Rudin

He was not, however, very fond of any kind of impromptu excursion or picnic, and took part in them rather as grown-up people take part in children's games, with an air of kindly, but rather wearied, friendliness. He took interest in everything else, however. He discussed with Darya Mihailovna her plans for the estate, the education of her children, her domestic arrangements, and her affairs generally; he listened to her schemes, and was not bored by petty details, and, in his turn, proposed reforms and made suggestions. Darya Mihailovna agreed to them in words—and that was all. In matters of business she was really guided by the advice of her bailiff—an elderly, one-eyed Little Russian, a good-natured and crafty old rogue. 'What is old is fat, what is new is thin,' he used to say, with a quiet smile, winking his solitary eye.

Next to Darya Mihailovna, it was Natalya to whom Rudin used to talk most often and at most length. He used privately to give her books, to confide his plans to her, and to read her the first pages of the essays and other works he had in his mind. Natalya did not always fully grasp the significance of them.

But Rudin did not seem to care much about her understanding, so long as she listened to him. His intimacy with Natalya was not altogether pleasing to Darya Mihailovna. 'However,' she thought, 'let her chatter away with him in the country. She amuses him as a little girl now. There is no great harm in it, and, at any rate, it will improve her mind. At Petersburg I will soon put a stop to it.'

Darya Mihailovna was mistaken. Natalya did not chatter to Rudin like a school-girl; she eagerly drank in his words, she tried to penetrate to their full significance; she submitted her thoughts, her doubts to him; he became her leader, her guide. So far, it was only the brain that was stirred, but in the young the brain is not long stirred alone. What sweet moments Natalya passed when at times in the garden on the seat, in the transparent shade of the aspen tree, Rudin began to read Goethe's Faust, Hoffman, or Bettina's letters, or Novalis, constantly stopping and explaining what seemed obscure to her. Like almost all Russian girls, she spoke German badly, but she understood it well, and Rudin was thoroughly imbued with German poetry, German romanticism and philosophy, and he drew her after him into these forbidden lands. Unimagined splendours were revealed there to her earnest eyes from the pages of the book which Rudin held on his knee; a stream of divine visions, of new, illuminating ideas, seemed to flow in rhythmic music into her soul, and in her heart, moved with the high delight of noble feeling, slowly was kindled and fanned into a flame the holy spark of enthusiasm.

'Tell me, Dmitri Nikolaitch,' she began one day, sitting by the window at her embroidery-frame, 'shall you be in Petersburg in the winter?'

'I don't know,' replied Rudin, as he let the book he had been glancing through fall upon his knee; 'if I can find the means, I shall go.'

He spoke dejectedly; he felt tired, and had done nothing all day.

'I think you are sure to find the means.'

Rudin shook his head.

'You think so!'

And he looked away expressively.

Natalya was on the point of replying, but she checked herself.

'Look.' began Rudin, with a gesture towards the window, 'do you see that apple-tree? It is broken by the weight and abundance of its own fruit. True emblem of genius.'

'It is broken because it had no support,' replied Natalya

'I understand you, Natalya Alexyevna, but it is not so easy for a man to find such a support.'

'I should think the sympathy of others... in any case isolation always....'

Natalya was rather confused, and flushed a little.

'And what will you do in the country in the winter?' she added hurriedly.

'What shall I do? I shall finish my larger essay—you know it—on "Tragedy in Life and in Art." I described to you the outline of it the day before yesterday, and shall send it to you.'

'And you will publish it?'

'No.'

'No? For whose sake will you work then?'

'And if it were for you?'

Natalya dropped her eyes.

'It would be far above me.'

'What, may I ask, is the subject of the essay?' Bassistoff inquired modestly. He was sitting a little distance away.

'"Tragedy in Life and in Art,"' repeated Rudin. 'Mr. Bassistoff too will read it. But I have not altogether settled on the fundamental motive. I have not so far worked out for myself the tragic significance of love.'

Rudin liked to talk of love, and frequently did so. At first, at the word 'love,' Mlle, Boncourt started, and pricked up her eyes like an old war-horse at the sound of the trumpet; but afterwards she had grown used to it, and now only pursed up her lips and took snuff at intervals.

'It seems to me,' said Natalya timidly, 'that the tragic in love is unrequited love.'

'Not at all!' replied Rudin; 'that is rather the comic side of love. ... The question must be put in an altogether different way... one must attack it more deeply.... Love!' he pursued, 'all is mystery in love; how it comes, how it develops, how it passes away. Sometimes it comes all at once, undoubting, glad as day; sometimes it smoulders like fire under ashes, and only bursts into a flame in the heart when all is over; sometimes it winds its way into the heart like a serpent, and suddenly slips out of it again.... Yes, yes; it is the great problem. But who does love in our days? Who is so bold as to love?'

And Rudin grew pensive.

'Why is it we have not seen Sergei Pavlitch for so long?' he asked suddenly.

Natalya blushed, and bent her head over her embroidery frame.

'I don't know,' she murmured.

'What a splendid, generous fellow he is!' Rudin declared, standing up. 'It is one of the best types of a Russian gentleman.'

Mlle, Boncourt gave him a sidelong look out of her little French eyes.

Rudin walked up and down the room.

'Have you noticed,' he began, turning sharply round on his heels, 'that on the oak—and the oak is a strong tree—the old leaves only fall off when the new leaves begin to grow?'

'Yes,' answered Natalya slowly, 'I have noticed it'

'That is what happens to an old love in a strong heart; it is dead already, but still it holds its place; only another new love can drive it out.'

Natalya made no reply.

'What does that mean?' she was thinking.

Rudin stood still, tossed his hair back, and walked away.

Natalya went to her own room. She sat a long while on her little bed in perplexity, pondering over Rudin's last words. All at once she clasped her hands and began to weep bitterly. What she was weeping for—who can tell? She herself could not tell why her tears were falling so fast. She dried them; but they flowed afresh, like water from a long-pent-up source.

On this same day Alexandra Pavlovna had a conversation with Lezhnyov about Rudin. At first he bore all her attacks in silence; but at last she succeeded in rousing him into talk.

'I see,' she said to him, 'you dislike Dmitri Nikolaitch, as you did before. I purposely refrained from questioning you till now; but now you have had time to make up your mind whether there is any change in him, and I want to know why you don't like him.'

'Very well,' answered Lezhnyov with his habitual phlegm, 'since your patience is exhausted; only look here, don't get angry.'

'Come, begin, begin.'

'And let me have my say to the end.'

'Of course, of course; begin.'

'Very well,' said Lezhnyov, dropping lazily on to the sofa; 'I admit that I certainly don't like Rudin. He is a clever fellow.'

'I should think so.'