Читать книгу Fyodor Dostoyevsky: Complete Novels & Stories (Wisehouse Classics) - Fyodor Dostoyevsky - Страница 76

Chapter 1

I don’t remember my father. He died when I was two years old. My mother married a second time. This second marriage brought her a great deal of sorrow, though it was a marriage of love. My stepfather was a musician. His history was a remarkable one: he was the strangest, the most extraordinary man I have ever known. His image is very vivid among the earliest impressions of my childhood, so vivid that those impressions have had an influence on the whole of my life. First of all, to make my story intelligible, I will give a sketch of his biography. Everything which I am now going to tell you I learned later on from the celebrated violinist B., who was a comrade and an intimate friend of my stepfather’s in his youth.

My stepfather’s surname was Yefimov. He was born on the estate of a very rich landowner and was the son of a poor musician, who after years of wandering had settled on the estate of this landowner and played in the latter’s orchestra. The landowner lived in luxurious style, and loved music passionately, above everything. The story was told of him that, though he never left home even to go to Moscow, yet on one occasion he took it into his head to go to some watering-place abroad, and that he went there for no longer than a few weeks with the sole object of hearing a famous violinist who, as the newspapers announced, was going to give three concerts at the watering-place. He had himself a fairly good orchestra of musicians, on which he spent almost the whole of his income. This orchestra my stepfather entered as clarinet player. He was twenty-two years old when he made the acquaintance of a strange man. In the same district there was living a wealthy count, who ruined himself over keeping up a private theatre in his house. This count had dismissed the conductor of his orchestra, an Italian, for bad conduct. This Italian certainly was a bad man. After he had been turned off he sank into complete degradation. He took to going from one village tavern to another, got drunk, sometimes begged, and there was no one in the whole province who would employ him. It was with this fellow that my stepfather made friends. This connection was strange and inexplicable, for no one noticed that he changed for the worse in his behaviour through imitation of his friend; and even his patron himself, who had at first forbidden him to associate with the Italian, afterwards winked at their friendship. At last the Italian met with a sudden death. One morning he was found by some peasants in a ditch by the dam. An inquest was held, and it appeared that he had died of an apoplectic fit. His belongings were in the keeping of my stepfather, who promptly produced evidence that he was entitled to take possession of them: the Italian had left a note in his own handwriting bequeathing everything he had to my stepfather in case of his death. The property consisted of a black frock-coat which had been carefully preserved by its late owner, as he never gave up hope of getting a situation, and of a rather ordinary-looking violin. Nobody disputed the inheritance. But a short time afterwards, the first violin of the count’s orchestra came to the landowner with a letter from the count, in which the latter begged him to persuade Yefimov in sell the violin left him by the Italian, as he greatly desired to obtain it for his orchestra. He offered three thousand roubles, and added that he had several times already sent for Yegor Yefimov in order that he might arrange the sale with him personally, but had always met with an obstinate refusal from the latter. The count concluded by saying that the price he offered was what the violin was worth, that he was not trying to get it for less than its value, and that in Yefimov’s refusal he saw an insulting suspicion that he, the count, was trying to take advantage of the musician’s simplicity and ignorance, and he therefore begged Yefimov’s patron to bring him to reason.

The landowner promptly sent for my stepfather.

“Why won’t you sell the violin?” he asked him. “It’s no use to you. You’ll be given three thousand roubles, that’s what it is worth, and you are making a mistake if you think you will get more. The count isn’t going to cheat you.”

Yefimov answered that he would not go to the count of his own accord, but that if he were sent, he must do his master’s bidding; he would not sell the fiddle to the count, but if they should take it from him by force, then again he must submit to his master’s will.

It was clear that by this answer he had touched a very sensitive spot in his patron’s character. The fact was that the latter had always said with pride that he knew how to treat his musicians, for they were all genuine artists, every one of them, and that thanks to them his orchestra was not only better than the count’s, but equal to any in Petersburg or Moscow.

“Very well,” answered the landowner. “I will inform the count that you won’t sell the violin because you won’t, for you have a perfect right to sell it or not to sell it, you understand? But I ask you myself, what use is the violin to you? The clarinet is your instrument, though you are a poor player. Let me have it. I’ll give you three thousand” (who could have told it was such a valuable instrument?).

Yefimov gave a laugh.

“No, sir, I won’t sell it you,” he answered. “Of course you are the master...”

“Why, I am not forcing you, am I? I am not compelling you, am I?” cried the landowner, losing his temper, the more readily as the conversation took place before the count’s musician, who might from this scene draw very disadvantageous conclusions as to the position of the musicians in the landowner’s orchestra. “Be off, you ungrateful fellow! Don’t let me see you again. But for me what would have become of you with your clarinet, which you can’t play? With me you are fed and clothed and get a salary; you live like a gentleman, but you don’t care to understand that, and you don’t feel it. Be off, and do not exasperate me with your presence here!”

The landowner used to drive everyone with whom he got angry out of his presence, because he was afraid of himself and his own hastiness. And on no account would he have behaved too severely with “artists”, as he called his musicians.

The bargain did not come off, and it seemed as though that was the end of the matter, when a month later the count’s violinist got up a horrible plot. On his own initiative, he made a statement to the police, in which he charged my stepfather with being responsible for the Italian’s death, and with having murdered him with the mercenary object of acquiring a rich inheritance. He asserted that the will had been extorted by force, and swore that he could produce witnesses in support of his accusation. Neither the warnings nor the entreaties of the count and the landowner on behalf of my stepfather could move the informer from his purpose. They pointed out to him that the inquest on the Italian had been properly conducted, that he was flying in the face of facts, possibly through personal spite and disappointment at not getting the valuable instrument which was to have been bought for him. The musician stuck to his point, swore that he was right, asserted that the apoplectic fit had been due not to drunkenness but to poison, and demanded a second inquest. At the first glance there seemed to be something in his story. The case was followed up, of course. Yefimov was taken and sent to prison in town. The trial, in which the whole province took an interest, began. It was soon over, and ended in the musician being convicted of false witness. He was sentenced to a fitting punishment, but he stuck to the story to the end, and maintained that he was right. Finally he acknowledged that he had no proofs, that the evidence he had brought forward had been invented by himself, but that he had been led by suppositions, by surmises, to invent it all; for up to the time of the second inquest, when Yefimov’s innocence was formally proved, he had been fully convinced that Yefimov had caused the death of the luckless Italian, though he had perhaps not poisoned him, but murdered him in some other way. But the informer’s sentence was not carried out, he was suddenly taken ill with inflammation of the brain, went out of his mind, and died in the prison hospital.

During the whole of this affair, the landowner behaved in the most generous way. He defended my stepfather as though he had been his own son. Several times he went to the prison, to comfort him, to give him money, and learning that Yefimov was fond of smoking, took him the best cigars, and when he was acquitted gave a fêteto the orchestra. The landowner looked upon the Yefimov affair as a matter concerning the whole orchestra, because he prized good behaviour in his musicians, if not more than, at least as much as their talents. A whole year passed, and suddenly a rumour went round the province, that a famous violinist, a Frenchman, had arrived in the chief town of the province and was going to give a few concerts there. The landowner began at once trying to get him to pay him a visit. Everything seemed favourable; the Frenchman promised to come. All the preparations were made, almost the whole district had been invited to meet him, but all at once things took quite a different turn.

One morning it was announced that Yefimov had disappeared, no one knew where. A search was made, but there was no trace of him. The orchestra was in a desperate plight, there was no one to play the clarinet; when, three days after Yefimov’s disappearance, the landowner received a letter from the French violinist in which the latter haughtily refused the invitation, adding, in a roundabout way of course, that he would for the future be extremely careful in his relations with gentlemen who keep their own orchestras of musicians, that it was an offence against good taste to see real talent under the control of a man who did not know its value, and that the example of Yefimov, a true artist and the best violinist he had met in Russia, was a proof of the justice of his words.

The landowner was thrown into the utmost amazement by reading this letter. He was mortified to the depths of his soul. What! Yefimov, the Yefimov for whom he had done so much, on whom he had heaped such kindness, had so mercilessly and shamelessly slandered him to a European artist, the sort of man whose opinion he most valued! And the letter was inexplicable in another way: he was informed that Yefimov was an artist of real talent, that he was a violinist, but that his talent had not been recognised and he had been forced to play another instrument. All this so much astounded the landowner that he immediately prepared to go to the town for a personal interview with the Frenchman, when he received a letter from the count in which the latter invited him to come to his house at once, and told him that he knew all about the affair, that the famous Frenchman was now in his house with Yefimov, that, being astonished at the latter’s impudence and slander, he, the count, had ordered him to be detained, and that the presence of the landowner was essential, since he, the count, was also implicated in Yefimov’s accusation. He added that the affair was very important, and must be cleared up as soon as possible.

The landowner, promptly setting off to the count’s, at once made the acquaintance of the Frenchman there and told him all my stepfather’s story, adding that he had never suspected so great a talent in Yefimov, that the latter had been on the contrary a very poor clarinet player, and that he heard now for the first time that his runaway musician was a violinist. He added further that Yefimov was a free man, that he enjoyed complete liberty, and could leave him at any moment if he really were oppressed. The Frenchman was surprised. They sent for Yefimov, and he was almost unrecognisable: he behaved conceitedly, answered with derision and persisted in the truth of all he had told the Frenchman. All this intensely exasperated the count, who told my stepfather in so many words that he was a scoundrel and a slanderer, and that he deserved an ignominious punishment.

“Don’t excite yourself, your Excellency. I know you well enough already, and understand you thoroughly,” my stepfather answered. “Thanks to you, I was within an inch of being sentenced for murder. I know at whose instigation Alexey Nikiforitch, your late musician, trumped up a false charge against me.”

The count was beside himself with rage on hearing this horrible accusation. He could hardly control himself; but a government official who had come to the count’s on business and happened to be in the room, declared that he could not let this pass without investigation, that Yefimov’s insulting rudeness was equivalent to malice, wilful slander and libel, and he respectfully asked to be allowed to arrest him on the spot in the count’s house. The Frenchman showed great indignation, and said that he could not understand such black ingratitude. Then my stepfather replied emphatically that to be punished, to be tried, even though it were again on a charge of murder, was better than such an existence as he had hitherto endured, belonging to the landowner’s orchestra, and being unable to leave it owing to his extreme poverty. And with these words he went out of the room, accompanied by the man who arrested him. They shut him up in a room apart, and threatened to take him to the town next day.

About midnight the prisoner’s door was opened. The landowner walked in. He was in his dressing-gown and slippers and was carrying a lighted lantern. It appeared that he could not sleep, and that he was so terribly worried that he had been driven to leave his bed at such an hour. Yefimov was not asleep and he looked with amazement at his visitor, who put down the lantern and in great agitation sat down in a chair facing him.

“Yegor,” he said to him, “why have you done me this wrong?”

Yefimov did not answer. The landowner repeated his question, and there was a note of deep feeling, of strange misery in his words.

“God knows why I have, sir!” my stepfather answered at last, with a despairing gesture. “I suppose that the devil confounded me! I don’t know myself who drove me to do it! But I can’t go on living with you, I can’t bear it... The devil himself has got hold of me!”

“Yegor,” the landowner began again, “come back to me. I will forget everything, I will forgive everything. Listen: you shall be my leading musician, I offer you a salary above all the others...

“No, sir, no, and don’t speak of it; your house is not for me to live in! I tell you that the devil has got hold of me. I shall set fire to the house if I stay with you. Such misery comes over me at times that it would have been better if I had never been born. I cannot answer for myself now; you had better leave me alone, sir. It has been like this with me ever since that devil made a friend of me....”

“Who?” asked the landowner.

“Why, who died like a forsaken dog, the Italian.”

“It was he who taught you to play, Yegorushka.”

“Yes! Many things he taught me to my ruin. It would have been better for me not to have seen him.”

“Was he a first-rate violinist too, Yegorushka?”

“No, he couldn’t do much himself, but he taught well. I learned by myself, he only showed me, and better for me if my hand had been withered than what I have learned. I don’t myself know now what I want. Here, sir, if you were to ask me: ‘What do you want, Yegorka? I can give you anything,’ I shouldn’t say a word in answer, because I don’t know myself what I want. No, sir, I tell you again you had better leave me alone. I shall do myself some mischief, so as to be sent far away, and that will be the end of it!”

“Yegor,” said the landowner after a minute’s silence, “I cannot leave you like this. Since you don’t want to be in my service, go your own way, you are a free man, I cannot keep you; but I cannot part from you like this. Play me something, Yegor, play on your violin. For God’s sake play something. I am not ordering you, understand me, I am not compelling you, I beg you with tears: play me, Yegorushka, for God’s sake, what you played to the Frenchman. Give me the pleasure. You are obstinate and I am obstinate. I have my ways too, Yegorushka. I feel for you, you too might have feeling. I can’t bear it if of your own free will and pleasure you do not play me what you played the Frenchman.”

“Well, so be it,” said Yefimov. “I had vowed to myself never to play before you, sir, before you above all, but now my heart has melted. I will play to you only for the first and last time, and you will never hear me again anywhere, sir, not if you pay me a thousand roubles.”

Then he took his violin and began playing variations on Russian songs. B. said that these variations were his first and best piece for the violin, and that he never played anything so well and with such inspiration. The landowner, who could not listen to any music with indifference, shed tears. When the performance was over, he got up from his chair, took out three hundred roubles, gave them to my stepfather and said:

“Now go your way, Yegor. I will let you out from here and will make everything right with the count; but listen: never meet me again. A wide road lies open to you, but if we run against each other on it, it will be mortifying for you and also for me. Well, good-bye... Wait a moment, one more piece of advice for you on your way, one only. Don’t drink, but study, study every hour. Don’t grow conceited. I speak to you as your own father would speak to you. Mind, I tell you once again, study and don’t take to drink; but if you once take to it from grief (and you will have much trouble) you may reckon all is lost, everything will go to the devil, and maybe you yourself will die in the ditch like your Italian. Come, now, good-bye!... Stay, kiss me.”

They kissed each other, and then my stepfather went away in freedom.

Scarcely had he found himself at liberty when he began by squandering his three hundred roubles on debauchery in the nearest town, associating with a very low, dirty crew of rollicking companions. Being left penniless with no one to help him, he ended by being compelled to go into a wretched band attached to a strolling provincial company, as the first and perhaps the only violinist. All this was utterly inconsistent with his original intentions, which were to go as soon as possible to study in Petersburg, to obtain a good situation, and to develop into a first-rate artist. But he did not get on in the little orchestra. He soon quarrelled with the manager of the company, and left. Then he completely lost heart, and even brought himself to a desperate step very galling to his pride. He wrote a letter to the landowner, his former patron, describing his position and asking for money. The letter was written in a rather independent style, but no answer came to him. Then he wrote a second letter in which in the most cringing phrases, calling the landowner his benefactor and a true connoisseur of the arts, he begged him again for assistance. At last an answer came. The landowner sent him a hundred roubles and a few lines in the handwriting of his valet, in which he told him not to trouble him with begging letters in the future. When he got this money, my stepfather meant to set off for Petersburg at once, but after paying his debts he had so little money left that the journey was out of the question. He was obliged to remain in the provinces, again went into some provincial orchestra, then again could not get on in it, and passing from one place to another, spent six whole years in the provinces, all the while cherishing the dream of getting in a short time to Petersburg. At last he was attacked by something like terror. With despair he noticed how his talent was suffering, continually hampered by his disorderly and beggarly existence; and one morning he abandoned his manager, took his violin and, almost begging his way, at last reached Petersburg. He installed himself somewhere in a garret, and it was here that he made the acquaintance of B., who had just arrived from Germany and was also striving to make a career. They soon made friends, and B. recalls their acquaintance with deep feeling even now. Both were young; they had the same hopes and the same object. But B. was still in his first youth; he had had little experience of poverty and sorrow; moreover he was pre-eminently a German and worked for his object obstinately and systematically, with a complete consciousness of his powers, and almost able to calculate beforehand the degree of success he could attain; while his companion, Yefimov, who was thirty, was already tired and weary, had lost all capacity for persistent effort, and had exhausted his early health and vigour in the seven years during which he had been forced for a crust of bread to lead a vagabond existence shifting about from one provincial company or private orchestra to another. He had been supported by the one perpetual unchanging hope of struggling out of his wretched position, saving money and getting to Petersburg. But this hope had been dim and vague, it was a sort of irresistible inner impulse which had with years lost its first definiteness even in Yefimov’s own eyes; and by the time he came to Petersburg he was acting almost unconsciously through a sort of everlasting habit of everlasting yearning and brooding over the journey, and scarcely knew himself what he was going to do in the capital. His enthusiasm was somehow spasmodic, jaundiced, and came by fits and starts, as though he were trying to deceive himself by this enthusiasm, and to persuade himself that his vigour, his first fervour, his first inspiration, had not yet disappeared. His incessant ecstasies impressed the cool and methodical B.; he was dazzled, and hailed my stepfather as the coming musical genius. At first B. could imagine no other future for him. But before long his eyes were opened, and he saw through my step father completely. He saw clearly that all this jerkiness, feverish haste, and impatience were nothing but unconscious despair at the thought of his wasted talents; and that possibly the talent itself had not been even at the very first so great, that there had been in it a great deal of blindness, of mistaken self-confidence, of premature self-satisfaction and of incessant dreaming, incessant brooding over his own genius. “But,” B. used to tell me, “I could not help wondering at the strange character of my companion. A desperate feverish contest between violently over-strained will and inner impotence was taking place in actual life before my eyes. The unhappy man had for seven whole years been content with mere dreams of his future glory, so much so that he did not even notice how he had lost what is most fundamental in our art, how he had let slip even the most fundamental mechanism of his work. And yet the most colossal plans for the future were continually taking shape in his disordered imagination. It was not enough for him to want to be a genius of the first rank, one of the first violinists in the world; it was not enough for him that he already considered himself such a genius—on the top of all that, he dreamed of becoming also a composer, though he knew nothing about counterpoint. But what astounded me most of all,” B. added, “was that this man, with his complete impotence, with his really insignificant knowledge of the technique of his art, had yet so deep, so clear, and so instinctive an understanding of music. He felt and understood it so deeply that it was no wonder if he went astray in his own estimate of himself, and took himself not merely for a profound instinctive critic of music, but for a high priest of that art, for a genius. Sometimes in his coarse, plain language, untouched by any education, he would utter such profound truths that I was struck dumb, and could not understand how he had divined it all, never having read anything and never having been taught anything. And I was indebted to him,” B. would add, “to him and his counsels, for much of my own progress. As for me,” B. continued, “I was not troubled on my own account. I, too, loved my art passionately, though from the very beginning of my career I knew that I should be in a real sense a humble labourer in the field of art and that I wanted nothing more; but on the other hand, I was proud of the fact that I had not, like the ungrateful servant, buried what had been given me by nature, but had increased it a hundredfold. And if the finish of my execution were praised, if the perfection of my mechanism were admired, all that I owed to unceasing, unflagging toil, to the clear recognition of my own powers, to voluntary self-subordination and to a persistent struggle against conceit, against premature self-satisfaction, and the indolence that is the natural consequence of that self-satisfaction.”

B. in his turn tried to give good advice to the friend by whom he was at first so dominated, but only succeeded in irritating him to no purpose. A coolness between them followed. B. soon observed that his friend was beginning to be more and more a prey to apathy, misery and boredom, that his bouts of enthusiasm were becoming less and less frequent, and that all this was followed by a gloomy, savage despondency. Finally Yefimov took to abandoning his violin and sometimes would not touch it for a whole week. Complete moral collapse was not far off, and before long the wretched man had sunk into every vice. What his former patron had foretold came true. He gave way to excessive drinking. B. looked on at him with horror; his advice had no effect, and indeed he was afraid to say a word. Little by little Yefimov became utterly shameless; he did not scruple to live at B.’s expense, and even behaved as though he had a complete right to do so. Meanwhile B.’s resources were being exhausted, he lived from hand to mouth by giving lessons, or by playing at evening parties for merchants, for Germans, and for petty officials who, though they paid little, paid him something. Yefimov seemed unwilling to notice his friend’s straits: he behaved sullenly with him, and for weeks together did not deign to say a word to him. One day B. observed to him in the mildest way that it would not be amiss for him to take up his violin occasionally, that he might not lose his skill with the instrument altogether; then Yefimov flew into a rage and declared that he would never touch his violin again, as though he imagined that someone would implore him on his knees to do so. On another occasion B. needed someone to play with him at an evening party, and he asked Yefimov. This invitation moved Yefimov to fury. He declared that he was not a street musician, and would not demean himself like B. to degrade his noble art by playing to low tradesmen who would not understand his talent and his playing. B. did not say one word in answer; but Yefimov, brooding over this suggestion in the absence of his friend, who had gone to play, imagined that all this was only a hint at the fact that he was living at B.’s expense, and a desire to make him feel that he, too, ought to try to earn some money. When B. came back, Yefimov began to reproach him for the meanness of his conduct, and declared that he would not remain with him another minute. He actually did disappear for two days, but on the third turned up again as though nothing had happened, and went on living as before.

Only their former intimacy and affection, and the compassion which B. felt for the ruined man, restrained him from making up his mind to put an end to this disorderly existence and to part with Yefimov for ever. At last they did part. Fortune smiled on B., he obtained powerful patronage and succeeded in giving a brilliant concert. By that time he was a first-rate performer, and his rapidly growing reputation soon afterwards gained him a place in the orchestra of an opera-house where he quickly won well-deserved success. At parting he gave Yefimov money, and begged him with tears in his eyes to return to the right path. B. cannot to this day remember him without marked feeling. His friendship with Yefimov was one of the strongest impressions of his youth. They had begun their career together, had become warmly attached to one another, and even Yefimov’s strangeness, his coarse and glaring defects, drew B. more warmly to him. B. understood him; he saw through him, and knew beforehand how it would end. They embraced, and both shed tears at parting. Then Yefimov said through tears and sobs that he was a ruined and most unhappy man, that he had known it a long time, and that only now he saw his ruin clearly.

“I have no talent!” he said, turning as pale as death.

B. was deeply moved.

“Listen, Yegor Petrovitch,” he said to him. “What are you doing to yourself? You will only ruin yourself with your despair; you have no patience, no courage. Now you are say- ing in a fit of despondency that you have no talent. It's not true. You have talent, I assure you you have. You have it. I can tell that merely from the way you feel and understand music. I will prove you that by the whole of your life. You have told me about the way you Hved in the past; then, too, you were haunted by the same despair. Then your first teacher, that strange man of whom you have told me so much, first roused in you a love for music and divined your talent. You felt it then as intensely and painfully as you feel it now, but you did not understand what was happening to you. You could not bear living in your patron's house, and you did not know yourself what you wanted. Your teacher died too early. He left you with nothing but vague yearnings and, worst of all, did not explain you to yourself. You felt that you needed some other wider path, that you were destined for other aims, but you did not understand how this could come about, and in your misery you came to hate everything that surrounded you. Your six years of poverty and hardship have not been lost; you have studied, you have thought, you have become conscious of yourself and your powers, you understand music and your vocation now. My friend, you must have patience and courage. A lot far more to be envied than mine awaits you; you are a hundred times more of an artist than I; but God gave you but the tenth part of my patience. Study and do not drink, as your kind old patron told you; and above all, begin from the beginning again, from the ABC. What worries you? Is it poverty, privation? But poverty and priva- tion form the artist. They are inevitable at first. No one wants you now, no one cares to know you; that is the way of the world. Wait a bit, it will be different presently when they find out that you have a gift. Envy, petty meanness, and, worst of all, stupidity will weigh upon you more heavily than priva- tion. Talent wants sympathy, it wants to be understood, and you wiU see what people will press round you when you attain ever so little of your aim. They will set at nought and despise what you have gained by bitter toil, privations, hunger, sleep- less nights. They will not encourage you, they will not comfort you, your future comrades, they will not point out to you what is good and true in you; but with spiteful glee will catch up every mistake you make, will urge you to what is bad in you, to what you are mistaken about, and under an out- ward show of coolness and contempt will rejoice as though it were a festivity over every mistake you make, (As though any- one were free from mistakes!) You are conceited, you are often proud when there is no need to be, and may offend the amour-propre of some nonentity, and then there will be trouble — you will be one and they will be many. They will torment you with pin-pricks. Even I am beginning to have experience of that. Cheer up! You are not so poor, you can live. Don't look down on humble work, slave away as I have done at p>oor artisans' entertainments. But you are impatient, you are sick with your impatience, you are not simple enough, you are too subtle, you think too much, you give your brain too much work. You are audacious in words, and faint-hearted when you take up your bow. You are vain, and yet not bold enough. Courage ! wait a bit, study; and if you do not rely on your own powers, then trust to luck : you have fervour, you have feeUng. You may reach your goal, and if not, anyway try your luck, you will not lose in any case, for the stake is too great. Trust- ing to luck, brother, is a great thing.” Yefimov listened to his comrade with deep feeling. But as the latter talked, the pallor left his cheeks; they flushed red; his eyes flashed with unaccustomed fire, courage and hope. This courage soon passed into self-confidence, and then into his habitual arrogance; and at last, when B. was finishing his exhortation, Yefimov listened to him absent-mindedly and impatiently. He warmly pressed his hand, however, thanked him, and always rapid in his transitions from the lowest self- abasement and despondency to extreme arrogance and insolence, declared conceitedly that his friend need not trouble himself about his future, that he knew how to manage his own affairs, that he hoped very shortly to get powerful support, that he would give a concert and so at once obtain fame and money. B. shrugged his shoulders but did not contradict him; and they parted, though of course not for long. Yefimov at once spent the money that had been given to him and came to borrow more; then a second time, and a fourth, and a tenth, till at last B. lost patience and said he was not at home. From that time he lost sight of him completely.

Several years passed. One day, as B. was coming home from a rehearsal, at the entrance of a dirty tavern in a back street he jostled against a badly dressed drunken man who called him by his name. It was Yefimov. He was greatly changed, his face looked yellow and bloated. It could be seen that his reckless life was putting a stamp upon him that could never be effaced. B. was overjoyed, and before he had time to say a couple of words to him, had followed him into the tavern into which Yefimov dragged him. There in a little grimy room apart B. scrutinised his companion more closely. The latter was almost in rags, in broken boots; his frayed shirt-front was covered with wine-6tains. His hair was thin and beginning to turn grey.

“How are you getting on? Where are you now?” B. asked him.

Yefimov was overcome with embarrassment, even scared at first; he answered jerkily and incoherently, so much so that B. began to think that he was out of his mind. At last Yefimov confessed that he could not talk until he had had a drink of vodka, and that they had long since refused him credit in the tavern. Saying this, he flushed crimson, though he tried to carry it off with a jaunty gesture; but it gave an effect of insolence, artificiality and importunity, so that it was all very pitiful and excited the compassion of kind-hearted B., who saw that his worst apprehensions were fulfilled. He ordered vodka, however. Yefimov’s face was transformed with gratitude, and he was so overcome that he was ready with tears in his eyes to kiss his benefactor’s hand. Over dinner B. learned to his great surprise that the wretched man was married. But he was still more amazed when he heard that his wife was the cause of all his misery and misfortunes, and that his marriage had destroyed all his talent.

“How is that?” asked B.

“It’s two years since I have taken up my violin, brother,” Yefimov answered. “She’s a common woman, a cook, a coarse, uneducated woman. Damn her... We do nothing but quarrel.”

“Then why did you marry her if that is how it is?”

“I had nothing to eat. I got to know her; she had about a thousand roubles. I rushed headlong into matrimony. It was she fell in love with me. She flung herself on my neck. No one drove her to it. The money has gone on food and on drink, and—it’s all up with my talent! All is lost.”

B. saw that Yefimov seemed in a hurry to justify himself.

“I have thrown it all up, thrown it all up,” he added. Then he informed him that of late years he had attained almost perfection on the violin, that though B. was one of the first violinists in the town, yet he would not have been able to hold a candle to him, Yefimov, perhaps, if the latter had cared to outshine him.

“Then what’s the difficulty?” said B., surprised. “You should get a post!”

“It’s not worth while,” said Yefimov, with a wave of his hand. “There isn’t one of you there who knows anything about it. What do you know? Bosh! nothing, that’s all you know. To scrape out some jig in a ballet—that’s your job. You have never seen and never heard good violinists. What’s the good of bothering you: you can stay as you like!”

At this point Yefimov waved his arm again and gave a lurch in his chair, for he was quite drunk. Then he began inviting B. to come and see him. But the latter refused, taking his address and promising to go to him next day. Yefimov, who by now had eaten his fill, looked sarcastically at his old friend, and did everything he could to stick pins into him. When they were going away he took B.’s expensive fur coat and handed it to him like a menial to his superior. As they passed through the outer room he stopped and introduced him to the people of the tavern and the company generally as the greatest violinist in Petersburg. In fact he was very disgusting at that moment.

B. did, however, seek him out next morning, and found him in a garret where we were all living at that time in great poverty. I was four years old then, and my mother had been married to Yefimov two years. She was an unhappy woman. In the past she had been a governess, very well educated, and good-looking, and had through poverty married an old government clerk, my father. She only lived with him a year. When my father died suddenly and his meagre fortune was divided among his heirs, my mother was left to face the world alone with me, with a trilling sum of money, all that came to her share. To get a situation as a governess again, with a very young child, was difficult. It was then that in some casual way she met Yefimov, and really did fall in love with him. She was an enthusiast and a dreamer; she saw in Yefimov a genius and believed in him on the strength of his conceited talk of a brilliant future. Her imagination was flattered by the glorious task of being the prop, the guide of a man of genius, and she married him.

All her dreams and hopes vanished in the first month, and there was left before her the pitiful reality. Yefimov, who really had, perhaps, married my mother because she had about a thousand roubles, folded his hands as soon as the money was spent; and as though delighted at the excuse, declared to each and all that marriage was the death of his talent, that he could not work in a stuffy room face to face with his starving family, that songs and music would not come into his mind in such surroundings, and that evidently he was fated to be unlucky. I believe he persuaded himself of the justice of his complaints, and it seemed as though he were glad of an excuse. It seemed as though this unhappy ruined genius were seeking for an external cause upon which the blame for all his failures, all his calamities, could be cast. He could not face the awful thought that he had been ruined for art long ago and for ever. He struggled convulsively with that fearful conviction as with a delirious nightmare, and when at last the reality overcame him, when at moments his eyes were opened, he felt ready to go mad with horror. He could not so easily lose his belief in what had so long been the centre of his life, and to his last hour imagined that the moment had not passed. In times of doubt he gave himself up to drink, which drove away his depression with its vile, stupefying fumes. In fact he did not know how necessary’ his wife was to him at that time. She was a living pretext, and in reality my stepfather became almost insane over the idea that when he buried his wife who had ruined him all would go well again. My poor mother did not understand him. Like a regular dreamer, she broke down at the first step into hostile reality; she became hot-tempered, bitter, shrewish. She was continually quarrelling with her husband, who took a sort of pleasure in tormenting her, and was continually egging him on to work. But my stepfather’s blind obsession, his fixed idea, his craze, made him almost inhuman and unfeeling. He only laughed, and swore he would not touch his violin till the death of his wife, and he told her this with brutal frankness. My mother, who in spite of everything loved him passionately to the day of her death, could not endure such a life. She became permanently ill and suffering, lived continually on the rack, and in addition to all this misery, the whole anxiety of maintaining the family fell upon her alone. She took to preparing meals for persons who would come and fetch them. But her husband carried off all her money on the sly, and she was often compelled to send back empty dishes instead of dinner to those for whom she cooked. When B. visited us she was busy washing linen and remaking old clothes. We lived like this from hand to mouth in our garret.

B. was struck by the poverty of the family.

“I say, it’s all nonsense what you tell me,” he said to my stepfather. “It’s not a. case of ruining your talent. She is keeping you, and what are you doing?”

“Oh, nothing,” answered my stepfather.

But B. did not know all my mother’s troubles yet. Her husband often brought home a regular rabble of ragamuffins and rowdies, and what scenes there were then!

B. spent a long time persuading his old comrade to reform. At last he told him if he wouldn’t mend his ways he, B., would not help him; he declared without beating about the bush that he would not give him money, because it would be spent on drink; and he asked him finally to play him something on the violin, that he might see what could be done for him. While my stepfather went for his violin, B. began secretly giving money to my mother, but she would not take it. It was the first time she had had to take charity. Then B. gave the money to me, and the poor woman melted into tears. My stepfather brought his violin, but asked for vodka, saying he could not play without it. They sent for vodka. He drank it, and began getting excited. “I will play you something of my own composition, because you are a friend,” he said to B., and he drew out from under a chest of drawers a thick dusty manuscript book.

“I wrote all that myself,” he said, pointing to the book. “There you shall see! It’s very different from your ballets, my boy.”

B. looked at a few pages without a word; then he opened the music he had with him, and asked Yefimov to lay aside his own composition for the time and to play something of what he had brought.

My stepfather was a little offended; however, afraid of losing a powerful friend, he did as B. told him. B. perceived that his old friend had really worked and made much progress since they had parted, though he did boast that he hadn’t touched the violin since his marriage. The joy of my poor mother was worth seeing. She looked at her husband and was proud of him again. The kind-hearted B., genuinely delighted, determined to set my stepfather on his feet again. Even then he had powerful connections, and promptly began recommending his poor friend and asking for help for him, making him promise beforehand that he would behave himself. And meanwhile at his own expense he rigged him out in better clothes, and took him to see several prominent persons upon whom the appointment he wanted to get for him depended. The fact was that Yefimov’s bravado was only in words, and he seems to have gladly accepted his old friend’s proposition. B. told me that the flattery and cringing obsequiousness with which my stepfather tried to conciliate him, from fear of losing his favour, made him feel ashamed. Yefimov realised that he was being put on the right path, and even left off drinking. At last a place was found for him in the orchestra of a theatre. He stood the test well, for in one month of diligence and hard work he regained all that he had lost in a year and a half of idleness, and he promised to work for the future and be punctual in the discharge of his new duties. But the position of my mother and me was not in the least improved. My stepfather did not give my mother a farthing of his salary; he spent it all on himself, eating and drinking with his new companions, of whom he soon had a regular circle. He associated chiefly with the theatre attendants, chorus singers, supers—in short, with people amongst whom he could be first; and he avoided men of real talent. He succeeded in inspiring in them a peculiar respect for himself; he at once impressed upon them that he was an unrecognised genius, that he had been ruined by his wife, and finally that their conductor knew nothing at all about music. He laughed at all the players in the orchestra, at the selection of plays that were produced, and even at the composers of the operas they played. Finally, he propounded a new theory of music; in short, he made all the orchestra sick of him. He quarrelled with his superiors and with the conductor, was rude to the manager, gained the reputation of being the most troublesome, the most nonsensical, and at the same time the most worthless person, and made himself insufferable to everybody.

And indeed it was extremely strange to see such an insignificant man, such a poor and useless performer and careless musician, with such immense pretensions, with such boastfulness and swagger, with such an overbearing manner.

It ended in my stepfather’s quarrelling with B., inventing the most horrible slander, the most disgusting calumny against him, and circulating it as authentic fact. After six months of desultory work he was discharged from the orchestra, for drunkenness and negligence in the discharge of his duties. But he still hung round the place. He was soon seen in his old rags, for his decent clothes were all sold or pawned. He took to visiting his former associates, regardless of whether they were pleased to see him or not; he spread spiteful gossip, babbled nonsense, wept over his hard lot, and invited them all to come and see his wicked wife. Of course there were people found to listen, people who took pleasure in giving drink to the discharged musician, and making him talk all sorts of nonsense. Besides, he always talked wittily and cleverly, and interspersed his talk with biting sarcasm and cynical sallies which pleased listeners of a certain class. He was taken for something like a crazy buffoon, whom it was sometimes pleasant to set talking to pass an idle hour. They liked teasing him by talking before him of some new violinist who had come to Petersburg. When he heard this, Yefimov’s face fell, he grew depressed and would begin inquiring who had come, and who was this new celebrity, and at once began to feel jealous of his fame. I believe that this was the beginning of his real permanent madness—the fixed idea that he was the finest violinist, at least in Petersburg, but that he was persecuted by fate and ill-used, that owing to various intrigues he was not understood and left in obscurity. The last idea positively flattered him, for there are natures who are very fond of thinking themselves injured and oppressed, complaining aloud of it, or consoling themselves by gloating in secret over their unrecognised greatness. He could count over all the violinists in Petersburg on his fingers, and according to his notions could not find a rival in any one of them. Connoisseurs and musical amateurs who knew the poor crazy fellow liked to talk before him of some celebrated violinist so as to set him talking. They liked his malice, his biting remarks, they liked the apt and clever things he said as he criticised the playing of his supposed rivals. Often they did not understand him, but they were convinced that no one else could hit off the musical celebrities of the day so neatly and with such smart caricature. Even the musicians at whom he laughed were a little afraid of him, for they knew his biting wit. They recognised the aptness of his attacks and the justice of his criticism when there was something to find fault with. People grew used to seeing him in the corridors of the theatre and behind the scenes. The attendants let him pass unquestioned as though he were someone indispensable, and he became something like a Russian Thersites. This manner of life lasted for two or three years, but at last he bored everyone in this latter pose as well. His complete ostracism followed, and for the last two years of his life my stepfather seemed to have vanished entirely and was seen nowhere. B., however, met him ‘on two occasions, but in such a pitiful plight that compassion once more got the upper hand of his repugnance. He called out his name, but my stepfather was offended and affected not to have heard him, pulled his old battered hat over his eyes and passed by. At last, on the morning of one of the chief holidays, B. was informed that his old friend Yefimov had come with his greetings. B. went out to him. Yefimov was drunk, and began making extremely low bows almost down to the ground, murmured something inarticulate, and obstinately refused to go into the room. What his behaviour was meant to convey was: “How should poor wretches like us associate with great people like you? the flunkey’s place is good enough for the likes of us; just to greet you on a holiday, v/e make our bow and take ourselves off.” In fact, it was all horrid, stupid, and revoltingly nasty. From that time B. did not see him again, till the catastrophe by which this miserable, morbid, and delirious life was ended. It ended strangely. This catastrophe is closely interwoven not only with the earliest impressions of my childhood, but with my whole life. This is how it came to pass. But I ought first to explain what my childhood was like, and what this man, whose image is so painfully reflected in my earliest impressions, and who was the cause of my mother’s death, meant to me.