sublimity!
In the lower storey under the balcony the windows were probably open, for women's voices and laughter could be heard distinctly. Apparently there was an evening party.
Kovrin made an effort, tore open the envelope, and, going back into his room, read:
'My father is just dead. I owe that to you, for you have killed him. Our garden is being ruined; strangers are managing it already -- that is, the very thing is happening that poor father dreaded. That, too, I owe to you. I hate you with my whole soul, and I hope you may soon perish. Oh, how wretched I am! Insufferable anguish is burning my soul. . . . My curses on you. I took you for an extraordinary man, a genius; I loved you, and you have turned out a madman. . . .'
Kovrin could read no more, he tore up the letter and threw it away. He was overcome by an uneasiness that was akin to terror. Varvara Nikolaevna was asleep behind the screen, and he could hear her breathing. From the lower storey came the sounds of laughter and women's voices, but he felt as though in the whole hotel there were no living soul but him. Because Tanya, unhappy, broken by sorrow, had cursed him in her letter and hoped for his perdition, he felt eerie and kept glancing hurriedly at the door, as though he were afraid that the uncomprehended force which two years before had wrought such havoc in his life and in the life of those near him might come into the room and master him once more.
He knew by experience that when his nerves were out of hand the best thing for him to do was to work. He must sit down to the table and force himself, at all costs, to concentrate his mind on some one thought. He took from his red portfolio a manuscript containing a sketch of a small work of the nature of a compilation, which he had planned in case he should find it dull in the Crimea without work. He sat down to the table and began working at this plan, and it seemed to him that his calm, peaceful, indifferent mood was coming back. The manuscript with the sketch even led him to meditation on the vanity of the world. He thought how much life exacts for the worthless or very commonplace blessings it can give a man. For instance, to gain, before forty, a university chair, to be an ordinary professor, to expound ordinary and second-hand thoughts in dull, heavy, insipid language -- in fact, to gain the position of a mediocre learned man, he, Kovrin, had had to study for fifteen years, to work day and night, to endure a terrible mental illness, to experience an unhappy marriage, and to do a great number of stupid and unjust things which it would have been pleasant not to remember. Kovrin recognised clearly, now, that he was a mediocrity, and readily resigned himself to it, as he considered that every man ought to be satisfied with what he is.
The plan of the volume would have soothed him completely, but the torn letter showed white on the floor and prevented him from concentrating his attention. He got up from the table, picked up the pieces of the letter and threw them out of window, but there was a light wind blowing from the sea, and the bits of paper were scattered on the windowsill. Again he was overcome by uneasiness akin to terror, and he felt as though in the whole hotel there were no living soul but himself. . . . He went out on the balcony. The bay, like a living thing, looked at him with its multitude of light blue, dark blue, turquoise and fiery eyes, and seemed beckoning to him. And it really was hot and oppressive, and it would not have been amiss to have a bathe.
Suddenly in the lower storey under the balcony a violin began playing, and two soft feminine voices began singing. It was something familiar. The song was about a maiden, full of sick fancies, who heard one night in her garden mysterious sounds, so strange and lovely that she was obliged to recognise them as a holy harmony which is unintelligible to us mortals, and so flies back to heaven. . . . Kovrin caught his breath and there was a pang of sadness at his heart, and a thrill of the sweet, exquisite delight he had so long forgotten began to stir in his breast.
A tall black column, like a whirlwind or a waterspout, appeared on the further side of the bay. It moved with fearful rapidity across the bay, towards the hotel, growing smaller and darker as it came, and Kovrin only just had time to get out of the way to let it pass. . . . The monk with bare grey head, black eyebrows, barefoot, his arms crossed over his breast, floated by him, and stood still in the middle of the room.
'Why did you not believe me?' he asked reproachfully, looking affectionately at Kovrin. 'If you had believed me then, that you were a genius, you would not have spent these two years so gloomily and so wretchedly.'
Kovrin already believed that he was one of God's chosen and a genius; he vividly recalled his conversations with the monk in the past and tried to speak, but the blood flowed from his throat on to his breast, and not knowing what he was doing, he passed his hands over his breast, and his cuffs were soaked with blood. He tried to call Varvara Nikolaevna, who was asleep behind the screen; he made an effort and said:
'Tanya!'
He fell on the floor, and propping himself on his arms, called again:
'Tanya!'
He called Tanya, called to the great garden with the gorgeous flowers sprinkled with dew, called to the park, the pines with their shaggy roots, the rye-field, his marvellous learning, his youth, courage, joy -- called to life, which was so lovely. He saw on the floor near his face a great pool of blood, and was too weak to utter a word, but an unspeakable, infinite happiness flooded his whole being. Below, under the balcony, they were playing the serenade, and the black monk whispered to him that he was a genius, and that he was dying only because his frail human body had lost its balance and could no longer serve as the mortal garb of genius.
When Varvara Nikolaevna woke up and came out from behind the screen, Kovrin was dead, and a blissful smile was set upon his face.
NOTES
title: a better translation would be 'The Monk in Black'
Tatiana: aria from Act III, Scene 1 of the opera
serenade of Braga's: a vocal serenade by Gaetano Braga (1829-1907), Italian opera composer
Gaucher: Nikolaus Gaucher (1846-1811) was a prominent French-born horticulturalist in the 19th century
Kotcheby is rich and glorious: a line from Pushkin's poem
intercropping: planting crops between main crops to better utilize the soil
Audiatur altera pars: let the other side be heard
Sapienti sat: enough for a wise man
many mansions: John 14:2
