steadily without blinking into the distance, she seemed to see crowds of people, lights, triumphant strains of music, cries of enthusiasm, she herself in a white dress, and flowers showered upon her from all sides. She thought, too, that beside her, leaning with his elbows on the rail of the steamer, there was standing a real great man, a genius, one of God's elect. . . . All that he had created up to the present was fine, new, and extraordinary, but what he would create in time, when with maturity his rare talent reached its full development, would be astounding, immeasurably sublime; and that could be seen by his face, by his manner of expressing himself and his attitude to nature. He talked of shadows, of the tones of evening, of the moonlight, in a special way, in a language of his own, so that one could not help feeling the fascination of his power over nature. He was very handsome, original, and his life, free, independent, aloof from all common cares, was like the life of a bird.
'It's growing cooler,' said Olga Ivanovna, and she gave a shudder.
Ryabovsky wrapped her in his cloak, and said mournfully:
'I feel that I am in your power; I am a slave. Why are you so enchanting today?'
He kept staring intently at her, and his eyes were terrible. And she was afraid to look at him.
'I love you madly,' he whispered, breathing on her cheek. 'Say one word to me and I will not go on living; I will give up art . . .' he muttered in violent emotion. 'Love me, love . . .'
