Читать книгу Dark Avenues / Темные аллеи. Книга для чтения на английском языке - Иван Бунин, Иван Алексеевич Бунин - Страница 4

On the eve of the big winter holidays the country house was always heated up like a bathhouse and presented a strange picture, for it consisted of spacious and low rooms, the doors of which were all wide open throughout – from the entrance hall to the divan room, situated at the very end of the house – and its red corners[20] gleamed with wax candles and lamps in front of the icons.

On the eve of those holidays, they washed the smooth oak floors – which soon dried out from the heating – everywhere in the house, and then carpeted them with clean rugs; they set out in their places in the very best order the furnishings that had been moved aside for the period of work, and in the corners, in front of the gilded and silver settings of the icons, they lit the lamps and the candles and extinguished all other lights. By this time the winter night was already darkly blue outside the windows and everyone dispersed to their own sleeping quarters. Complete quiet was then established in the house, a peace that was reverential and seemingly waiting for something, and which could not have been more in keeping with the sacred nocturnal appearance of the mournfully and touchingly illumined icons.

In the winter the wandering pilgrim Mashenka was sometimes a guest on the estate, grey-haired, withered and tiny, like a little girl. And it was just she alone in all the house who did not sleep on such nights: arriving in the hallway from the servants’ quarters after supper and removing the felt boots[21] from her little, woollen-stockinged feet, she would go noiselessly over the soft rugs through all those hot, mysteriously lit rooms, kneel down everywhere, cross herself, bow down before the icons, and then go back to the hallway, sit down on the black chest that had stood in it from time immemorial, and in a low voice recite prayers, psalms, or else simply talk to herself. It was thus I found out one day about this “beast of God, the Lord’s wolf”: I heard Mashenka praying to him.

I could not sleep, and I went out late at night into the reception hall to go through to the divan room and there get something to read from the bookcases. Mashenka did not hear me. She was sitting saying something in the dark hallway. Pausing, I listened closely. She was reciting psalms from memory.

“Hear my prayer, O Lord, and give ear unto my cry,” she said, without any expression. “Hold not thy peace at my tears, for I am a stranger with thee, and a sojourner on the earth, like all my fathers were…[22]

“Say unto God: how terrible art thou in thy works![23]

“He that dwelleth in the secret place of the most High shall abide under the shadow of the Almighty… Thou shalt tread upon the lion and adder, the young lion and the dragon shalt thou trample under foot…”[24]

At the last words she quietly but firmly raised her voice and pronounced them with conviction: trample upon the lion and the dragon. Then she paused and, after slowly sighing, spoke thus, as if conversing with somebody:

“For every beast of the forest is his, and the cattle upon a thousand hills…”[25]

I peeped into the hallway: she was sitting on the chest with her little, woollen-stockinged feet hanging down from it evenly and holding her arms crossed at her breast. She was looking straight ahead, not seeing me. Then she raised her eyes to the ceiling and uttered distinctly:

“And thou, beast of God, the Lord’s wolf, pray for us to the Queen of Heaven.”

I approached and said softly:

“Mashenka, don’t be afraid, it’s me.”

She let her arms drop, stood up, gave a low bow:

“Hello, sir. No, sir, I’m not afraid. What have I got to be afraid of now? It was in my youth I was silly, afraid of everything. The dark-eyed demon troubled me.”

“Please sit down,” I said.

“No, sir,” she replied. “I’ll stand, sir.”

I put my hand on her bony little shoulder with its big collarbone, made her sit down, and then sat down next to her:

“Sit still, or else I’ll leave. Tell me, who was it you were praying to? Is there really such a holy one – the Lord’s wolf?”

Again she tried to get up. Again I restrained her:

“Ah, just look at you! And there you are, saying you’re not afraid of anything! I’m asking you: is it true that there’s such a holy one?”

She had a think. Then she replied seriously:

“There must be, sir. There is the beast Tiger-Euphrates,[26] after all. And if it’s painted in a church, there must be. I saw it myself, sir.”

“How do you mean, you saw it? Where? When?”

“Long ago, sir, in a time beyond memory. And where – I can’t even say: I remember one thing – we were travelling there three days. There was a village there, Krutiye Gory. I’m from far away myself – perhaps you’re so good as to have heard of the place: Ryazan – and those parts would be even further down, beyond the Don, and what a rough place it is there, you couldn’t even find the words. It was there our prince had his main village, his grandfather’s favourite – maybe a full thousand clay huts on bare mounds and slopes, and on the very highest hill, on its crown, above the Kamennaya River, the masters’ house, all bare too, three-tiered, and a yellow church with columns, and in that church this here God’s wolf: in the middle, then, there’s a cast-iron slab over the tomb of the prince it slaughtered, and on the right-hand pillar – the creature itself, this wolf, painted at its full height and size: it sits in a grey fur coat on a thick tail, and its whole body’s reaching up, with its front paws resting on the ground – and its eyes just boring into yours: a grey fur collar, long-haired and thick, a large head, sharp-eared, its fangs bared, furious, bloodshot eyes, and around its head a gold aureole, like saints and holy men have. It’s terrible just remembering such a wondrous marvel! It’s so lifelike sitting there, looking as if it’ll rush upon you at any moment!”

“Wait, Mashenka,” I said, “I don’t understand a thing: who painted this terrible wolf in the church and why? You say it slaughtered a prince – so then why is it holy, and why should it be over the prince’s tomb? And how did you find yourself there, in that dreadful village? Tell me everything clearly.”

And Mashenka began telling her story:

“I found myself there, sir, for the reason that I was then a serf girl, serving in our prince’s house. I was an orphan, my father, so they had it, was some sort of man passing through – a runaway, most likely – he seduced my mother unlawfully and disappeared God knows where, and mother, soon after giving birth to me, she passed away. Well, so the master took pity on me, took me from the menials into the house as soon as I hit thirteen, and put me at the beck and call[27] of the young mistress, and for some reason I so took her fancy she wouldn’t let me out of her favour for any time at all. And it was she that took me on the voyage with her when the young prince got the idea of taking a trip with her to his grandfather’s legacy, to that there main village, to Krutiye Gory. That estate had been long neglected, deserted – the house had just stood boarded up, desolate, ever since the grandfather’s death – well, and our young master and mistress thought they’d like to visit it. But what a terrible death the grandfather had died, we all knew about that from legend…”

In the reception hall something gave a slight crack, then fell with a little thud. Mashenka threw her legs down from the chest and ran into the hall: there was already a smell of burning there from the fallen candle. She put out the still-smoking candlewick, stamped out the smouldering that had started on the nap of a rug and, jumping up onto a chair, relit the candle from the other burning candles stuck into silver sockets beneath the icon, and fitted it into the one from which it had fallen: she turned the bright flame downwards, dripped the wax, which ran like hot honey, into the socket, then inserted it; deftly, with slender figures, she removed the burnt deposit from the other candles, and jumped back down onto the floor.

“My, how cheerfully it’s started gleaming,” she said, crossing herself and gazing at the revived gold of the candle lights. “And what a smell of the church there is now!”

There was the smell of sweet fumes, the little lights trembled, from behind them the ancient face of the icon gazed from a blank circle in its silver setting. In the upper, clear panes of the windows, which were frosted over at the bottom with thick, grey rime, the night was black, and white nearby in the front garden were the ends of boughs burdened with layers of snow. Mashenka looked at them too, crossed herself once more and came back into the hallway.

“It’s time for you to sleep, sir,” she said, sitting down on the chest and stifling her yawns, covering her mouth with her withered little hand. “The night’s grown menacing now.”

“Why menacing?”

“Because it’s mysterious, when only the chanticleer, the cockerel, as we call it, and the night crow, the owl, can stay awake. Then the Lord Himself listens to the earth, the most important stars begin to twinkle, the ice holes freeze in seas and rivers.”

“And why is it you yourself don’t sleep at night?”

“I sleep as much as is needed as well, sir. Is an old person meant to have a lot of sleep? Like a bird on a branch.”

“Well, go to bed, only finish telling me about that wolf.”

“But you know, it’s a dark business, long ago, sir – perhaps a ballad.”

“What’s that you said?”

“A ballad, sir. That’s what all our masters used to say, they liked reading those ballads. Sometimes I’d be listening and there’d be a tingling on my head:

“How beautiful, Lord!”

“What’s beautiful about it, Mashenka?”

“What’s beautiful about it, sir, is you don’t know what it is that’s beautiful. It’s scary.”

“In the old days, Mashenka, everything was scary.”

“How can I put it, sir? Perhaps it’s true that it was scary, but it all seems dear to me now. I mean, when was it? Just so long ago – all the kingdoms have gone, all the oaks have crumbled from old age, all the graves are level with the earth. Now this story too – among the menials it used to be told word for word, but is it the truth? The story was supposed to have happened still in the time of the great Tsarina,[29] and the reason why the prince was sitting in Krutiye Gory was supposed to be that she’d grown angry with him over something, had shut him up a long way away from her, and he’d become really fierce – most of all in the punishment of his serfs and in fornication. He was still very much in his prime, and as for his appearance, wonderfully handsome, and both among his menials and throughout his villages there wasn’t supposed to be a single girl he hadn’t demanded come to him, to his seraglio, for her wedding night. So he went and fell into the most terrible sin: he was even tempted by his own son’s new bride. The son was in St Petersburg in the military service of the Tsarina, and when he’d found himself his intended, he got permission for the marriage from his father and married, and so then he came with his new bride to pay his respects to him, to that there Krutiye Gory. And the father goes and falls for her[30]. Not for nothing[31], sir, is it sung about love:

And however can it be a sin, when even an old man’s thinking about his beloved, sighing over her? But here, after all, it was a completely different matter, here it was like it was his own daughter, and he’d stretched his grasping intentions to fornication.”

“And so what happened?”

“Well, sir, the young prince, remarking this parental design, decided to flee in secret. He put the stablemen up to it, gave them all sorts of presents, ordered them to harness up a good quick troika for midnight, stole out from his own family home as soon as the old prince had fallen asleep, led out his young wife – and he was off. Only the old prince wasn’t even thinking of sleeping: he’d already found everything out that evening from his informers and straight away gave chase. Night-time, an unspeakable frost, so there’s even rings lying round the moon, snows in the steppe deeper than the height of a man, but it’s all nothing to him: he flies along on his steed, sabres and pistols hanging all over him, beside his favourite whipper-in, and already he can see the troika with his son up ahead. He cries out like an eagle: stop, or I’ll shoot! But they don’t pay any heed[33] there, they drive the troika on at full blazing speed. Then the old prince began shooting at the horses, and killed as he rode first the one outrunner, the right-hand one, as it ran, then the other, the left-hand one, and already he meant to lay low the shaft horse, but he glanced to the side and sees rushing at him across the snow, beneath the moon, a great, fantastic wolf with eyes red like fire and with an aureole around its head! The prince set about firing at it too, but it didn’t even bat an eyelid[34]: rushed at the prince like a whirlwind, jumped onto his chest – and in a single instant slashed through his Adam’s apple[35] with its fang.”

“Ah, what horrors, Mashenka,” I said. “Truly, a ballad!”

“It’s a sin to mock, sir,” she replied. “God’s world is full of wonders.”

“I don’t disagree, Mashenka. Only it’s strange, nonetheless, that this wolf has been painted right beside the tomb of the prince it slaughtered.”

“It was painted, sir, as the prince himself wished; he was brought home still alive, and he had the time before dying to make his confession and take communion[36], and in his final moment he ordered that wolf to be painted in the church above his tomb – as a lesson, then, for all the prince’s descendants. Who could possibly have disobeyed him in those days? And the church was his domestic one too, built by him himself.”

3rd February 1938