Delphi Complete Works of Anton Chekhov (Illustrated) (593 page)

A neighbour of ours, the owner of the renowned Otrad, Count X, is staying now at Biarritz, having run away from the cholera; he gave his doctor only five hundred roubles for the campaign against the cholera. His sister, the countess, who is living in my section, when I went to discuss the provision of barracks for her workmen, treated me as though I had come to apply for a situation. It mortified me, and I told her a lie, pretending to be a rich man. I told the same lie to the Archimandrite, who refuses to provide quarters for the cases which may occur in the monastery. To my question what would he do with the cases that might be taken ill in his hostel, he answered me: “They are persons of means and will pay you themselves….” Do you understand? And I flared up, and said I did not care about payment, as I was well off, and that all I wanted was the security of the monastery…. There are sometimes very stupid and humiliating positions…. Before the count went away I met his wife. Huge diamonds in her ears, wearing a bustle, and not knowing how to hold herself. A millionaire. In the company of such persons one has a stupid schoolboy feeling of wanting to be rude.

The village priest often comes and pays me long visits; he is a very good fellow, a widower, and has some illegitimate children.

Write or there will be trouble….

MELIHOVO,

October 10, 1892.

Your telegram telling me of Svobodin’s death caught me just as I was going out of the yard to see patients. You can imagine my feelings. Svobodin stayed with me this summer; he was very sweet and gentle, in a serene and affectionate mood, and became very much attached to me. It was evident to me that he had not very long to live, it was evident to him too. He had the thirst of the aged for everyday peace and quiet, and had grown to detest the stage and everything to do with the stage and dreaded returning to Petersburg. Of course I ought to go to the funeral, but to begin with, your telegram came towards evening, and the funeral is most likely tomorrow, and secondly the cholera is twenty miles away, and I cannot leave my centre. There are seven cases in one village, and two have died already. The cholera may break out in my section. It is strange that with winter coming on the cholera is spreading over a wider and wider region.

I have undertaken to be the section doctor till the fifteenth of October — my section will be officially closed on that day. I shall dismiss my feldsher, close the barracks, and if the cholera comes, I shall cut rather a comic figure. Add to that the doctor of the next section is ill with pleurisy and so, if the cholera appears in his section, I shall be bound, from a feeling of comradeship, to undertake his section.

So far I have not had a single case of cholera, but I have had epidemics of typhus, diphtheria, scarlatina, and so on. At the beginning of summer I had a great deal of work, then towards the autumn less and less.

* * * * *

The sum of my literary achievement this summer, thanks to the cholera, has been almost nil. I have written little, and have thought about literature even less. However, I have written two small stories — one tolerable, one bad.

Life has been hard work this summer, but it seems, to me now that I have never spent a summer so well as this one. In spite of the turmoil of the cholera, and the poverty which has kept tight hold of me all the summer, I have liked the life and wanted to live. How many trees I have planted! Thanks to our system of cultivation, Melihovo has become unrecognizable, and seems now extraordinarily snug and beautiful, though very likely it is good for nothing. Great is the power of habit and the sense of property. And it’s marvellous how pleasant it is not to have to pay rent. We have made new acquaintances and formed new relations. Our old terrors in facing the peasants now seem ludicrous. I have served in the Zemstvo, have presided at the Sanitary Council and visited the factories, and I liked all that. They think of me now as one of themselves, and stay the night with me when they pass through Melihovo. Add to that, that we have bought ourselves a new comfortable covered carriage, have made a new road, so that now we don’t drive through the village. We are digging a pond…. Anything else? In fact hitherto everything has been new and interesting, but how it will be later on, I don’t know. There is snow already, it is cold, but I don’t feel drawn to Moscow. So far I have not had any feeling of dulness.

* * * * *

The educated people here are very charming and interesting. What matters most, they are honest. Only the police are unattractive.

We have seven horses, a broad-faced calf, and puppies, called Muir and

Merrilees….

November 22, 1892.

Snow is falling by day, while at night the moon is shining its utmost, a gorgeous amazing moon. It is magnificent. But nevertheless, I marvel at the fortitude of landowners who spend the winter in the country; there’s so little to do that if anyone is not in one way or another engaged in intellectual work, he is inevitably bound to become a glutton or a drunkard, or a man like Turgenev’s Pigasov. The monotony of the snowdrifts and the bare trees, the long nights, the moonlight, the deathlike stillness day and night, the peasant women and the old ladies — all that disposes one to indolence, indifference, and an enlarged liver….

November 25, 1892.

It is easy to understand you, and there is no need for you to abuse yourself for obscurity of expression. You are a hard drinker, and I have regaled you with sweet lemonade, and you, after giving the lemonade its due, justly observe that there is no spirit in it. That is just what is lacking in our productions — the alcohol which could intoxicate and subjugate, and you state that very well. Why not? Putting aside “Ward No. 6” and myself, let us discuss the matter in general, for that is more interesting. Let ms discuss the general causes, if that won’t bore you, and let us include the whole age. Tell me honestly, who of my contemporaries — that is, men between thirty and forty-five — have given the world one single drop of alcohol? Are not Korolenko, Nadson, and all the playwrights of to-day, lemonade? Have Ryepin’s or Shishkin’s pictures turned your head? Charming, talented, you are enthusiastic; but at the same time you can’t forget that you want to smoke. Science and technical knowledge are passing through a great period now, but for our sort it is a flabby, stale, and dull time. We are stale and dull ourselves, we can only beget gutta-percha boys, [Footnote: An allusion to Grigorovitch’s well-known story.] and the only person who does not see that is Stassov, to whom nature has given a rare faculty for getting drunk on slops. The causes of this are not to be found in our stupidity, our lack of talent, or our insolence, as Burenin imagines, but in a disease which for the artist is worse than syphilis or sexual exhaustion. We lack “something,” that is true, and that means that, lift the robe of our muse, and you will find within an empty void. Let me remind you that the writers, who we say are for all time or are simply good, and who intoxicate us, have one common and very important characteristic; they are going towards something and are summoning you towards it, too, and you feel not with your mind, but with your whole being, that they have some object, just like the ghost of Hamlet’s father, who did not come and disturb the imagination for nothing. Some have more immediate objects — the abolition of serfdom, the liberation of their country, politics, beauty, or simply vodka, like Denis Davydov; others have remote objects — God, life beyond the grave, the happiness of humanity, and so on. The best of them are realists and paint life as it is, but, through every line’s being soaked in the consciousness of an object, you feel, besides life as it is, the life which ought to be, and that captivates you. And we? We! We paint life as it is, but beyond that — nothing at all…. Flog us and we can do no more! We have neither immediate nor remote aims, and in our soul there is a great empty space. We have no politics, we do not believe in revolution, we have no God, we are not afraid of ghosts, and I personally am not afraid even of death and blindness. One who wants nothing, hopes for nothing, and fears nothing, cannot be an artist. Whether it is a disease or not — what it is does not matter; but we ought to recognize that our position is worse than a governor’s. I don’t know how it will be with us in ten or twenty years — then circumstances may be different, but meanwhile it would be rash to expect of us anything of real value, apart from the question whether we have talent or not. We write mechanically, merely obeying the long-established arrangement in accordance with which some men go into the government service, others into trade, others write…. Grigorovitch and you think I am clever. Yes, I am at least so far clever as not to conceal from myself my disease, and not to deceive myself, and not to cover up my own emptiness with other people’s rags, such as the ideas of the sixties, and so on. I am not going to throw myself like Garshin over the banisters, but I am not going to flatter myself with hopes of a better future either. I am not to blame for my disease, and it’s not for me to cure myself, for this disease, it must be supposed, has some good purpose hidden from us, and is not sent in vain….

February, 1893.

My God! What a glorious thing “Fathers and Children” is! It is positively terrifying. Bazarov’s illness is so powerfully done that I felt ill and had a sensation as though I had caught the infection from him. And the end of Bazarov? And the old men? And Kukshina? It’s beyond words. It’s simply a work of genius. I don’t like the whole of “On the Eve,” only Elena’s father and the end. The end is full of tragedy. “The Dog” is very good, the language is wonderful in it. Please read it if you have forgotten it. “Acia” is charming, “A Quiet Backwater” is too compressed and not satisfactory. I don’t like “Smoke” at all. “The House of Gentlefolk” is weaker than “Fathers and Children,” but the end is like a miracle, too. Except for the old woman in “Fathers and Children” — that is, Bazarov’s mother — and the mothers as a rule, especially the society ladies, who are, however, all alike (Liza’s mother, Elena’s mother), and Lavretsky’s mother, who had been a serf, and the humble peasant woman, all Turgenev’s girls and women are insufferable in their artificiality, and — forgive my saying it — falsity. Liza and Elena are not Russian girls, but some sort of Pythian prophetesses, full of extravagant pretensions. Irina in “Smoke,” Madame Odintsov in “Fathers and Children,” all the lionesses, in fact, fiery, alluring, insatiable creatures for ever craving for something, are all nonsensical. When one thinks of Tolstoy’s “Anna Karenin,” all these young ladies of Turgenev’s, with their seductive shoulders, fade away into nothing. The negative types of women where Turgenev is slightly caricaturing (Kukshina) or jesting (the descriptions of balls) are wonderfully drawn, and so successful, that, as the saying is, you can’t pick a hole in it.

The descriptions of nature are fine, but … I feel that we have already got out of the way of such descriptions and that we need something different….

April 26, 1893.

… I am reading Pisemsky. His is a great, very great talent! The best of his works is “The Carpenters’ Guild.” His novels are exhausting in their minute detail. Everything in him that has a temporary character, all his digs at the critics and liberals of the period, all his critical observations with their assumption of smartness and modernity, and all the so-called profound reflections scattered here and there — how petty and naive it all is to our modern ideas! The fact of the matter is this: a novelist, an artist, ought to pass by everything that has only a temporary value. Pisemsky’s people are living, his temperament is vigorous. Skabitchevsky in his history attacks him for obscurantism and treachery, but, my God! of all contemporary writers I don’t know a single one so passionately and earnestly liberal as Pisemsky. All his priests, officials, and generals are regular blackguards. No one was so down on the old legal and military set as he.

By the way, I have read also Bourget’s “Cosmopolis.” Rome and the Pope and Correggio and Michael Angelo and Titian and doges and a fifty-year-old beauty and Russians and Poles are all in Bourget, but how thin and strained and mawkish and false it is in comparison even with our coarse and simple Pisemsky! …

What a good thing I gave up the town! Tell all the Fofanovs, Tchermnys, et tutti quanti who live by literature, that living in the country is immensely cheaper than living in the town. I experience this now every day. My family costs me nothing now, for lodging, bread, vegetables, milk, butter, horses, are all our own. And there is so much to do, there is not time to get through it all. Of the whole family of Chekhovs, I am the only one to lie down, or sit at the table: all the rest are working from morning till night. Drive the poets and literary men into the country. Why should they live in starvation and beggary? Town life cannot give a poor man rich material in the sense of poetry and art. He lives within four walls and sees people only at the editors’ offices and in eating-shops….

MELIHOVO,

January 25, 1894.

I believe I am mentally sound. It is true I have no special desire to live, but that is not, so far, disease, but something probably passing and natural. It does not follow every time that an author describes someone mentally deranged, that he is himself deranged. I wrote “The Black Monk” without any melancholy ideas, through cool reflection. I simply had a desire to describe megalomania. The monk floating across the country was a dream, and when I woke I told Misha about it. So you can tell Anna Ivanovna that poor Anton Pavlovitch, thank God! has not gone out of his mind yet, but that he eats a great deal at supper and so he dreams of monks.