Tales of Chekhov 05- The Wife and other stories

sentiments.'

Katya listens and laughs. She has a strange laugh; she catches her breath in rhythmically regular gasps, very much as though she were playing the accordion, and nothing in her face is laughing but her nostrils. I grow depressed and don't know what to say. Beside myself, I fire up, leap up from my seat, and cry:

'Do leave off! Why are you sitting here like two toads, poisoning the air with your breath? Give over!'

And without waiting for them to finish their gossip I prepare to go home. And, indeed, it is high time: it is past ten.

'I will stay a little longer,' says Mihail Fyodorovitch. 'Will you allow me, Ekaterina Vladimirovna?'

'I will,' answers Katya.

'Bene! In that case have up another little bottle.'

They both accompany me with candles to the hall, and while I put on my fur coat, Mihail Fyodorovitch says:

'You have grown dreadfully thin and older looking, Nikolay Stepanovitch. What's the matter with you? Are you ill?'

'Yes; I am not very well.'

'And you are not doing anything for it...' Katya puts in grimly.

'Why don't you? You can't go on like that! God helps those who help themselves, my dear fellow. Remember me to your wife and daughter, and make my apologies for not having been to see them. In a day or two, before I go abroad, I shall come to say good-bye. I shall be sure to. I am going away next week.'

I come away from Katya, irritated and alarmed by what has been said about my being ill, and dissatisfied with myself. I ask myself whether I really ought not to consult one of my colleagues. And at once I imagine how my colleague, after listening to me, would walk away to the window without speaking, would think a moment, then would turn round to me and, trying to prevent my reading the truth in his face, would say in a careless tone: 'So far I see nothing serious, but at the same time, collega, I advise you to lay aside your work....' And that would deprive me of my last hope.

Who is without hope? Now that I am diagnosing my illness and prescribing for myself, from time to time I hope that I am deceived by my own illness, that I am mistaken in regard to the albumen and the sugar I find, and in regard to my heart, and in regard to the swellings I have twice noticed in the mornings; when with the fervour of the hypochondriac I look through the textbooks of therapeutics and take a different medicine every day, I keep fancying that I shall hit upon something comforting. All that is petty.

Whether the sky is covered with clouds or the moon and the stars are shining, I turn my eyes towards it every evening and think that death is taking me soon. One would think that my thoughts at such times ought to be deep as the sky, brilliant, striking.... But no! I think about myself, about my wife, about Liza, Gnekker, the students, people in general; my thoughts are evil, petty, I am insincere with myself, and at such times my theory of life may be expressed in the words the celebrated Araktcheev said in one of his intimate letters: 'Nothing good can exist in the world without evil, and there is more evil than good.' That is, everything is disgusting; there is nothing to live for, and the sixty-two years I have already lived must be reckoned as wasted. I catch myself in these thoughts, and try to persuade myself that they are accidental, temporary, and not deeply rooted in me, but at once I think:

'If so, what drives me every evening to those two toads?'

And I vow to myself that I will never go to Katya's again, though I know I shall go next evening.

Ringing the bell at the door and going upstairs, I feel that I have no family now and no desire to bring it back again. It is clear that the new Araktcheev thoughts are not casual, temporary visitors, but have possession of my whole being. With my conscience ill at ease, dejected, languid, hardly able to move my limbs, feeling as though tons were added to my weight, I get into bed and quickly drop asleep.

And then—insomnia!

IV

Summer comes on and life is changed.

One fine morning Liza comes in to me and says in a jesting tone:

'Come, your Excellency! We are ready.'

My Excellency is conducted into the street, and seated in a cab. As I go along, having nothing to do, I read the signboards from right to left. The word 'Traktir' reads 'Ritkart'; that would just suit some baron's family: Baroness Ritkart. Farther on I drive through fields, by the graveyard, which makes absolutely no impression on me, though I shall soon lie in it; then I drive by forests and again by fields. There is nothing of interest. After two hours of driving, my Excellency is conducted into the lower storey of a summer villa and installed in a small, very cheerful little room with light blue hangings.

At night there is sleeplessness as before, but in the morning I do not put a good face upon it and listen to my wife, but lie in bed. I do not sleep, but lie in the drowsy, half-conscious condition in which you know you are not asleep, but dreaming. At midday I get up and from habit sit down at my table, but I do not work now; I amuse myself with French books in yellow covers, sent me by Katya. Of course, it would be more patriotic to read Russian authors, but I must confess I cherish no particular liking for them. With the exception of two or three of the older writers, all our literature of today strikes me as not being literature, but a special sort of home industry, which exists simply in order to be encouraged, though people do not readily make use of its products. The very best of these home products cannot be called remarkable and cannot be sincerely praised without qualification. I must say the same of all the literary novelties I have read during the last ten or fifteen years; not one of them is remarkable, and not one of them can be praised without a 'but.' Cleverness, a good tone, but no talent; talent, a good tone, but no cleverness; or talent, cleverness, but not a good tone.

I don't say the French books have talent, cleverness, and a good tone. They don't satisfy me, either. But they are not so tedious as the Russian, and it is not unusual to find in them the chief element of artistic creation—the feeling of personal freedom which is lacking in the Russian authors. I don't remember one new book in which the author does not try from the first page to entangle himself in all sorts of conditions and contracts with his conscience. One is afraid to speak of the naked body; another ties himself up hand and foot in psychological analysis; a third must have a 'warm attitude to man'; a fourth purposely scrawls whole descriptions of nature that he may not be suspected of writing with a purpose.... One is bent upon being middle-class in his work, another must be a nobleman, and so on. There is intentionalness, circumspection, and self-will, but they have neither the independence nor the manliness to write as they like, and therefore there is no creativeness.

All this applies to what is called belles-lettres.

As for serious treatises in Russian on sociology, for instance, on art, and so on, I do not rea d them simply from timidity. In my childhood and early youth I had for some reason a terror of doorkeepers and attendants at the theatre, and that terror has remained with me to this day. I am afraid of them even now. It is said that we are only afraid of what we do not understand. And, indeed, it is very difficult to understand why doorkeepers and theatre attendants are so dignified, haughty, and majestically rude. I feel exactly the same terror when I read serious articles. Their extraordinary dignity, their bantering lordly tone, their familiar manner to foreign authors, their ability to split straws with dignity—all that is beyond my understanding; it is intimidating and utterly unlike the quiet, gentlemanly tone to which I am accustomed when I read the works of our medical and scientific writers. It oppresses me to read not only the articles written by serious Russians, but even works translated or edited by them. The pretentious, edifying tone of the preface; the redundancy of remarks made by the translator, which prevent me from concentrating my attention; the question marks and 'sic' in parenthesis scattered all over the book or article by the liberal translator, are to my mind an outrage on the author and on my independence as a reader.

Once I was summoned as an expert to a circuit court; in an interval one of my fellow-experts drew my attention to the rudeness of the public prosecutor to the defendants, among whom there were two ladies of good education. I believe I did not exaggerate at all when I told him that the prosecutor s manner was no ruder than that of the authors of serious articles to one another. Their manners are, indeed, so rude that I cannot speak of them without distaste. They treat one another and the writers they criticize either with superfluous respect, at the sacrifice of their own dignity, or, on the contrary, with far more ruthlessness than I have shown in my notes and my thoughts in regard to my future son-in-law Gnekker. Accusations of irrationality, of evil intentions, and, indeed, of every sort of crime, form an habitual ornament of serious articles. And that, as young medical men are fond of saying in their monographs, is the ultima ratio! Such ways must infallibly have an effect on the morals of the younger generation of writers, and so I am not at all surprised that in the new works with