In the morning she went away.
I stayed at Dubechnia for another three days, waiting for her; then I moved all our things into one room, locked it, and went to town. When I rang the bell at the engineer's, it was evening, and the lamps were alight in Great Gentry Street. Pavel told me that nobody was at home; Victor Ivanich had gone to Petersburg and Maria Victorovna must be at a rehearsal at the Azhoguins'. I remember the excitement with which I went to the Azhoguins', and how my heart thumped and sank within me, as I went up-stairs and stood for a long while on the landing, not daring to enter that temple of the Muses! In the hall, on the table, on the piano, on the stage, there were candles burning; all in threes, for the first performance was fixed for the thirteenth, and the dress rehearsal was on Monday—the unlucky day. A fight against prejudice! All the lovers of dramatic art were assembled; the eldest, the middle, and the youngest Miss Azhoguin were walking about the stage, reading their parts. Radish was standing still in a corner all by himself, with his head against the wall, looking at the stage with adoring eyes, waiting for the beginning of the rehearsal. Everything was just the same!
I went toward my hostess to greet her, when suddenly everybody began to say "Ssh" and to wave their hands to tell me not to make such a noise. There was a silence. The top of the piano was raised, a lady sat down, screwing up her short-sighted eyes at the music, and Masha stood by the piano, dressed up, beautiful, but beautiful in an odd new way, not at all like the Masha who used to come to see me at the mill in the spring. She began to sing:
"Why do I love thee, straight night?"
It was the first time since I had known her that I had heard her sing. She had a fine, rich, powerful voice, and to hear her sing was like eating a ripe, sweet-scented melon. She finished the song and was applauded. She smiled and looked pleased, made play with her eyes, stared at the music, plucked at her dress exactly like a bird which has broken out of its cage and preens its wings at liberty. Her hair was combed back over her ears, and she had a sly defiant expression on her face, as though she wished to challenge us all, or to shout at us, as though we were horses: "Gee up, old things!"
And at that moment she must have looked very like her grandfather, the coachman.
"You here, too?" she asked, giving me her hand. "Did you hear me sing? How did you like it?" And, without waiting for me to answer she went on: "You arrived very opportunely. I'm going to Petersburg for a short time to-night. May I?"
At midnight I took her to the station. She embraced me tenderly, probably out of gratitude, because I did not pester her with useless questions, and she promised to write to me, and I held her hands for a long time and kissed them, finding it hard to keep back my tears, and not saying a word.
And when the train moved, I stood looking at the receding lights, kissed her in my imagination and whispered:
"Masha dear, wonderful Masha!..."
I spent the night at Mikhokhov, at Karpovna's, and in the morning I worked with Radish, upholstering the furniture at a rich merchant's, who had married his daughter to a doctor.
XVII
On Sunday afternoon my sister came to see me and had tea with me.
"I read a great deal now," she said, showing me the books she had got out of the town library on her way. "Thanks to your wife and Vladimir. They awakened my self-consciousness. They saved me and have made me feel that I am a human being. I used not to sleep at night for worrying: 'What a lot of sugar has been wasted during the week.' 'The cucumbers must not be oversalted!' I don't sleep now, but I have quite different thoughts. I am tormented with the thought that half my life has passed so foolishly and half-heartedly. I despise my old life. I am ashamed of it. And I regard my father now as an enemy. Oh, how grateful I am to your wife! And Vladimir. He is such a wonderful man! They opened my eyes."
"It is not good that you can't sleep," I said.
"You think I am ill? Not a bit. Vladimir sounded me and says I am perfectly healthy. But health is not the point. That doesn't matter so much.... Tell me, am I right?"
She needed moral support. That was obvious. Masha had gone, Doctor Blagovo was in Petersburg, and there was no one except myself in the town, who could tell her that she was right. She fixed her eyes on me, trying to read my inmost thoughts, and if I were sad in her presence, she always took it upon herself and was depressed. I had to be continually on my guard, and when she asked me if she was right, I hastened to assure her that she was right and that I had a profound respect for her.
"You know, they have given me a part at the Azhoguins'," she went on. "I wanted to act. I want to live. I want to drink deep of life; I have no talent whatever, and my part is only ten lines, but it is immeasurably finer and nobler than pouring out tea five times a day and watching to see that the cook does not eat the sugar left over. And most of all I want to let father see that I too can protest."
After tea she lay down on my bed and stayed there for some time, with her eyes closed, and her face very pale.
"Just weakness!" she said, as she got up. "Vladimir said all town girls and women are anæmic from lack of work. What a clever man Vladimir is! He is right; wonderfully right! We do need work!"
Two days later she came to rehearsal at the Azhoguins' with her part in her hand. She was in black, with a garnet necklace, and a brooch that looked at a distance like a pasty, and she had enormous earrings, in each of which sparkled a diamond. I felt uneasy when I saw her; I was shocked by her lack of taste. The others noticed too that she was unsuitably dressed and that her earrings and diamonds were out of place. I saw their smiles and heard some one say jokingly:
"Cleopatra of Egypt!"
She was trying to be fashionable, and easy, and assured, and she seemed affected and odd. She lost her simplicity and her charm.
"I just told father that I was going to a rehearsal," she began, coming up to me, "and he shouted that he would take his blessing from me, and he nearly struck me. Fancy," she added, glancing at her part, "I don't know my part. I'm sure to make a mistake. Well, the die is cast," she said excitedly; "the die is cast."
She felt that all the people were looking at her and were all amazed at the important step she had taken and that they were all expecting something remarkable from her, and it was impossible to convince her that nobody took any notice of such small uninteresting persons as she and I.
She had nothing to do until the third act, and her part, a guest, a country gossip, consisted only in standing by the door, as if she were overhearing something, and then speaking a short monologue. For at least an hour and a half before her cue, while the others were walking, reading, having tea, quarrelling, she never left me and kept on mumbling her part, and dropping her written copy, imagining that everybody was looking at her, and waiting for her to come on, and she patted her hair with a trembling hand and said:
"I'm sure to make a mistake.... You don't know how awful I feel! I am as terrified as if I were going to the scaffold."
At last her cue came.
"Cleopatra Alexeyevna—your cue!" said the manager.
She walked on to the middle of the stage with an expression of terror on her face; she looked ugly and stiff, and for half a minute was speechless, perfectly motionless, except for her large earrings which wabbled on either side of her face.
"You can read your part, the first time," said some one.
I could see that she was trembling so that she could neither speak nor open her part, and that she had entirely forgotten the words and I had just made up my mind to go up and say something to her when she suddenly dropped down on her knees in the middle of the stage and sobbed loudly.