Pearl-Fishing; Choice Stories from Dickens' Household Words; First Series

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Чарльз Диккенс. Pearl-Fishing; Choice Stories from Dickens' Household Words; First Series

I. Loaded Dice

II. The Serf of Pobereze

III. My Wonderful Adventures in Skitzland

IV. Lizzie Leigh

V. The Old Churchyard Tree

VI. The Modern “Officer’s” Progress

I. – JOINING THE REGIMENT

II. – A SUBALTERN’S DAY

III. – THE CATASTROPHE

VII. Father and Son

VIII. The Miner’s Daughter. – A Tale of the Peak

I. – THE CHILD’S TRAGEDY

II. – MILL LIFE

III. – THE COURTSHIP AND ANOTHER SHIP

IX. The Ghost of the late Mr. James Barber

X. A Tale of the Good Old Times

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THE materials for the following tale were furnished to the writer while travelling last year near the spot on which the events it narrates took place. It is intended to convey a notion of some of the phases of Polish, or rather Russian serfdom (for, as truly explained by one of the characters in a succeeding page, it is Russian), and of the catastrophes it has occasioned, not only in Catherine’s time, but occasionally at the present. The Polish nobles – themselves in slavery – earnestly desire the emancipation of their serfs, which Russian domination forbids.

The small town of Pobereze stands at the foot of a stony mountain, watered by numerous springs in the district of Podolia, in Poland. It consists of a mass of miserable cabins, with a Catholic chapel and two Greek churches in the midst, the latter distinguished by their gilded towers. On one side of the market-place stands the only inn, and on the opposite side are several shops, from whose doors and windows look out several dirtily-dressed Jews. At a little distance, on a hill covered with vines and fruit-trees, stands the Palace, which does not, perhaps, exactly merit such an appellation, but who would dare to call otherwise the dwelling of the lord of the domain?

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“I am going to give you a treat,” continued Leon. “A celebrated singer is to appear to-night in the theatre. I will send you to hear her, and afterwards you shall sing to me what you remember of her performances.”

Anielka went. It was a new era in her existence. Herself, by this time, an artist, she could forget her griefs, and enter with her whole soul into the beauties of the art she now heard practised in perfection for the first time. To music a chord responded in her breast which vibrated powerfully. During the performances she was at one moment pale and trembling, tears rushing into her eyes, at another, she was ready to throw herself at the feet of the cantatrice, in an ecstasy of admiration. “Prima donna,” – by that name the public called on her to receive their applause, and it was the same, thought Anielka, that Justiniani had bestowed upon her. Could she also be a prima donna? What a glorious destiny! To be able to communicate one’s own emotions to masses of entranced listeners; to awaken in them, by the power of the voice, grief, love, terror.

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