Taras Bulba and Other Tales Part 25

Such violent storms do pa.s.sions produce!

For a whole month nothing was heard of Ivan Ivanovitch. He shut himself up at home. His ancestral chest was opened, and from it were taken silver rubles, his grandfather's old silver rubles! And these rubles pa.s.sed into the ink-stained hands of legal advisers. The case was sent up to the higher court; and when Ivan Ivanovitch received the joyful news that it would be decided on the morrow, then only did he look out upon the world and resolve to emerge from his house. Alas! from that time forth the council gave notice day by day that the case would be finished on the morrow, for the s.p.a.ce of ten years.

Five years ago, I pa.s.sed through the town of Mirgorod. I came at a bad time. It was autumn, with its damp, melancholy weather, mud and mists.

An unnatural verdure, the result of incessant rains, covered with a watery network the fields and meadows, to which it is as well suited as youthful pranks to an old man, or roses to an old woman. The weather made a deep impression on me at the time: when it was dull, I was dull; but in spite of this, when I came to pa.s.s through Mirgorod, my heart beat violently. G.o.d, what reminiscences! I had not seen Mirgorod for twenty years. Here had lived, in touching friendship, two inseparable friends. And how many prominent people had died! Judge Demyan Demyanovitch was already gone: Ivan Ivanovitch, with the one eye, had long ceased to live.

I entered the main street. All about stood poles with bundles of straw on top: some alterations were in progress. Several dwellings had been removed. The remnants of board and wattled fences projected sadly here and there. It was a festival day. I ordered my basket chaise to stop in front of the church, and entered softly that no one might turn round. To tell the truth, there was no need of this: the church was almost empty; there were very few people; it was evident that even the most pious feared the mud. The candles seemed strangely unpleasant in that gloomy, or rather sickly, light. The dim vestibule was melancholy; the long windows, with their circular panes, were bedewed with tears of rain. I retired into the vestibule, and addressing a respectable old man, with greyish hair, said, "May I inquire if Ivan Nikiforovitch is still living?"

At that moment the lamp before the holy picture burned up more brightly and the light fell directly upon the face of my companion. What was my surprise, on looking more closely, to behold features with which I was acquainted! It was Ivan Nikiforovitch himself! But how he had changed!

"Are you well, Ivan Nikiforovitch? How old you have grown!"

"Yes, I have grown old. I have just come from Poltava to-day," answered Ivan Nikiforovitch.

"You don't say so! you have been to Poltava in such bad weather?"

"What was to be done? that lawsuit--"

At this I sighed involuntarily.

Ivan Nikiforovitch observed my sigh, and said, "Do not be troubled: I have reliable information that the case will be decided next week, and in my favour."

I shrugged my shoulders, and went to seek news of Ivan Ivanovitch.

"Ivan Ivanovitch is here," some one said to me, "in the choir."

I saw a gaunt form. Was that Ivan Ivanovitch? His face was covered with wrinkles, his hair was perfectly white; but the pelisse was the same as ever. After the first greetings were over, Ivan Ivanovitch, turning to me with a joyful smile which always became his funnel-shaped face, said, "Have you been told the good news?"

"What news?" I inquired.

"My case is to be decided to-morrow without fail: the court has announced it decisively."

I sighed more deeply than before, made haste to take my leave, for I was bound on very important business, and seated myself in my kibitka.

The lean nags known in Mirgorod as post-horses started, producing with their hoofs, which were buried in a grey ma.s.s of mud, a sound very displeasing to the ear. The rain poured in torrents upon the Jew seated on the box, covered with a rug. The dampness penetrated through and through me. The gloomy barrier with a sentry-box, in which an old soldier was repairing his weapons, was pa.s.sed slowly. Again the same fields, in some places black where they had been dug up, in others of a greenish hue; wet daws and crows; monotonous rain; a tearful sky, without one gleam of light!... It is gloomy in this world, gentlemen!

THE MYSTERIOUS PORTRAIT

PART I

Nowhere did so many people pause as before the little picture-shop in the Shtchukinui Dvor. This little shop contained, indeed, the most varied collection of curiosities. The pictures were chiefly oil-paintings covered with dark varnish, in frames of dingy yellow.

Winter scenes with white trees; very red sunsets, like raging conflagrations, a Flemish boor, more like a turkey-c.o.c.k in cuffs than a human being, were the prevailing subjects. To these must be added a few engravings, such as a portrait of Khozreff-Mirza in a sheepskin cap, and some generals with three-cornered hats and hooked noses. Moreover, the doors of such shops are usually festooned with bundles of those publications, printed on large sheets of bark, and then coloured by hand, which bear witness to the native talent of the Russian.

On one was the Tzarevna Miliktrisa Kirbitievna; on another the city of Jerusalem. There are usually but few purchasers of these productions, but gazers are many. Some truant lackey probably yawns in front of them, holding in his hand the dishes containing dinner from the cook-shop for his master, who will not get his soup very hot. Before them, too, will most likely be standing a soldier wrapped in his cloak, a dealer from the old-clothes mart, with a couple of penknives for sale, and a huckstress, with a basketful of shoes. Each expresses admiration in his own way. The muzhiks generally touch them with their fingers; the dealers gaze seriously at them; serving boys and apprentices laugh, and tease each other with the coloured caricatures; old lackeys in frieze cloaks look at them merely for the sake of yawning away their time somewhere; and the hucksters, young Russian women, halt by instinct to hear what people are gossiping about, and to see what they are looking at.

At the time our story opens, the young painter, Tchartkoff, paused involuntarily as he pa.s.sed the shop. His old cloak and plain attire showed him to be a man who was devoted to his art with self-denying zeal, and who had no time to trouble himself about his clothes. He halted in front of the little shop, and at first enjoyed an inward laugh over the monstrosities in the shape of pictures.

At length he sank unconsciously into a reverie, and began to ponder as to what sort of people wanted these productions? It did not seem remarkable to him that the Russian populace should gaze with rapture upon "Eruslanoff Lazarevitch," on "The Glutton" and "The Carouser,"

on "Thoma and Erema." The delineations of these subjects were easily intelligible to the ma.s.ses. But where were there purchases for those streaky, dirty oil-paintings? Who needed those Flemish boors, those red and blue landscapes, which put forth some claims to a higher stage of art, but which really expressed the depths of its degradation? They did not appear the works of a self-taught child. In that case, in spite of the caricature of drawing, a sharp distinction would have manifested itself. But here were visible only simple dullness, steady-going incapacity, which stood, through self-will, in the ranks of art, while its true place was among the lowest trades. The same colours, the same manner, the same practised hand, belonging rather to a manufacturing automaton than to a man!

He stood before the dirty pictures for some time, his thoughts at length wandering to other matters. Meanwhile the proprietor of the shop, a little grey man, in a frieze cloak, with a beard which had not been shaved since Sunday, had been urging him to buy for some time, naming prices, without even knowing what pleased him or what he wanted. "Here, I'll take a silver piece for these peasants and this little landscape.

What painting! it fairly dazzles one; only just received from the factory; the varnish isn't dry yet. Or here is a winter scene--take the winter scene; fifteen rubles; the frame alone is worth it. What a winter scene!" Here the merchant gave a slight fillip to the canvas, as if to demonstrate all the merits of the winter scene. "Pray have them put up and sent to your house. Where do you live? Here, boy, give me some string!"

"Hold, not so fast!" said the painter, coming to himself, and perceiving that the brisk dealer was beginning in earnest to pack some pictures up. He was rather ashamed not to take anything after standing so long in front of the shop; so saying, "Here, stop! I will see if there is anything I want here!" he stooped and began to pick up from the floor, where they were thrown in a heap, some worn, dusty old paintings. There were old family portraits, whose descendants, probably could not be found on earth; with torn canvas and frames minus their gilding; in short, trash. But the painter began his search, thinking to himself, "Perhaps I may come across something." He had heard stories about pictures of the great masters having been found among the rubbish in cheap print-sellers' shops.

The dealer, perceiving what he was about, ceased his importunities, and took up his post again at the door, hailing the pa.s.sers-by with, "Hither, friends, here are pictures; step in, step in; just received from the makers!" He shouted his fill, and generally in vain, had a long talk with a rag-merchant, standing opposite, at the door of his shop; and finally, recollecting that he had a customer in his shop, turned his back on the public and went inside. "Well, friend, have you chosen anything?" said he. But the painter had already been standing motionless for some time before a portrait in a large and originally magnificent frame, upon which, however, hardly a trace of gilding now remained.

It represented an old man, with a thin, bronzed face and high cheek-bones; the features seemingly depicted in a moment of convulsive agitation. He wore a flowing Asiatic costume. Dusty and defaced as the portrait was, Tchartkoff saw, when he had succeeded in removing the dirt from the face, traces of the work of a great artist. The portrait appeared to be unfinished, but the power of the handling was striking.

The eyes were the most remarkable picture of all: it seemed as though the full power of the artist's brush had been lavished upon them. They fairly gazed out of the portrait, destroying its harmony with their strange liveliness. When he carried the portrait to the door, the eyes gleamed even more penetratingly. They produced nearly the same impression on the public. A woman standing behind him exclaimed, "He is looking, he is looking!" and jumped back. Tchartkoff experienced an unpleasant feeling, inexplicable even to himself, and placed the portrait on the floor.

"Well, will you take the portrait?" said the dealer.

"How much is it?" said the painter.

"Why chaffer over it? give me seventy-five kopeks."

"No."

"Well, how much will you give?"

"Twenty kopeks," said the painter, preparing to go.

"What a price! Why, you couldn't buy the frame for that! Perhaps you will decide to purchase to-morrow. Sir, sir, turn back! Add ten kopeks.

Take it, take it! give me twenty kopeks. To tell the truth, you are my only customer to-day, and that's the only reason."

Thus Tchartkoff quite unexpectedly became the purchaser of the old portrait, and at the same time reflected, "Why have I bought it? What is it to me?" But there was nothing to be done. He pulled a twenty-kopek piece from his pocket, gave it to the merchant, took the portrait under his arm, and carried it home. On the way thither, he remembered that the twenty-kopek piece he had given for it was his last. His thoughts at once became gloomy. Vexation and careless indifference took possession of him at one and the same moment. The red light of sunset still lingered in one half the sky; the houses facing that way still gleamed with its warm light; and meanwhile the cold blue light of the moon grew brighter. Light, half-transparent shadows fell in bands upon the ground.

The painter began by degrees to glance up at the sky, flushed with a transparent light; and at the same moment from his mouth fell the words, "What a delicate tone! What a nuisance! Deuce take it!" Re-adjusting the portrait, which kept slipping from under his arm, he quickened his pace.

Weary and bathed in perspiration, he dragged himself to Vasilievsky Ostroff. With difficulty and much panting he made his way up the stairs flooded with soap-suds, and adorned with the tracks of dogs and cats.

To his knock there was no answer: there was no one at home. He leaned against the window, and disposed himself to wait patiently, until at last there resounded behind him the footsteps of a boy in a blue blouse, his servant, model, and colour-grinder. This boy was called Nikita, and spent all his time in the streets when his master was not at home.

Nikita tried for a long time to get the key into the lock, which was quite invisible, by reason of the darkness.

Finally the door was opened. Tchartkoff entered his ante-room, which was intolerably cold, as painters' rooms always are, which fact, however, they do not notice. Without giving Nikita his coat, he went on into his studio, a large room, but low, fitted up with all sorts of artistic rubbish--plaster hands, canvases, sketches begun and discarded, and draperies thrown over chairs. Feeling very tired, he took off his cloak, placed the portrait abstractedly between two small canva.s.ses, and threw himself on the narrow divan. Having stretched himself out, he finally called for a light.

"There are no candles," said Nikita.

"What, none?"

"And there were none last night," said Nikita. The artist recollected that, in fact, there had been no candles the previous evening, and became silent. He let Nikita take his coat off, and put on his old worn dressing-gown.

"There has been a gentleman here," said Nikita.

"Yes, he came for money, I know," said the painter, waving his hand.