“I don’t want my new friend Dolgorowky to drink a great deal here to-day.”
Lambert flushed more hotly than ever.
The pock-marked man listened in silence but with evident pleasure. Andreyev’s behaviour seemed to please him, for some reason. I was the only one who did not understand why I was not to drink much wine.
“He says that because he’s only just had some money! You shall have another seven roubles directly after dinner — only do let us have dinner, don’t disgrace us,” Lambert hissed at him.
“Aha!” the dadais growled triumphantly. At this the pock-marked man was absolutely delighted, and he sniggered spitefully.
“Listen, you really . . .” began Trishatov to his friend with uneasiness and almost distress in his voice, evidently anxious to restrain him. Andreyev subsided, but not for long; that was not his intention. Just across the table, five paces from us, two gentleman were dining, engaged in lively conversation. Both were middle-aged gentleman, who looked extremely conscious of their own dignity; one was tall and very stout, the other was also very stout but short, they were discussing in Polish the events of the day in Paris. For some time past the dadais had been watching them inquisitively and listening to their talk. The short Pole evidently struck him as a comic figure, and he promptly conceived an aversion for him after the manner of envious and splenetic people, who often take such sudden dislikes for no reason whatever. Suddenly the short Pole pronounced the name of the deputy, Madier de Montjeau, but, as so many Poles do, he pronounced it with an accent on the syllable before the last, instead of on the last syllable; this was enough for the dadais, he turned to the Poles, and drawing up himself with dignity, he suddenly articulated loudly and distinctly as though addressing a question to them:
“Madier de Montjeáu?”
The Poles turned to him savagely.
“What do you want?” the tall stout Pole shouted threateningly to him in Russian.
The dadais paused. “Madier de Montjeáu,” he repeated suddenly again, to be heard by the whole room, giving no sort of explanation, just as he had stupidly set upon me at the door with the reiterated question “Dolgorowky.” The Poles jumped up from their seats, Lambert leapt up from the table and rushed to Andreyev, but leaving him, darted up to the Poles and began making cringing apologies to them.
“They are buffoons, Pani, they are buffoons,” the little Pole repeated contemptuously, as red as a carrot with indignation. “Soon it will be impossible to come!” There was a stir all over the room too, and a murmur of disapproval, though laughter was predominant.
“Come out . . . please . . . come along!” Lambert muttered completely disconcerted, doing his utmost to get Andreyev out of the room. The latter looking searchingly at Lambert, and judging that he would now give the money, agreed to follow him. Probably he had already extorted money from Lambert by the same kind of disgraceful behaviour. Trishatov seemed about to run after them too, but he looked at me and checked himself.
“Ach, how horrid,” he said hiding his eyes with his slender fingers.
“Very horrid,” whispered the pock-marked man, looking really angry at last.
Meanwhile Lambert came back looking quite pale, and gesticulating eagerly, began whispering something to the pock-marked man. The latter listened disdainfully, and meanwhile ordered the waiter to make haste with the coffee; he was evidently in a hurry to get off. And yet the whole affair had only been a schoolboyish prank. Trishatov got up with his cup of coffee, and came and sat down beside me.
“I am very fond of him,” he said to me with a face as open as though he had been talking to me like this all his life. “You can’t imagine how unhappy Andreyev is. He has wasted all his sister’s dowry on eating and drinking, and in fact all they had he spent on eating and drinking during the year he was in the service, and I see now he worries. And as for his not washing, it’s just through despair. And he has awfully strange ideas: he’ll tell you all of a sudden that he’s both a scoundrel and an honest man — that it’s all the same and no difference: and that there’s no need to do anything, either good or bad, they are just the same, one may do good or bad, but that the best of all is to be still, not taking off one’s clothes for a month at a time, to eat, and drink, and sleep — and nothing else. But believe me, he only says that. And do you know, I really believe he played the fool like this just now to break off with Lambert once for all. He spoke of it yesterday. Would you believe it, sometimes at night or when he has been sitting long alone, he begins to cry, and, do you know, when he cries, it’s different from anyone else; he howls, he howls in an awful way, and you know it’s even more pitiful . . . and he’s such a big strong fellow, and then all of a sudden — to see him howling. It is sad, poor fellow, isn’t it? I want to save him, though I am a wretched hopeless scamp myself, you wouldn’t believe. Will you let me in, Dolgoruky, if I ever come and see you?”
“Oh, do come, I really like you.”
“What for? Well, thank you. Listen, will you drink another glass? But after all you’d better not. He was right when he said you had better not drink any more,” he suddenly gave me a significant wink, “but I’ll drink it all the same. I have nothing now, but would you believe it, I can’t hold myself back in anything; if you were to tell me I must not dine at a restaurant again, I should be ready to do anything, simply to dine there. Oh, we genuinely want to be honest, I assure you, but we keep putting it off,
“And the years pass by and the best of our years!
“I am awfully afraid that he will hang himself. He’ll go and do it without telling anyone. He’s like that. They are all hanging themselves nowadays; why, I don’t know — perhaps there are a great many people like us. I, for instance, can’t exist without money to spend. Luxuries matter a great deal more to me than necessities.
“I say, are you fond of music? I’m awfully fond of it. I’ll play you something when I come and see you. I play very well on the piano and I studied music a very long time. I’ve studied seriously. If I were to compose an opera, do you know I should take the subject from Faust. I am very fond of that subject. I am always making up a scene in the cathedral, just imagining it in my head, I mean. The Gothic cathedral, the interior, the choirs, the hymns; Gretchen enters, and mediaeval singing, you know, so that you can hear the fifteenth century in it. Gretchen overwhelmed with grief; to begin with a recitative, subdued but terrible, full of anguish; the choirs thunder on, gloomily, sternly, callously,
“Dies irae, dies illa!
“And all of a sudden — the voice of the devil, the song of the devil. He is unseen, there is only his song, side by side with the hymns, mingling with the hymns, almost melting into them, but at the same time quite different from them — that must be managed somehow. The song is prolonged, persistent, it must be a tenor, it must be a tenor. It begins softly, tenderly: ‘Do you remember, Gretchen, when you were innocent, when you were a child, you came with your mother to this cathedral and lisped your prayers from an old prayer-book?’ But the song gets louder and louder, more intense; on higher notes: there’s a sound of tears in them, misery unceasing, and hopeless, and finally despair. ‘There’s no forgiveness, Gretchen, there’s no forgiveness for you here!’ Gretchen tries to pray, but only cries of misery rise up from her soul — you know when the breast is convulsed with tears — but Satan’s song never ceases, and pierces deeper and deeper into the soul like a spear; it gets higher and higher, and suddenly breaks off almost in a shriek: ‘The end to all, accursed one!’ Gretchen falls on her knees, clasps her hands before her — and then comes her prayer, something very short, semi-recitative, but naïve, entirely without ornament, something mediaeval in the extreme, four lines, only four lines altogether — Stradella has some such notes — and at the last note she swoons! General confusion. She is picked up, carried out, and then the choir thunders forth. It is, as it were, a storm of voices, a hymn of inspiration, of victory, overwhelming, something in the style of our
‘Borne on high by angels’