One took Mihailo by his shoulders, another by his legs and lifted him up: Mihailo's arms and the skirt of his dressing-gown hung limply to the ground. A third—it was the peasant who looked like a woman—crossed himself, and all three tramping clumsily with their feet and stepping on Mihailo's skirts, went out of the ward.
There came the whistle and humming on different notes from the chest of the old man who was asleep. Pashka listened, peeped at the dark windows, and jumped out of bed in terror.
'Ma-a-mka!' he moaned in a deep bass.
And without waiting for an answer, he rushed into the next ward. There the darkness was dimly lighted up by a night-light and the ikon lamp; the patients, upset by the death of Mihailo, were sitting on their bedsteads: their dishevelled figures, mixed up with the shadows, looked broader, taller, and seemed to be growing bigger and bigger; on the furthest bedstead in the corner, where it was darkest, there sat the peasant moving his head and his hand.
Pashka, without noticing the doors, rushed into the smallpox ward, from there into the corridor, from the corridor he flew into a big room where monsters, with long hair and the faces of old women, were lying and sitting on the beds. Running through the women's wing he found himself again in the corridor, saw the banisters of the staircase he knew already, and ran downstairs. There he recognised the waiting-room in which he had sat that morning, and began looking for the door into the open air.
The latch creaked, there was a whiff of cold wind, and Pashka, stumbling, ran out into the yard. He had only one thought—to run, to run! He did not know the way, but felt convinced that if he ran he would be sure to find himself at home with his mother. The sky was overcast, but there was a moon behind the clouds. Pashka ran from the steps straight forward, went round the barn and stumbled into some thick bushes; after stopping for a minute and thinking, he dashed back again to the hospital, ran round it, and stopped again undecided; behind the hospital there were white crosses.
'Ma-a-mka!' he cried, and dashed back.
Running by the dark sinister buildings, he saw one lighted window.
The bright red patch looked dreadful in the darkness, but Pashka, frantic with terror, not knowing where to run, turned towards it. Beside the window was a porch with steps, and a front door with a white board on it; Pashka ran up the steps, looked in at the window, and was at once possessed by intense overwhelming joy. Through the window he saw the merry affable doctor sitting at the table reading a book. Laughing with happiness, Pashka stretched out his hands to the person he knew and tried to call out, but some unseen force choked him and struck at his legs; he staggered and fell down on the steps unconscious.
When he came to himself it was daylight, and a voice he knew very well, that had promised him a fair, finches, and a fox, was saying beside him:
'Well, you are an idiot, Pashka! Aren't you an idiot? You ought to be beaten, but there's no one to do it.'
GRISHA
GRISHA, a chubby little boy, born two years and eight months ago, is walking on the boulevard with his nurse. He is wearing a long, wadded pelisse, a scarf, a big cap with a fluffy pom-pom, and warm over-boots. He feels hot and stifled, and now, too, the rollicking April sunshine is beating straight in his face, and making his eyelids tingle.
The whole of his clumsy, timidly and uncertainly stepping little figure expresses the utmost bewilderment.
Hitherto Grisha has known only a rectangular world, where in one corner stands his bed, in the other nurse's trunk, in the third a chair, while in the fourth there is a little lamp burning. If one looks under the bed, one sees a doll with a broken arm and a drum; and behind nurse's trunk, there are a great many things of all sorts: cotton reels, boxes without lids, and a broken Jack-a-dandy. In that world, besides nurse and Grisha, there are often mamma and the cat. Mamma is like a doll, and puss is like papa's fur-coat, only the coat hasn't got eyes and a tail. From the world which is called the nursery a door leads to a great expanse where they have dinner and tea. There stands Grisha's chair on high legs, and on the wall hangs a clock which exists to swing its pendulum and chime. From the dining-room, one can go into a room where there are red arm-chairs. Here, there is a dark patch on the carpet, concerning which fingers are still shaken at Grisha. Beyond that room is still another, to which one is not admitted, and where one sees glimpses of papa—an extremely enigmatical person! Nurse and mamma are comprehensible: they dress Grisha, feed him, and put him to bed, but what papa exists for is unknown. There is another enigmatical person, auntie, who presented Grisha with a drum. She appears and disappears. Where does she disappear to? Grisha has more than once looked under the bed, behind the trunk, and under the sofa, but she was not there.
In this new world, where the sun hurts one's eyes, there are so many papas and mammas and aunties, that there is no knowing to whom to run. But what is stranger and more absurd than anything is the horses. Grisha gazes at their moving legs, and can make nothing of it. He looks at his nurse for her to solve the mystery, but she does not speak.
All at once he hears a fearful tramping. . . . A crowd of soldiers, with red faces and bath brooms under their arms, move in step along the boulevard straight upon him. Grisha turns cold all over with terror, and looks inquiringly at nurse to know whether it is dangerous. But nurse neither weeps nor runs away, so there is no danger. Grisha looks after the soldiers, and begins to move his feet in step with them himself.
Two big cats with long faces run after each other across the boulevard, with their tongues out, and their tails in the air. Grisha thinks that he must run too, and runs after the cats.
'Stop!' cries nurse, seizing him roughly by the shoulder. 'Where are you off to? Haven't you been told not to be naughty?'
Here there is a nurse sitting holding a tray of oranges. Grisha passes by her, and, without saying anything, takes an orange.
'What are you doing that for?' cries the companion of his travels, slapping his hand and snatching away the orange. 'Silly!'
Now Grisha would have liked to pick up a bit of glass that was lying at his feet and gleaming like a lamp, but he is afraid that his hand will be slapped again.
'My respects to you!' Grisha hears suddenly, almost above his ear, a loud thick voice, and he sees a tall man with bright buttons.
To his great delight, this man gives nurse his hand, stops, and begins talking to her. The brightness of the sun, the noise of the carriages, the horses, the bright buttons are all so impressively new and not dreadful, that Grisha's soul is filled with a feeling of enjoyment and he begins to laugh.
'Come along! Come along!' he cries to the man with the bright buttons, tugging at his coattails.
'Come along where?' asks the man.
'Come along!' Grisha insists.
He wants to say that it would be just as well to take with them papa, mamma, and the cat, but his tongue does not say what he wants to.
A little later, nurse turns out of the boulevard, and leads Grisha into a big courtyard where there is still snow; and the man with the bright buttons comes with them too. They carefully avoid the lumps of snow and the puddles, then, by a dark and dirty staircase, they go into a room. Here there is a great deal of smoke, there is a smell of roast meat, and a woman is standing by the stove frying cutlets. The cook and the nurse kiss each other, and sit down on the bench together with the man, and begin talking in a low voice. Grisha, wrapped up as he is, feels insufferably hot and stifled.
'Why is this?' he wonders, looking about him.
He sees the dark ceiling, the oven fork with two horns, the stove which looks like a great black hole.
'Mam-ma,' he drawls.
'Come, come, come!' cries the nurse. 'Wait a bit!'
The cook puts a bottle on the table, two wine-glasses, and a pie. The two women and the man with the bright buttons clink glasses and empty them several times, and, the man puts his arm round first the cook and then the nurse. And then all three begin singing in an undertone.
Grisha stretches out his hand towards the pie, and they give him a piece of it. He eats it and watches nurse drinking. . . . He wants to drink too.
'Give me some, nurse!' he begs.
