The Schoolmistress, and Other Stories. Anton Pavlovich Chekhov

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СКАЧАТЬ begin from the beginning,” said the artist.

      The friends went into a narrow passage lighted by a lamp with a reflector. When they opened the door a man in a black coat, with an unshaven face like a flunkey’s, and sleepy-looking eyes, got up lazily from a yellow sofa in the hall. The place smelt like a laundry with an odor of vinegar in addition. A door from the hall led into a brightly lighted room. The medical student and the artist stopped at this door and, craning their necks, peeped into the room.

      “Buona sera, signori, rigolleto—hugenotti—traviata!” began the artist, with a theatrical bow.

      “Havanna—tarakano—pistoleto!” said the medical student, pressing his cap to his breast and bowing low.

      Vassilyev was standing behind them. He would have liked to make a theatrical bow and say something silly, too, but he only smiled, felt an awkwardness that was like shame, and waited impatiently for what would happen next.

      A little fair girl of seventeen or eighteen, with short hair, in a short light-blue frock with a bunch of white ribbon on her bosom, appeared in the doorway.

      “Why do you stand at the door?” she said. “Take off your coats and come into the drawing-room.”

      The medical student and the artist, still talking Italian, went into the drawing-room. Vassilyev followed them irresolutely.

      “Gentlemen, take off your coats!” the flunkey said sternly; “you can’t go in like that.”

      In the drawing-room there was, besides the girl, another woman, very stout and tall, with a foreign face and bare arms. She was sitting near the piano, laying out a game of patience on her lap. She took no notice whatever of the visitors.

      “Where are the other young ladies?” asked the medical student.

      “They are having their tea,” said the fair girl. “Stepan,” she called, “go and tell the young ladies some students have come!”

      A little later a third young lady came into the room. She was wearing a bright red dress with blue stripes. Her face was painted thickly and unskillfully, her brow was hidden under her hair, and there was an unblinking, frightened stare in her eyes. As she came in, she began at once singing some song in a coarse, powerful contralto. After her a fourth appeared, and after her a fifth. …

      In all this Vassilyev saw nothing new or interesting. It seemed to him that that room, the piano, the looking-glass in its cheap gilt frame, the bunch of white ribbon, the dress with the blue stripes, and the blank indifferent faces, he had seen before and more than once. Of the darkness, the silence, the secrecy, the guilty smile, of all that he had expected to meet here and had dreaded, he saw no trace.

      Everything was ordinary, prosaic, and uninteresting. Only one thing faintly stirred his curiosity—the terrible, as it were intentionally designed, bad taste which was visible in the cornices, in the absurd pictures, in the dresses, in the bunch of ribbons. There was something characteristic and peculiar in this bad taste.

      “How poor and stupid it all is!” thought Vassilyev. “What is there in all this trumpery I see now that can tempt a normal man and excite him to commit the horrible sin of buying a human being for a rouble? I understand any sin for the sake of splendor, beauty, grace, passion, taste; but what is there here? What is there here worth sinning for? But … one mustn’t think!”

      “Beardy, treat me to some porter!” said the fair girl, addressing him.

      Vassilyev was at once overcome with confusion.

      “With pleasure,” he said, bowing politely. “Only excuse me, madam, I. … I won’t drink with you. I don’t drink.”

      Five minutes later the friends went off into another house.

      “Why did you ask for porter?” said the medical student angrily. “What a millionaire! You have thrown away six roubles for no reason whatever—simply waste!”

      “If she wants it, why not let her have the pleasure?” said Vassilyev, justifying himself.

      “You did not give pleasure to her, but to the ‘Madam.’ They are told to ask the visitors to stand them treat because it is a profit to the keeper.”

      “Behold the mill …” hummed the artist, “in ruins now. …”

      Going into the next house, the friends stopped in the hall and did not go into the drawing-room. Here, as in the first house, a figure in a black coat, with a sleepy face like a flunkey’s, got up from a sofa in the hall. Looking at this flunkey, at his face and his shabby black coat, Vassilyev thought: “What must an ordinary simple Russian have gone through before fate flung him down as a flunkey here? Where had he been before and what had he done? What was awaiting him? Was he married? Where was his mother, and did she know that he was a servant here?” And Vassilyev could not help particularly noticing the flunkey in each house. In one of the houses—he thought it was the fourth—there was a little spare, frail-looking flunkey with a watch-chain on his waistcoat. He was reading a newspaper, and took no notice of them when they went in. Looking at his face Vassilyev, for some reason, thought that a man with such a face might steal, might murder, might bear false witness. But the face was really interesting: a big forehead, gray eyes, a little flattened nose, thin compressed lips, and a blankly stupid and at the same time insolent expression like that of a young harrier overtaking a hare. Vassilyev thought it would be nice to touch this man’s hair, to see whether it was soft or coarse. It must be coarse like a dog’s.

      III

      Having drunk two glasses of porter, the artist became suddenly tipsy and grew unnaturally lively.

      “Let’s go to another!” he said peremptorily, waving his hands. “I will take you to the best one.”

      When he had brought his friends to the house which in his opinion was the best, he declared his firm intention of dancing a quadrille. The medical student grumbled something about their having to pay the musicians a rouble, but agreed to be his vis-a-vis. They began dancing.

      It was just as nasty in the best house as in the worst. Here there were just the same looking-glasses and pictures, the same styles of coiffure and dress. Looking round at the furnishing of the rooms and the costumes, Vassilyev realized that this was not lack of taste, but something that might be called the taste, and even the style, of S. Street, which could not be found elsewhere—something intentional in its ugliness, not accidental, but elaborated in the course of years. After he had been in eight houses he was no longer surprised at the color of the dresses, at the long trains, the gaudy ribbons, the sailor dresses, and the thick purplish rouge on the cheeks; he saw that it all had to be like this, that if a single one of the women had been dressed like a human being, or if there had been one decent engraving on the wall, the general tone of the whole street would have suffered.

      “How unskillfully they sell themselves!” he thought. “How can they fail to understand that vice is only alluring when it is beautiful and hidden, when it wears the mask of virtue? Modest black dresses, pale faces, mournful smiles, and darkness would be far more effective than this clumsy tawdriness. Stupid things! If they don’t understand it of themselves, their visitors might surely have taught them. …”

      A young lady in a Polish dress edged with white fur came up to him and sat down beside him.

      “You nice dark man, why aren’t you dancing?” she asked. СКАЧАТЬ