Selected Stories of Anton Chekhov. Anton Chekhov

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СКАЧАТЬ his time of service, and if you care to hear he will tell you many long and intimate stories. He can tell one about extraordinary sages who knew everything, about remarkable students who did not sleep for weeks, about numerous martyrs and victims of science; with him good triumphs over evil, the weak always vanquishes the strong, the wise man the fool, the humble the proud, the young the old. There is no need to take all these fables and legends for sterling coin; but filter them, and you will have left what is wanted: our fine traditions and the names of real heroes, recognized as such by all.

      In our society the knowledge of the learned world consists of anecdotes of the extraordinary absentmindedness of certain old professors, and two or three witticisms variously ascribed to Gruber, to me, and to Babukin. For the educated public that is not much. If it loved science, learned men, and students, as Nikolay does, its literature would long ago have contained whole epics, records of sayings and doings such as, unfortunately, it cannot boast of now.

      After telling me a piece of news, Nikolay assumes a severe expression, and conversation about business begins. If any outsider could at such times overhear Nikolay's free use of our terminology, he might perhaps imagine that he was a learned man disguised as a soldier. And, by the way, the rumors of the erudition of the University porters are greatly exaggerated. It is true that Nikolay knows more than a hundred Latin words, knows how to put the skeleton together, sometimes prepares the apparatus and amuses the students by some long, learned quotation, but the by no means complicated theory of the circulation of the blood, for instance, is as much a mystery to him now as it was twenty years ago.

      At the table in my study, bending low over some book or preparation, sits Pyotr Ignatyevitch, my demonstrator, a modest and industrious but by no means clever man of five-and-thirty, already bald and corpulent; he works from morning to night, reads a lot, remembers well everything he has read—and in that way he is not a man, but pure gold; in all else he is a carthorse or, in other words, a learned dullard. The carthorse characteristics that show his lack of talent are these: his outlook is narrow and sharply limited by his specialty; outside his special branch he is simple as a child.

      "Fancy! what a misfortune! They say Skobelev is dead."

      Nikolay crosses himself, but Pyotr Ignatyevitch turns to me and asks:

      "What Skobelev is that?"

      Another time—somewhat earlier—I told him that Professor Perov was dead. Good Pyotr Ignatyevitch asked:

      "What did he lecture on?"

      I believe if Patti had sung in his very ear, if a horde of Chinese had invaded Russia, if there had been an earthquake, he would not have stirred a limb, but screwing up his eye, would have gone on calmly looking through his microscope. What is he to Hecuba or Hecuba to him, in fact? I would give a good deal to see how this dry stick sleeps with his wife at night.

      Another characteristic is his fanatical faith in the infallibility of science, and, above all, of everything written by the Germans. He believes in himself, in his preparations; knows the object of life, and knows nothing of the doubts and disappointments that turn the hair of talent grey. He has a slavish reverence for authorities and a complete lack of any desire for independent thought. To change his convictions is difficult, to argue with him impossible. How is one to argue with a man who is firmly persuaded that medicine is the finest of sciences, that doctors are the best of men, and that the traditions of the medical profession are superior to those of any other? Of the evil past of medicine only one tradition has been preserved—the white tie still worn by doctors; for a learned—in fact, for any educated man the only traditions that can exist are those of the University as a whole, with no distinction between medicine, law, etc. But it would be hard for Pyotr Ignatyevitch to accept these facts, and he is ready to argue with you till the day of judgment.

      I have a clear picture in my mind of his future. In the course of his life he will prepare many hundreds of chemicals of exceptional purity; he will write a number of dry and very accurate memoranda, will make some dozen conscientious translations, but he won't do anything striking. To do that one must have imagination, inventiveness, the gift of insight, and Pyotr Ignatyevitch has nothing of the kind. In short, he is not a master in science, but a journeyman.

      Pyotr Ignatyevitch, Nikolay, and I, talk in subdued tones. We are not quite ourselves. There is always a peculiar feeling when one hears through the doors a murmur as of the sea from the lecture-theatre. In the course of thirty years I have not grown accustomed to this feeling, and I experience it every morning. I nervously button up my coat, ask Nikolay unnecessary questions, lose my temper... It is just as though I were frightened; it is not timidity, though, but something different which I can neither describe nor find a name for.

      Quite unnecessarily, I look at my watch and say: "Well, it's time to go in."

      And we march into the room in the following order: foremost goes Nikolay, with the chemicals and apparatus or with a chart; after him I come; and then the carthorse follows humbly, with hanging head; or, when necessary, a dead body is carried in first on a stretcher, followed by Nikolay, and so on. On my entrance the students all stand up, then they sit down, and the sound as of the sea is suddenly hushed. Stillness reigns.

      I know what I am going to lecture about, but I don't know how I am going to lecture, where I am going to begin or with what I am going to end. I haven't a single sentence ready in my head. But I have only to look round the lecture-hall (it is built in the form of an amphitheatre) and utter the stereotyped phrase, "Last lecture we stopped at..." when sentences spring up from my soul in a long string, and I am carried away by my own eloquence. I speak with irresistible rapidity and passion, and it seems as though there were no force which could check the flow of my words. To lecture well—that is, with profit to the listeners and without boring them—one must have, besides talent, experience and a special knack; one must possess a clear conception of one's own powers, of the audience to which one is lecturing, and of the subject of one's lecture. Moreover, one must be a man who knows what he is doing; one must keep a sharp lookout, and not for one second lose sight of what lies before one.

      A good conductor, interpreting the thought of the composer, does twenty things at once: reads the score, waves his baton, watches the singer, makes a motion sideways, first to the drum then to the wind-instruments, and so on. I do just the same when I lecture. Before me a hundred and fifty faces, all unlike one another; three hundred eyes all looking straight into my face. My object is to dominate this many-headed monster. If every moment as I lecture I have a clear vision of the degree of its attention and its power of comprehension, it is in my power. The other foe I have to overcome is in myself. It is the infinite variety of forms, phenomena, laws, and the multitude of ideas of my own and other people's conditioned by them. Every moment I must have the skill to snatch out of that vast mass of material what is most important and necessary, and, as rapidly as my words flow, clothe my thought in a form in which it can be grasped by the monster's intelligence, and may arouse its attention, and at the same time one must keep a sharp lookout that one's thoughts are conveyed, not just as they come, but in a certain order, essential for the correct composition of the picture I wish to sketch. Further, I endeavor to make my diction literary, my definitions brief and precise, my wording, as far as possible, simple and eloquent. Every minute I have to pull myself up and remember that I have only an hour and forty minutes at my disposal. In short, one has one's work cut out. At one and the same minute one has to play the part of savant and teacher and orator, and it's a bad thing if the orator gets the upper hand of the savant or of the teacher in one, or vice versa.

      You lecture for a quarter of an hour, for half an hour, when you notice that the students are beginning to look at the ceiling, at Pyotr Ignatyevitch; one is feeling for his handkerchief, another shifts in his seat, another smiles at his thoughts... That means that their attention is flagging. Something must be done. Taking advantage of the first opportunity, I make some pun. A broad grin comes on to a hundred and fifty faces, the eyes shine brightly, the sound of the sea is СКАЧАТЬ