The Eternal Husband and Other Stories

“The man would just rather sit there alone, while others are having such fun!” the mother of the family shook her head.

Meanwhile Velchaninov had the honor, finally, of receiving from Nadya an explanation of her words earlier about being “glad he had come owing to a certain circumstance.” The explanation took place in a solitary alley. Marya Nikitishna purposely summoned Velchaninov, who had participated in some of the games and was already beginning to languish greatly, and brought him to this alley, where she left him alone with Nadya.

“I’m perfectly convinced,” she rattled out in a bold and quick patter, “that you are not at all such a friend of Pavel Pavlovich’s as he boasted you were. I calculate that you alone can render me an extremely important service; here is today’s nasty bracelet,” she took the case from her pocket, “I humbly beg you to return it to him immediately, because I myself will not speak to him ever or for anything for the rest of my life. Anyhow, you may tell him so on my behalf and add that henceforth he dare not thrust his presents at me. The rest I’ll let him know through others. Will you kindly give me the pleasure of fulfilling my wish?”

“Ah, no, spare me, for God’s sake!” Velchaninov all but cried out, waving his hands.

“What! Spare me?” Nadya was unbelievably astonished by his refusal and stared wide-eyed at him. All her prepared tone broke down in an instant, and she was nearly in tears. Velchaninov laughed.

“It’s not that I… I’d be very glad… but I’ve got my own accounts with him…”

“I knew you weren’t his friend and that he was lying!” Nadya interrupted him fervently and quickly. “I’ll never marry him, you should know that! Never! I don’t even understand how he dared… Only you must return his vile bracelet to him even so, otherwise what am I to do? I absolutely, absolutely want him to get it back today, the same day—and lump it. And if he peaches to Papa, he’ll be in real trouble.”

Suddenly and quite unexpectedly the ruffled young man in blue spectacles popped from behind a bush.

“You must give him back the bracelet,” he fell upon Velchaninov furiously, “if only in the name of women’s rights, assuming you yourself stand on the level of the question…”

But he had no time to finish; Nadya pulled him by the sleeve with all her might and tore him away from Velchaninov.

“Lord, how stupid you are, Predposylov!”¹² she cried. “Go away! Go away, go away, and don’t you dare eavesdrop, I told you to stand far off!…” She stamped her little feet at him, and when he had slipped back into his bushes, she still went on pacing back and forth across the path, as if beside herself, flashing her eyes and clasping her hands in front of her.

“You wouldn’t believe how stupid they are!” she suddenly stopped in front of Velchaninov. “To you it’s funny, but how is it for me!”

“But it’s not him, not him?” Velchaninov was laughing.

“Naturally it’s not him, how could you think such a thing!” Nadya smiled and turned red. “He’s only his friend. But what friends he chooses, I don’t understand it, they all say he’s a ‘future mover,’ but I don’t understand a thing… Alexei Ivanovich, I have no one to turn to; your final word, will you give it back or not?”

“Well, all right, I’ll give it back, let me have it.”

“Ah, you’re a dear, ah, you’re so kind!” she suddenly rejoiced, handing him the case. “For that I’ll sing for you the whole evening, because I sing wonderfully, you should know that, and I lied earlier about not liking music. Ah, if only you’d come again, just once, how glad I’d be, I’d tell you everything, everything, everything, and a lot more besides, because you’re so kind, so kind, like—like Katya!”

And indeed, when they went back home for tea, she sang two romances for him in a voice not yet trained at all and only just beginning, but rather pleasant and strong. When they all came back from the garden, Pavel Pavlovich was sitting sedately with the parents at the tea table, on which a big family samovar was already boiling and heirloom Sevres porcelain teacups were set out. Most likely he and the old folks were discussing very serious things—because in two days he would be leaving for a whole nine months. He did not even glance at those who came in from the garden, least of all at Velchaninov; it was also obvious that he had not “peached” and that so far everything was quiet.

But when Nadya started singing, he, too, appeared at once. Nadya purposely did not answer his one direct question, but Pavel Pavlovich was not embarrassed or shaken by that; he stood at the back of her chair and his whole bearing showed that this was his place and he would yield it to no one.

“Alexei Ivanovich will sing, Maman, Alexei Ivanovich wants to sing!” nearly all the girls cried, crowding around the piano, at which Velchaninov was confidently sitting down, intending to accompany himself. The old folks came out along with Katerina Fedoseevna, who had been sitting with them and pouring tea.

Velchaninov chose a certain romance by Glinka,¹³ which almost no one knows anymore:

When you do ope your merry lips, my love

And coo to me more sweetly than a dove…

He sang it addressing Nadya alone, who stood right at his elbow and closest to him of all. He had long ago lost his voice, but from what remained, one could see that it had once been not bad. Velchaninov had managed to hear this romance for the first time some twenty years before, when he was still a student, from Glinka himself, in the house of one of the late composer’s friends, at a literary-artistic bachelor party. Glinka, carried away, had played and sung all his favorite things from his own works, including this romance. He also had no voice left by then, but Velchaninov remembered the extraordinary impression produced then precisely by this romance. No artistic salon singer could ever have achieved such an effect. In this romance, the intensity of the passion rises and grows with every line, every word; precisely because of this extraordinary intensity, the slightest falseness, the slightest exaggeration or untruth—which one gets away with so easily in opera—would here ruin and distort the whole meaning. To sing this small but remarkable thing, one had absolutely—yes, absolutely—to have a full, genuine inspiration, a genuine passion or its full poetic assimilation. Otherwise the romance would not only fail altogether, but might even appear outrageous and all but something shameless: it would be impossible to show such intensity of passionate feeling without provoking disgust, yet truth and simple-heartedness saved everything. Velchaninov remembered that he himself once used to succeed with this romance. He had almost assimilated Glinka’s manner of singing; but now, from the very first sound, from the first line, a genuine inspiration blazed up in his soul and trembled in his voice. With every word of the romance, the feeling broke through and bared itself more strongly and boldly, in the last lines cries of passion were heard, and when, turning his flashing eyes to Nadya, he finished singing the last words of the romance: