LETTERS OF ANTON CHEKHOV TO HIS FAMILY AND FRIENDS

Of the eighteen hundred and ninety letters published by Chekhov’s family I have chosen for translation these letters and passages from letters which best to illustrate Chekhov’s life, character and opinions. The brief memoir is abridged and adapted from the biographical sketch by his brother Mihail. Chekhov’s letters to his wife after his marriage have not as yet been published.

[ [!-- H2 anchor --] ]

BIOGRAPHICAL SKETCH

In 1841 a serf belonging to a Russian nobleman purchased his freedom and the freedom of his family for 3,500 roubles, being at the rate of 700 roubles a soul, with one daughter, Alexandra, thrown in for nothing. The grandson of this serf was Anton Chekhov, the author; the son of the nobleman was Tchertkov, the Tolstoyan and friend of Tolstoy.

There is in this nothing striking to a Russian, but to the English student it is sufficiently significant for several reasons. It illustrates how recent a growth was the educated middle-class in pre-revolutionary Russia, and it shows, what is perhaps more significant, the homogeneity of the Russian people, and their capacity for completely changing their whole way of life.

Chekhov’s father started life as a slave, but the son of this slave was even more sensitive to the Arts, more innately civilized and in love with the things of the mind than the son of the slaveowner. Chekhov’s father, Pavel Yegorovitch, had a passion for music and singing; while he was still a serf boy he learned to read music at sight and to play the violin. A few years after his freedom had been purchased he settled at Taganrog, a town on the Sea of Azov, where he afterwards opened a “Colonial Stores.”

This business did well until the construction of the railway to Vladikavkaz, which greatly diminished the importance of Taganrog as a port and a trading centre. But Pavel Yegorovitch was always inclined to neglect his business. He took an active part in all the affairs of the town, devoted himself to church singing, conducted the choir, played on the violin, and painted ikons.

In 1854 he married Yevgenia Yakovlevna Morozov, the daughter of a cloth merchant of fairly good education who had settled down at Taganrog after a life spent in travelling about Russia in the course of his business.

There were six children, five of whom were boys, Anton being the third son. The family was an ordinary patriarchal household of the kind common at that time. The father was severe, and in exceptional cases even went so far as to chastise his children, but they all lived on warm and affectionate terms. Everyone got up early, the boys went to the high school, and when they returned learned their lessons. All of them had their hobbies. The eldest, Alexandr, would construct an electric battery, Nikolay used to draw, Ivan to bind books, while Anton was always writing stories. In the evening, when their father came home from the shop, there was choral singing or a duet.

Pavel Yegorovitch trained his children into a regular choir, taught them to sing music at sight, and play on the violin, while at one time they had a music teacher for the piano too. There was also a French governess who came to teach the children languages. Every Saturday the whole family went to the evening service, and on their return sang hymns and burned incense. On Sunday morning they went to early mass, after which they all sang hymns in chorus at home. Anton had to learn the whole church service by heart and sing it over with his brothers.

The chief characteristic distinguishing the Chekhov family from their neighbours was their habit of singing and having religious services at home.

Though the boys had often to take their father’s place in the shop, they had leisure enough to enjoy themselves. They sometimes went for whole days to the sea fishing, played Russian tennis, and went for excursions to their grandfather’s in the country. Anton was a sturdy, lively boy, extremely intelligent, and inexhaustible in jokes and enterprises of all kinds. He used to get up lectures and performances, and was always acting and mimicking. As children, the brothers got up a performance of Gogol’s “Inspector General,” in which Anton took the part of Gorodnitchy. One of Anton’s favourite improvisations was a scene in which the Governor of the town attended church parade at a festival and stood in the centre of the church, on a rug surrounded by foreign consuls. Anton, dressed in his high-school uniform, with his grandfather’s old sabre coming to his shoulder, used to act the part of the Governor with extraordinary subtlety and carry out a review of imaginary Cossacks. Often the children would gather round their mother or their old nurse to hear stories.

Chekhov’s story “Happiness” was written under the influence of one of his nurse’s tales, which were always of the mysterious, of the extraordinary, of the terrible, and poetical.

Their mother, on the other hand, told the children stories of real life, describing how she had travelled all over Russia as a little girl, how the Allies had bombarded Taganrog during the Crimean War, and how hard life had been for the peasants in the days of serfdom. She instilled into her children a hatred of brutality and a feeling of regard for all who were in an inferior position, and for birds and animals.

Chekhov in later years used to say: “Our talents we got from our father, but our soul from our mother.”

In 1875 the two elder boys went to Moscow.

After their departure the business went from bad to worse, and the family sank into poverty.

In 1876 Pavel Yegorovitch closed his shop, and went to join his sons in Moscow. While earning their own living, one was a student at the University, and the other a student at the School of Sculpture and Painting. The house was sold by auction, one of the creditors took all the furniture, and Chekhov’s mother was left with nothing. Some months afterwards she went to rejoin her husband in Moscow, taking the younger children with her, while Anton, who was then sixteen, lived on in solitude at Taganrog for three whole years, earning his own living, and paying for his education at the high school.

He lived in the house that had been his father’s, in the family of one Selivanov, the creditor who had bought it, and gave lessons to the latter’s nephew, a Cossack. He went with his pupil to the latter’s house in the country, and learned to ride and shoot. During the last two years he was very fond of the society of the high-school girls, and used to tell his brothers that he had had the most delightful flirtations.

At the same time he went frequently to the theatre and was very fond of French melodramas, so that he was by no means crushed by his early struggle for existence. In 1879 he went to Moscow to enter the University, bringing with him two school-fellows who boarded with his family. He found his father had just succeeded in getting work away from home, so that from the first day of his arrival he found himself head of the family, every member of which had to work for their common livelihood. Even little Mihail used to copy out lectures for students, and so made a little money. It was the absolute necessity of earning money to pay for his fees at the University and to help in supporting the household that forced Anton to write. That winter he wrote his first published story, “A Letter to a Learned Neighbour.” All the members of the family were closely bound together round one common centre—Anton. “What will Anton say?” was always their uppermost thought on every occasion.

Ivan soon became the master of the parish school at Voskresensk, a little town in the Moscow province. Living was cheap there, so the other members of the family spent the summer there; they were joined by Anton when he had taken his degree, and the Chekhovs soon had a large circle of friends in the neighbourhood. Every day the company met, went long walks, played croquet, discussed politics, read aloud, and went into raptures over Shtchedrin. Here Chekhov gained an insight into military society which he afterwards turned to account in his play “The Three Sisters.”

One day a young doctor called Uspensky came in from Zvenigorod, a small town fourteen miles away. “Look here,” he said to Chekhov, “I am going away for a holiday and can’t find anyone to take my place.... You take the job on. My Pelageya will cook for you, and there is a guitar there....”

Voskresensk and Zvenigorod played an important part in Chekhov’s life as a writer; a whole series of his tales is founded on his experiences there, besides which it was his first introduction to the society of literary and artistic people. Three or four miles from Voskresensk was the estate of a landowner, A. S. Kiselyov, whose wife was the daughter of Begitchev, the director of the Moscow Imperial Theatre. The Chekhovs made the acquaintance of the Kiselyovs, and spent three summers in succession on their estate, Babkino.

The Kiselyovs were musical and cultivated people, and intimate friends of Dargomyzhsky, Tchaykovsky the composer, and the Italian actor Salvini. Madame Kiselyov was passionately fond of fishing, and would spend hours at a time sitting on the river bank with Anton, fishing and talking about literature. She was herself a writer. Chekhov was always playing with the Kiselyov children and running about the old park with them. The people he met, the huntsman, the gardener, the carpenters, the sick women who came to him for treatment, and the place itself, river, forests, nightingales—all provided Chekhov with subjects to write about and put him in the mood for writing. He always got up early and began writing by seven o’clock in the morning. After lunch the whole party set off to look for mushrooms in the woods. Anton was fond of looking for mushrooms, and said it stimulated the imagination. At this time he was always talking nonsense.

Levitan, the painter, lived in the neighbourhood, and Chekhov and he dressed up, blacked their faces and put on turbans. Levitan then rode off on a donkey through the fields, where Anton suddenly sprang out of the bushes with a gun and began firing blank cartridges at him.

In 1886 Chekhov suffered for the second time from an attack of spitting blood. There is no doubt that consumption was developing, but apparently he refused to believe this himself. He went on being as gay as ever, though he slept badly and often had terrible dreams. It was one of these dreams that suggested the subject of his story “The Black Monk.”

That year he began to write for the Novoye Vremya, which made a special feature of his work. Under the influence of letters from Grigorovitch, who was the first person to appreciate his talent, Chekhov began to take his writing more seriously.

In 1887 he visited the south of Russia and stayed at the Holy Mountains, which gave him the subjects of two of his stories, “Easter Eve” and “Uprooted.” In the autumn of that year he was asked by Korsh, a theatrical manager who knew him as a humorous writer, to write something for his theatre. Chekhov sat down and wrote “Ivanov” in a fortnight, sending off every act for rehearsal as it was completed.

By this time he had won a certain amount of recognition, everyone was talking of him, and there was consequently great curiosity about his new play. The performance was, however, only partially a success; the audience, divided into two parties, hissed vigorously and clapped noisily. For a long time afterwards the newspapers were full of discussions of the character and personality of the hero, while the novelty of the dramatic method attracted great attention.

In January, 1889, the play was performed at the Alexandrinsky Theatre in Petersburg and the controversy broke out again.

“Ivanov” was the turning-point in Chekhov’s mental development, and literary career. He took up his position definitely as a writer, though his brass plate continued to hang on the door. Shortly after writing “Ivanov,” he wrote a one-act play called “The Bear.” The following season Solovtsev, who had taken the chief character in “The Bear,” opened a theatre of his own in Moscow, which was not at first a success. He appealed to Chekhov to save him with a play for Christmas, which was only ten days off. Chekhov set to work and wrote an act every day. The play was produced in time, but the author was never satisfied with it, and after a short, very successful run took it off the stage. Several years later he completely remodelled it and produced it as “Uncle Vanya” at the Art Theatre in Moscow. At this time he was writing a long novel, of which he often dreamed aloud, and which he liked to talk about. He was for several years writing at this novel, but no doubt finally destroyed it, as no trace of it could be found after his death. He wanted it to embody his views on life, opinions which he expressed in a letter to Plestcheyev in these words:

“I am not a Liberal, not a Conservative.... I should have liked to have been a free artist and nothing more—and I regret that God has not given me the strength to be one. I hate lying and violence in all their forms—the most absolute freedom, freedom from force and fraud in whatever form the two latter may be expressed, that is the programme I would hold to if I were a great artist.”

At this time he was always gay and insisted on having people round him while he worked. His little house in Moscow, which “looked like a chest of drawers,” was a centre to which people, and especially young people, flocked in swarms. Upstairs they played the piano, a hired one, while downstairs he sat writing through it all. “I positively can’t live without visitors,” he wrote to Suvorin; “when I am alone, for some reason I am frightened.” This gay life which seemed so full of promise was, however, interrupted by violent fits of coughing. He tried to persuade other people, and perhaps himself, that it was not serious, and he would not consent to be properly examined. He was sometimes so weak from haemorrhage that he could see no one, but as soon as the attack was over his mood changed, the doors were thrown open, visitors arrived, there was music again, and Chekhov was once more in the wildest spirits.

The summers of those two years, 1888 and 1889, he spent with his family in a summer villa at Luka, in the province of Harkov. He was in ecstasies beforehand over the deep, broad river, full of fish and crayfish, the pond full of carp, the woods, the old garden, and the abundance of young ladies. His expectations were fulfilled in every particular, and he had all the fishing and musical society he could wish for. Soon after his arrival Plestcheyev came to stay with him on a month’s visit.

He was an old man in feeble health, but attractive to everyone. Young ladies in particular were immediately fascinated by him. He used to compose his works aloud, sometimes shouting at the top of his voice, so that Chekhov would run in and ask him if he wanted anything. Then the old man would give a sweet and guilty smile and go on with his work. Chekhov was in constant anxiety about the old man’s health, as he was very fond of cakes and pastry, and Chekhov’s mother used to regale him on them to such an extent that Anton was constantly having to give him medicine. Afterwards Suvorin, the editor of Novoye Vremya, came to stay. Chekhov and he used to paddle in a canoe, hollowed out of a tree, to an old mill, where they would spend hours fishing and talking about literature.

Both the grandsons of serfs, both cultivated and talented men, they were greatly attracted by each other. Their friendship lasted for several years, and on account of Suvorin’s reactionary opinions, exposed Chekhov to a great deal of criticism in Russia. Chekhov’s feelings for Suvorin began to change at the time of the Dreyfus case, but he never broke entirely with him. Suvorin’s feelings for Chekhov remained unchanged.

In the spring of 1889 his brother Nikolay, the artist, fell ill with consumption, and his illness occupied Anton entirely, and completely prevented his working. That summer Nikolay died, and it was under the influence of this, his first great sorrow, that Chekhov wrote “A Dreary Story.” For several months after the death of his brother he was extremely restless and depressed.

In 1890 his younger brother Mihail was taking his degree in law at Moscow, and studying treatises on the management of prisons. Chekhov got hold of them, became intensely interested in prisons, and resolved to visit the penal settlement of Sahalin. He made up his mind to go to the Far East so unexpectedly that it was difficult for his family to believe that he was in earnest.

He was afraid that after Kennan’s revelations about the penal system in Siberia, he would, as a writer, be refused permission to visit the prisons in Sahalin, and therefore tried to get a free pass from the head of the prison administration, Galkin-Vrasskoy. When this proved fruitless he set off in April, 1890, with no credentials but his card as a newspaper correspondent.

The Siberian railway did not then exist, and only after great hardships, being held up by floods and by the impassable state of the roads, Chekhov succeeded in reaching Sahalin on the 11th of July, having driven nearly 3,000 miles. He stayed three months on the island, traversed it from north to south, made a census of the population, talked to every one of the ten thousand convicts, and made a careful study of the convict system. Apparently the chief reason for all this was the consciousness that “We have destroyed millions of men in prisons.... It is not the superintendents of the prisons who are to blame, but all of us.” In Russia it was not possible to be a “free artist and nothing more.”

Chekhov left Sahalin in October and returned to Europe by way of India and the Suez Canal. He wanted to visit Japan, but the steamer was not allowed to put in at the port on account of cholera.

In the Indian Ocean he used to bathe by diving off the forecastle deck when the steamer was going at full speed, and catching a rope which was let down from the stern. Once while he was doing this he saw a shark and a shoal of pilot fish close to him in the water, as he describes in his story “Gusev.”

The fruits of this journey were a series of articles in Russkaya Myssl on the island of Sahalin, and two short stories, “Gusev” and “In Exile.” His articles on Sahalin were looked on with a favourable eye in Petersburg, and, who knows, it is possible that the reforms which followed in regard to penal servitude and exile would not have taken place but for their influence.

After about a month in Moscow, Chekhov went to Petersburg to see Suvorin. The majority of his Petersburg friends and admirers met him with feelings of envy and ill-will. People gave dinners in his honour and praised him to the skies, but at the same time they were ready to “tear him to pieces.” Even in Moscow such people did not give him a moment for work or rest. He was so prostrated by the feeling of hostility surrounding him that he accepted an invitation from Suvorin to go abroad with him. When Chekhov had completed arrangements for equipping the Sahalin schools with the necessary books, they set off for the South of Europe. Vienna delighted him, and Venice surpassed all his expectations and threw him into a state of childlike ecstasy.

Everything fascinated him—and then there was a change in the weather and a steady downpour of rain. Chekhov’s spirits drooped. Venice was damp and seemed horrible, and he longed to escape from it.

He had had just such a change of mood in Singapore, which interested him immensely and suddenly filled him with such misery that he wanted to cry.

After Venice Chekhov did not get the pleasure he expected from any Italian town. Florence did not attract him; the sun was not shining. Rome gave him the impression of a provincial town. He was feeling exhausted, and to add to his depression he had got into debt, and had the prospect of spending the summer without any money at all.

Travelling with Suvorin, who did not stint himself, drew him into spending more than he intended, and he owed Suvorin a sum which was further increased at Monte Carlo by Chekhov’s losing nine hundred roubles at roulette. But this loss was a blessing to him in so far as, for some reason, it made him feel satisfied with himself. At the end of April, 1891, after a stay in Paris, Chekhov returned to Moscow. Except at Vienna and for the first days in Venice and at Nice, it had rained the whole time. On his return he had to work extremely hard to pay for his two tours. His brother Mihail was at this time inspector of taxes at Alexino, and Chekhov and his household spent the summer not far from that town in the province of Kaluga, so as to be near him. They took a house dating from the days of Catherine. Chekhov’s mother had to sit down and rest halfway when she crossed the hall, the rooms were so large. He liked the place with its endless avenues of lime-trees and poetical river, while fishing and gathering mushrooms soothed him and put him in the mood for work. Here he went on with his story “The Duel,” which he had begun before going abroad. From the windows there was the view of an old house which Chekhov described in “An Artist’s Story,” and which he was very eager to buy. Indeed from this time he began thinking of buying a country place of his own, not in Little Russia, but in Central Russia. Petersburg seemed to him more and more idle, cold and egoistic, and he had lost all faith in his Petersburg acquaintances. On the other hand, Moscow no longer seemed to him as before “like a cook,” and he grew to love it. He grew fond of its climate, its people and its bells. He always delighted in bells. Sometimes in earlier days he had gathered together a party of friends and gone with them to Kamenny Bridge to listen to the Easter bells. After eagerly listening to them he would set off to wander from church to church, and with his legs giving way under him from fatigue would, only when Easter night was over, make his way homewards. Meanwhile his father, who was fond of staying till the end of the service, would return from the parish church, and all the brothers would sing “Christ is risen” in chorus, and then they all sat down to break their fast. Chekhov never spent an Easter night in bed.

Meanwhile in the spring of 1892 there began to be fears about the crops. These apprehensions were soon confirmed. An unfortunate summer was followed by a hard autumn and winter, in which many districts were famine-stricken. Side by side with the Government relief of the starving population there was a widespread movement for organizing relief, in which various societies and private persons took part. Chekhov naturally was drawn into this movement. The provinces of Nizhni-Novogorod and Voronezh were in the greatest distress, and in the former of these two provinces, Yegorov, an old friend of Chekhov’s Voskresensk days, was a district captain (Zemsky Natchalnik). Chekhov wrote to Yegorov, got up a subscription fund among his acquaintance, and finally set off himself for Nizhni-Novogorod. As the starving peasants were selling their horses and cattle for next to nothing, or even slaughtering them for food, it was feared that as spring came on there would be no beasts to plough with, so that the coming year threatened to be one of famine also.

Chekhov organized a scheme for buying up the horses and feeding them till the spring at the expense of a relief fund, and then, as soon as field labour was possible, distributing them among the peasants who were without horses.

After visiting the province of Nizhni-Novogorod, Chekhov went with Suvorin to Voronezh. But this expedition was not a successful one. He was revolted by the ceremonious dinners with which he was welcomed as an author, while the whole province was suffering from famine. Moreover travelling with Suvorin tied him down and hindered his independent action. Chekhov longed for intense personal activity such as he displayed later in his campaign against the cholera.

In the winter of the same year his long-cherished dream was realized: he bought himself an estate. It was in the province of Moscow, near the hamlet of Melihovo. As an estate it had nothing to recommend it but an old, badly laid out homestead, wastes of land, and a forest that had been felled. It had been bought on the spur of the moment, simply because it had happened to turn up. Chekhov had never been to the place before he bought it, and only visited it when all the formalities had been completed. One could hardly turn round near the house for the mass of hurdles and fences. Moreover the Chekhovs moved into it in the winter when it was under snow, and all boundaries being obliterated, it was impossible to tell what was theirs and what was not. But in spite of all that, Chekhov’s first impression was favourable, and he never showed a sign of being disappointed. He was delighted by the approach of spring and the fresh surprises that were continually being revealed by the melting snow. Suddenly it would appear that a whole haystack belonged to him which he had supposed to be a neighbour’s, then an avenue of lime-trees came to light which they had not distinguished before under the snow. Everything that was amiss in the place, everything he did not like, was at once abolished or altered. But in spite of all the defects of the house and its surroundings, and the appalling road from the station (nearly nine miles) and the lack of rooms, so many visitors came that there was nowhere to put them, and beds had sometimes to be made up in the passages. Chekhov’s household at this time consisted of his father and mother, his sister, and his younger brother Mihail. These were all permanent inmates of Melihovo.

As soon as the snow had disappeared the various duties in the house and on the land were assigned: Chekhov’s sister undertook the flower-beds and the kitchen garden, his younger brother undertook the field work. Chekhov himself planted the trees and looked after them. His father worked from morning till night weeding the paths in the garden and making new ones.

Everything attracted the new landowner: planting the bulbs and watching the flight of rooks and starlings, sowing the clover, and the goose hatching out her goslings. By four o’clock in the morning Chekhov was up and about. After drinking his coffee he would go out into the garden and would spend a long time scrutinizing every fruit-tree and every rose-bush, now cutting off a branch, now training a shoot, or he would squat on his heels by a stump and gaze at something on the ground. It turned out that there was more land than they needed (639 acres), and they farmed it themselves, with no bailiff or steward, assisted only by two labourers, Frol and Ivan.

At eleven o’clock Chekhov, who got through a good deal of writing in the morning, would go into the dining-room and look significantly at the clock. His mother would jump up from her seat and her sewing-machine and begin to bustle about, crying: “Oh dear! Antosha wants his dinner!”

When the table was laid there were so many homemade and other dainties prepared by his mother that there would hardly be space on the table for them. There was not room to sit at the table either. Besides the five permanent members of the family there were invariably outsiders as well. After dinner Chekhov used to go off to his bedroom and lock himself in to “read.” Between his after-dinner nap and tea-time he wrote again. The time between tea and supper (at seven o’clock in the evening) was devoted to walks and outdoor work. At ten o’clock they went to bed. Lights were put out and all was stillness in the house; the only sound was a subdued singing and monotonous recitation. This was Pavel Yegorovitch repeating the evening service in his room: he was religious and liked to say his prayers aloud.

From the first day that Chekhov moved to Melihovo the sick began flocking to him from twenty miles around. They came on foot or were brought in carts, and often he was fetched to patients at a distance. Sometimes from early in the morning peasant women and children were standing before his door waiting. He would go out, listen to them and sound them, and would never let one go away without advice and medicine. His expenditure on drugs was considerable, as he had to keep a regular store of them. Once some wayfarers brought Chekhov a man they had picked up by the roadside in the middle of the night, stabbed in the stomach with a pitchfork. The peasant was carried into his study and put down in the middle of the floor, and Chekhov spent a long time looking after him, examining his wounds and bandaging them up. But what was hardest for Chekhov was visiting the sick at their own homes: sometimes there was a journey of several hours, and in this way the time essential for writing was wasted.

The first winter at Melihovo was cold; it lasted late and food was short. Easter came in the snow. There was a church at Melihovo in which a service was held only once a year, at Easter. Visitors from Moscow were staying with Chekhov. The family got up a choir among themselves and sang all the Easter matins and mass. Pavel Yegorovitch conducted as usual. It was out of the ordinary and touching, and the peasants were delighted: it warmed their hearts to their new neighbours.

Then the thaw came. The roads became appalling. There were only three broken-down horses on the estate and not a wisp of hay. The horses had to be fed on rye straw chopped up with an axe and sprinkled with flour. One of the horses was vicious and there was no getting it out of the yard. Another was stolen in the fields and a dead horse left in its place. And so for a long time there was only one poor spiritless beast to drive which was nicknamed Anna Petrovna. This Anna Petrovna contrived to trot to the station, to take Chekhov to his patients, to haul logs and to eat nothing but straw sprinkled with flour. But Chekhov and his family did not lose heart. Always affectionate, gay and plucky, he cheered the others, work went ahead, and in less than three months everything in the place was changed: the house was furnished with crockery; there was the ring of carpenters’ axes; six horses were bought, and all the field work for the spring had been completed in good time and in accordance with the rules of agricultural science. They had no experience at all, but bought masses of books on the management of the land, and every question, however small, was debated in common.

Their first successes delighted Chekhov. He had thirty acres under rye, thirty under oats, and fully thirty under hay. Marvels were being done in the kitchen garden: tomatoes and artichokes did well in the open air. A dry spring and summer ruined the oats and the rye; the peasants cut the hay in return for half the crop, and Chekhov’s half seemed a small stack; only in the kitchen garden things went well.

The position of Melihovo on the highroad and the news that Chekhov the author had settled there inevitably led to new acquaintances. Doctors and members of the local Zemstvos began visiting Chekhov; acquaintance was made with the officials of the district, and Chekhov was elected a member of the Serpuhov Sanitary Council.

At that time cholera was raging in the South of Russia. Every day it came nearer and nearer to the province of Moscow, and everywhere it found favourable conditions among the population weakened by the famine of autumn and winter. It was essential to take immediate measures for meeting the cholera, and the Zemstvo of Serpuhov worked its hardest. Chekhov as a doctor and a member of the Sanitary Council was asked to take charge of a section. He immediately gave his services for nothing. He had to drive about among the manufacturers of the district persuading them to take adequate measures to combat the cholera. Owing to his efforts the whole section containing twenty-five villages and hamlets was covered with a network of the necessary institutions. For several months Chekhov scarcely got out of his chaise. During that time he had to drive all over his section, receive patients at home, and do his literary work. He returned home shattered and exhausted, but always behaved as though he were doing something trivial; he cracked little jokes and made everyone laugh as before, and carried on conversations with his dachshund, Quinine, about her supposed sufferings.

By early autumn the place had become unrecognizable. The outhouses had been rebuilt, unnecessary fences had been removed, rose-trees had been planted, a flower-bed had been laid out; in the fields before the gates Chekhov was planning to dig a big new pond. With what interest he watched each day the progress of the work upon it! He planted trees round it and dropped into it tiny carp and perch which he brought with him in a jar from Moscow. The pond became later on more like an ichthyological station than a pond, as there was no kind of fish in Russia, except the pike, of which Chekhov had not representatives in this pond. He liked sitting on the dam on its bank and watching with ecstasy shoals of little fish coming suddenly to the surface and then hiding in its depths. An excellent well had been dug in Melihovo before this. Chekhov had been very anxious that it should be in Little Russian style with a crane. But the position did not allow of this, and it was made with a big wheel painted yellow like the wells at Russian railway stations. The question where to dig this well and whether the water in it would be good greatly interested Chekhov. He wanted exact information and a theory based on good grounds, seeing that nine-tenths of Russia uses water out of wells, and has done so since time immemorial; but whenever he questioned the well-sinkers who came to him, he received the same vague answer: “Who can tell? It’s in God’s hands. Can you find out beforehand what the water will be like?”

But the well, like the pond, was a great success, and the water turned out to be excellent.

He began seriously planning to build a new house and farm buildings. Creative activity was his passion. He was never satisfied with what he had ready-made; he longed to make something new. He planted little trees, raised pines and fir-trees from seed, looked after them as though they were his children, and, like Colonel Vershinin in his “Three Sisters,” dreamed as he looked at them of what they would be like in three or four hundred years.

The winter of 1893 was a severe one with a great deal of snow. The snow was so high under the windows that the hares who ran into the garden stood on their hind-legs and looked into the window of Chekhov’s study. The swept paths in the garden were like deep trenches. By then Chekhov had finished his work in connection with the cholera and he began to live the life of a hermit. His sister found employment in Moscow; only his father and mother were left with him in the house, and the hours seemed very long. They went to bed even earlier than in the summer, but Chekhov would wake up at one in the morning, sit down to his work and then go back to bed and sleep again. At six o’clock in the morning all the household was up. Chekhov wrote a great deal that winter. But as soon as visitors arrived, life was completely transformed. There was singing, playing on the piano, laughter. Chekhov’s mother did her utmost to load the tables with dainties; his father with a mysterious air would produce various specially prepared cordials and liqueurs from some hidden recess; and then it seemed that Melihovo had something of its own, peculiar to it, which could be found in no other country estate. Chekhov was always particularly pleased at the visits of Miss Mizinov and of Potapenko. He was particularly fond of them, and his whole family rejoiced at their arrival. They stayed up long after midnight on such days, and Chekhov wrote only by snatches. And every time he wrote five or six lines, he would get up again and go back to his visitors.

“I have written sixty kopecks’ worth,” he would say with a smile.

Braga’s “Serenade” was the fashion at that time, and Chekhov was fond of hearing Potapenko play it on the violin while Miss Mizinov sang it.

Having been a student at the Moscow University, Chekhov liked to celebrate St. Tatyana’s Day. He never missed making a holiday of it when he lived in Moscow. That winter, for the first time, he chanced to be in Petersburg on the 12th of January. He did not forget “St. Tatyana,” and assembled all his literary friends on that day in a Petersburg restaurant. They made speeches and kept the holiday, and this festivity initiated by him was so successful that the authors went on meeting regularly afterwards.

Though Melihovo was his permanent home, Chekhov often paid visits to Moscow and Petersburg. He frequently stayed at hotels, and there he sometimes had difficulties over his passport. As a landowner he had no need of credentials from the police in the Serpuhov district, and found his University diploma sufficient. In Petersburg and Moscow, under the old passport regulations they would not give him a passport because he resided permanently in the provinces. Misunderstandings arose, sometimes developing into disagreeable incidents and compelling Chekhov to return home earlier than he had intended. Someone suggested to Chekhov that he should enter the Government service and immediately retire from it, as retired officials used at that time to receive a permanent passport from the department in which they had served. Chekhov sent a petition to the Department of Medicine for a post to be assigned to him, and received an appointment as an extra junior medical clerk in that Department, and soon afterwards sent in his resignation, after which he had no more trouble.

Chekhov spent the whole spring of 1893 at Melihovo, planted roses, looked after his fruit-trees, and was enthusiastic over country life. That summer Melihovo was especially crowded with visitors. Chekhov was visited not only by his friends, but also by people whose acquaintance he neither sought nor desired. People were sleeping on sofas and several in a room; some even spent the night in the passage. Young ladies, authors, local doctors, members of the Zemstvo, distant relations with their sons—all these people flitted through Melihovo. Life was a continual whirl, everyone was gay; this rush of visitors and the everlasting readiness of Chekhov’s mother to regale them with food and drink seemed like a return to the good old times of country life in the past. Chekhov was the centre on which all attention was concentrated. Everyone sought him, lived in him, and caught up every word he uttered. When he was with friends he liked taking walks or making expeditions to the neighbouring monastery. The chaise, the cart, and the racing droshky were brought out. Chekhov put on his white tunic, buckled a strap round his waist, and got on the racing droshky. A young lady would sit sideways behind him, holding on to the strap. The white tunic and strap used to make Chekhov call himself an Hussar. The party would set off; the “Hussar” in the racing droshky would lead the way, and then came the cart and the chaise full of visitors.

The numbers of guests necessitated more building, as the house would not contain them all. Instead of a farm, new buildings close to the house itself were begun. Some of the farm buildings were pulled down, others were put up after Chekhov’s own plans. A new cattle yard made its appearance, and by it a hut with a well and a hurdle fence in the Little Russian style, a bathhouse, a barn, and finally Chekhov’s dream—a lodge. It was a little house with three tiny rooms, in one of which a bedstead was put with difficulty, and in another a writing-table. At first this lodge was intended only for visitors, but afterwards Chekhov moved into it and there he wrote his “Seagull.” This little lodge was built among the fruit-bushes, and to reach it one had to pass through the orchard. In spring, when the apples and cherries were in blossom, it was pleasant to live in this lodge, but in winter it was so buried in the snow that pathways had to be cut to it through drifts as high as a man.

Chekhov suffered terribly about this time from his cough. It troubled him particularly in the morning. But he made light of it. He was afraid of worrying his family. His younger brother once saw his handkerchief spattered with blood, and asked what it meant. Chekhov seemed disconcerted and said:

“Oh, nothing; it is no matter.... Don’t tell Masha and Mother.”

The cough was the reason for Chekhov’s going in 1894 to the Crimea. He stayed in Yalta, though he evidently did not like it and longed to be home.

Chekhov’s activity in the campaign against the cholera resulted in his being elected a member of the Zemstvo. He was keenly interested in everything to do with the new roads to be constructed, and the new hospitals and schools it was intended to open. Besides this public work the neighbourhood was indebted to him for the making of a highroad from the station of Lopasnya to Melihovo, and for the building of schools at Talezh, Novoselka, and Melihovo. He made the plans for these schools himself, bought the material, and superintended the building of them. When he talked about them his eyes kindled, and it was evident that if he had had the means he would have built, not three, but a multitude.

At the opening of the school at Novoselka, the peasants brought him the ikon and offered him bread and salt. Chekhov was much embarrassed in responding to their gratitude, but his face and his shining eyes showed that he was pleased. Besides the schools he built a fire-station for the village and a belfry for the church, and ordered a cross made of looking-glass for the cupola, the flash of which in the sun or moonlight was visible more than eight miles away.

Chekhov spent the year 1894 at Melihovo, began writing “The Seagull,” and did a great deal of work. He paid a visit to Tolstoy at Yasnaya Polyana, and returned enchanted with the old man and his family. Chekhov was already changing; he looked haggard, older, sallower. He coughed, he was tortured by intestinal trouble. Evidently he was now aware of the gravity of his illness, but, as before, made no complaint and tried to hide it from others.

In 1896 “The Seagull” was performed at the Alexandrinsky Theatre in Petersburg. It was a fiasco. The actors did not know their parts; in the theatre there was “a strained condition of boredom and bewilderment.” The notices in the press were prejudiced and stupid. Not wishing to see or meet anyone, Chekhov kept out of sight after the performance, and by next morning was in the train on his way back to Melihovo. The subsequent performances of “The Seagull,” when the actors understood it, were successful.

Chekhov had collected a large number of books, and in 1896 he resolved to present them to the public library in his native town of Taganrog. Whole bales of books were sent by Chekhov from Petersburg and Moscow, and Iordanov, the mayor of Taganrog, sent him lists of the books needed. At the same time, at Chekhov’s suggestion, something like an Information Bureau was instituted in connection with the Taganrog Library. There were to be catalogues of all the important commercial firms, all the existing regulations and government enactments on all current questions, everything, in fact, which might be of immediate service to a reader in any practical difficulty. The library at Taganrog has now developed into a fine educational institution, and is lodged in a special building designed and equipped for it and dedicated to the memory of Chekhov.

Chekhov took an active interest in the census of the people in 1896. It will be remembered that he had made a census of the whole convict population of the island of Sahalin on his own initiative and at his own expense in 1890. Now he was taking part in a census again. He studied peasant life in all its aspects; he was on intimate terms with his peasant neighbours, to whom he was now indispensable as a doctor and a friend always ready to give them good counsel.

Just before the census was completed Chekhov was taken ill with influenza, but that did not prevent his carrying out his duties. In spite of headache, he went from hut to hut and village to village, and then had to work at putting together his materials. He was absolutely alone in his work. The Zemsky Natchalniks, upon whom the government relied principally to carry out the census, were inert, and for the most part the work was left to private initiative.

In February, 1897, Chekhov was completely engrossed by a project of building a “People’s Palace” in Moscow. “People’s Palaces” had not been thought of; the common people spent their leisure in drink-shops. The “People’s Palace” in Moscow was designed on broad principles; there was to be a library, a reading-room, lecture-rooms, a museum, a theatre. It was proposed to run it by a company of shareholders with a capital of half a million roubles. Owing to various causes in no way connected with Chekhov, this scheme came to nothing.

In March he paid a visit to Moscow, where Suvorin was expecting him. He had hardly sat down to dinner at The Hermitage when he had a sudden haemorrhage from the lungs. He was taken to a private hospital, where he remained till the 10th of April. When his sister, who knew nothing of his illness, arrived in Moscow, she was met by her brother Ivany who gave her a card of admission to visit the invalid at the hospital. On the card were the words: “Please don’t tell father or mother.” His sister went to the hospital. There casting a casual glance at a little table, she saw on it a diagram of the lungs, in which the upper part of the left lung was marked with a red pencil. She guessed at once that this was what was affected in Chekhov’s case. This and the sight of her brother alarmed her. Chekhov, who had always been so gay, so full of spirits and vitality, looked terribly ill; he was forbidden to move or to talk, and had hardly the strength to do so.

He was declared to be suffering from tuberculosis of the lungs, and it was essential to try and ward it off at all costs, and to escape the unwholesome northern spring. He recognized himself that this was essential.

When he left the hospital he returned to Melihovo and prepared to go abroad. He went first to Biarritz, but there he was met by bad weather. A fashionable, extravagant way of living did not suit his tastes, and although he was delighted with the sea and the life led (especially by the children) on the beach, he soon moved on to Nice. Here he stayed for a considerable time at the Pension Russe in the Rue Gounod. He seemed to be fully satisfied with the life there. He liked the warmth and the people he met, M. Kovalevsky, V. M. Sobolesky, V. T. Nemirovitch-Dantchenko, the artist V. T. Yakobi and I. N. Potapenko. Prince A. I. Sumbatov arrived at Nice too, and Chekhov used sometimes to go with him to Monte Carlo to roulette.

Chekhov followed all that he had left behind in Russia with keen attention: he was anxious about the Chronicle of Surgery, which he had more than once saved from ruin, made arrangements about Melihovo, and so on.

He spent the autumn and winter in Nice, and in February, 1898, meant to go to Africa. He wanted to visit Algiers and Tunis, but Kovalevsky, with whom he meant to travel, fell ill, and he had to give up the project. He contemplated a visit to Corsica, but did not carry out that plan either, as he was taken seriously ill himself. A wretched dentist used contaminated forceps in extracting a tooth, and Chekhov was attacked by periostitis in a malignant form. In his own words, “he was in such pain that he climbed up the wall.”

As soon as the spring had come he felt an irresistible yearning for Russia. He was weary of enforced idleness; he missed the snow and the Russian country, and at the same time he was depressed at having gained no weight in spite of the climate, good nourishment, and idleness.

While he was at Nice France was in the throes of the Dreyfus affair. Chekhov began studying the Dreyfus and Zola cases from shorthand notes, and becoming convinced of the innocence of both, wrote a heated letter to Suvorin, which led to a coolness between them.

He spent March, 1898, in Paris. He sent three hundred and nineteen volumes of French literature from Paris to the public library at Taganrog.

The lateness of the spring in Russia forced Chekhov to remain in Paris till May, when he returned to Melihovo. Melihovo became gay and lively on his arrival. Visitors began coming again; he was as hospitable as ever, but he was quieter, no longer jested as in the past, and perhaps owing to his illness talked little. But he still took as much pleasure in his roses.

After a comparatively good summer there came days of continual rain, and on the 14th of September Chekhov went away to Yalta. He had to choose between Nice and Yalta. He did not want to go abroad, and preferred the Crimea, reckoning that he might possibly seize an opportunity to pay a brief visit to Moscow, where his plays were to appear at the Art Theatre. His choice did not disappoint him. That autumn in Yalta was splendid; he felt well there, and the progress of his disease led him to settle in Yalta permanently.

Chekhov obtained a piece of land at Autka, and the same autumn began building. He spent whole days superintending the building. Stone and plaster was brought, Turks and Tatars dug the ground and laid the foundation, while he planted little trees and watched with fatherly anxiety every new shoot on them. Every stone, every tree there is eloquent of Chekhov’s creative energy. That same autumn he bought the little property of Kutchuka. It was twenty-four miles from Yalta, and attracted him by its wildness and primitive beauty. To reach it one had to drive along the road at a giddy height. He began once more dreaming and drawing plans. The possible future began to take a different shape to him now, and he was already dreaming of moving from Melihovo, farming and gardening and living there as in the country. He wanted to have hens, cows, a horse and donkeys, and, of course, all of this would have been quite possible and might have been realized if he had not been slowly dying. His dreams remained dreams, and Kutchuka stands uninhabited to this day.

The winter of 1898 was extremely severe in the Crimea. The cold, the snow, the stormy sea, and the complete lack of people akin to him in spirit and of “interesting women” wearied Chekhov; he began to be depressed. He was irresistibly drawn to the north, and began to fancy that if he moved for the winter to Moscow, where his plays were being acted with such success and where everything was so full of interest for him, it would be no worse for his health than staying in Yalta, and he began dreaming of buying a house in Moscow. He wanted at one moment to get something small and snug in the neighbourhood of Kursk Station, where it might be possible to stay the three winter months in every comfort; but when such a house was found his mood changed and he resigned himself to life at Yalta.

The January and February of 1899 were particularly irksome to Chekhov: he suffered from an intestinal trouble which poisoned his existence. Moreover consumptive patients from all over Russia began appealing to him to assist them to come to Yalta. These invalids were almost always poor, and on reaching Yalta mostly ended their lives in miserable conditions, pining for their native place. Chekhov exerted himself on behalf of everyone, printed appeals in the papers, collected money, and did his utmost to alleviate their condition.

After the unfavourable winter came an exquisite warm spring, and on the 12th of April Chekhov was in Moscow and by May in Melihovo. His father had died the previous October, and with his death a great link with the place was broken. The consciousness of having to go away early in the autumn gradually brought Chekhov to decide to sell the place.

On the 25th of August he went back to his own villa at Yalta, and soon afterwards Melihovo was sold, and his mother and sister joined him. During the last four and a half years of his life Chekhov’s health grew rapidly worse. His chief interest was centred in Moscow, in the Art Theatre, which had just been started, and the greater part of his dramatic work was done during this period.

Chekhov was ill all the winter of 1900, and only felt better towards the spring. During those long winter months he wrote “In the Ravine.” The detestable spring of that year affected his mood and his health even more. Snow fell on the 5th of March, and this had a shattering effect on him. In April he was again very ill. An attack of intestinal trouble prevented him from eating, drinking, or working. As soon as it was over Chekhov, homesick for the north, set off for Moscow, but there he was met by severe weather. Returning in August to Yalta, he wrote “The Three Sisters.”

He spent the autumn in Moscow, and at the beginning of December went to the French Riviera, settled in Nice, and dreamed again of a visit to Africa, but went instead to Rome. Here, as usual, he met with severe weather. Early in February he returned to Yalta. That year there was a soft, sunny spring. Chekhov spent whole days in the open air, engaged in his favourite occupations; he planted and pruned trees, looked after his garden, ordered all sorts of seeds, and watched them coming up. At the same time he was working on behalf of the invalids coming to Yalta, who appealed to him for help, and also completing the library he had founded at Taganrog, and planning to open a picture gallery there.

In May, 1901, Chekhov went to Moscow and was thoroughly examined by a physician, who urged him to go at once to Switzerland or to take a koumiss cure. Chekhov preferred the latter.

On the 25th of May he married Olga Knipper, one of the leading actresses at the Art Theatre, and with her went off to the province of Ufa for the koumiss cure. On the way they had to wait twenty-four hours for a steamer, in very unpleasant surroundings, at a place called Pyany Bor (“Drunken Market”), in the province of Vyatka.

In the autumn of 1901 Tolstoy was staying, for the sake of his health, at Gaspra. Chekhov was very fond of him and frequently visited him. Altogether that autumn was an eventful one for him: Kuprin, Bunin and Gorky visited the Crimea; the writer Elpatyevsky settled there also, and Chekhov felt fairly well. Tolstoy’s illness was the centre of general attention, and Chekhov was very uneasy about him.

In 1902 there was suddenly a change for the worse: violent haemorrhage exhausted him till the beginning of February; he was for over a month confined to his study. It was at this time that the incident of Gorky’s election to the Academy and subsequent expulsion from it led Chekhov to write a letter to the Royal President of the Academy asking that his own name should be struck off the list of Academicians.

Chekhov had hardly recovered when his wife was taken seriously ill. When she was a little better he made a tour by the Volga and the Kama as far as Perm. On his return he settled with his wife in a summer villa not far from Moscow; he spent July there and returned home to Yalta in August. But the longing for a life of movement and culture, the desire to be nearer to the theatre, drew him to the north again, and in September he was back in Moscow. Here he was not left in peace for one minute; swarms of visitors jostled each other from morning till night. Such a life exhausted him; he ran away from it to Yalta in December, but did not escape it there. His cough was worse; every day he had a high temperature, and these symptoms were followed by an attack of pleurisy. He did not get up all through the Christmas holidays; he still had an agonizing cough, and it was in this enforced idleness that he thought out his play “The Cherry Orchard.”

It is quite possible that if Chekhov had taken care of himself his disease would not have developed so rapidly or proved fatal. The feverish energy of his temperament, his readiness to respond to every impression, and his thirst for activity, drove him from south to north and hack again, regardless of his health and of the climate. Like all invalids, he ought to have gone on living in the same place, at Nice or at Yalta, until he was better, but he lived exactly as though he had been in good health. When he arrived in the north he was always excited and absorbed by what was going on, and this exhilaration he mistook for an improvement in his health; but he had only to return to Yalta for the reaction to set in, and it would seem to him at once that his case was hopeless, that the Crimea had no beneficial effect on consumptives, and that the climate was wretched.

The spring of 1903 passed fairly favourably. He recovered sufficiently to go to Moscow and even to Petersburg. On returning from Petersburg he began preparing to go to Switzerland. But his state of health was such that his doctor in Moscow advised him to give up the idea of Switzerland and even of Yalta, and to stay somewhere not very far from Moscow. He followed this advice and settled at Nar. Now that it was proposed that he should stay the winter in the north, all that he had created in Yalta—his house and his garden—seemed unnecessary and objectless. In the end he returned to Yalta and set to work on “The Cherry Orchard.”

In October, 1903, the play was finished and he set off to produce it himself in Moscow. He spent days at a time in the Art Theatre, producing his “Cherry Orchard,” and incidentally supervising the setting and performance of the plays of other authors. He gave advice and criticized, was excited and enthusiastic.

On the 17th of January, 1904, “The Cherry Orchard” was produced for the first time. The first performance was the occasion of the celebration of the twenty-fifth anniversary of Chekhov’s literary activity. A great number of addresses were read and speeches were made. Chekhov was many times called before the curtain, and this expression of universal sympathy exhausted him to such a degree that the very day after the performance he began to think with relief of going back to Yalta, where he spent the following spring.

His health was completely shattered, and everyone who saw him secretly thought the end was not far off; but the nearer Chekhov was to the end, the less he seemed to realize it. Ill as he was, at the beginning of May he set off for Moscow. He was terribly ill all the way on the journey, and on arrival took to his bed at once. He was laid up till June.

On the 3rd of June he set off with his wife for a cure abroad to the Black Forest, and settled in a little spa called Badenweiler. He was dying, although he wrote to everyone that he had almost recovered, and that health was coming back to him not by ounces but by hundredweights. He was dying, but he spent the time dreaming of going to the Italian lakes and returning to Yalta by sea from Trieste, and was already making inquiries about the steamers and the times they stopped at Odessa.

He died on the 2nd of July.

His body was taken to Moscow and buried in the Novodyevitchy Monastery, beside his father’s tomb.

[ [!-- H2 anchor --] ]

LETTERS

[ [!-- H2 anchor --] ]

TO HIS BROTHER MIHAIL.

TAGANROG, July 1, 1876.

DEAR BROTHER MISHA,

I got your letter when I was fearfully bored and was sitting at the gate yawning, and so you can judge how welcome that immense letter was. Your writing is good, and in the whole letter I have not found one mistake in spelling. But one thing I don’t like: why do you style yourself “your worthless and insignificant brother”? You recognize your insignificance? ... Recognize it before God; perhaps, too, in the presence of beauty, intelligence, nature, but not before men. Among men you must be conscious of your dignity. Why, you are not a rascal, you are an honest man, aren’t you? Well, respect yourself as an honest man and know that an honest man is not something worthless. Don’t confound “being humble” with “recognizing one’s worthlessness.” ...

It is a good thing that you read. Acquire the habit of doing so. In time you will come to value that habit. Madame Beecher-Stowe has wrung tears from your eyes? I read her once, and six months ago read her again with the object of studying her—and after reading I had an unpleasant sensation which mortals feel after eating too many raisins or currants.... Read “Don Quixote.” It is a fine thing. It is by Cervantes, who is said to be almost on a level with Shakespeare. I advise my brothers to read—if they haven’t already done so—Turgenev’s “Hamlet and Don Quixote.” You won’t understand it, my dear. If you want to read a book of travel that won’t bore you, read Gontcharov’s “The Frigate Pallada.”

... I am going to bring with me a boarder who will pay twenty roubles a month and live under our general supervision. Though even twenty roubles is not enough if one considers the price of food in Moscow and mother’s weakness for feeding boarders with righteous zeal. [Footnote: This letter was written by Chekhov when he was in the fifth class of the Taganrog high school.]

[ [!-- H2 anchor --] ]

TO HIS COUSIN, MIHAIL CHEKHOV.

TAGANROG, May 10, 1877.

... If I send letters to my mother, care of you, please give them to her when you are alone with her; there are things in life which one can confide in one person only, whom one trusts. It is because of this that I write to my mother without the knowledge of the others, for whom my secrets are quite uninteresting, or, rather, unnecessary.... My second request is of more importance. Please go on comforting my mother, who is both physically and morally broken. She has found in you not merely a nephew but a great deal more and better than a nephew. My mother’s character is such that the moral support of others is a great help to her. It is a silly request, isn’t it? But you will understand, especially as I have said “moral,” i.e., spiritual support. There is no one in this wicked world dearer to us than our mother, and so you will greatly oblige your humble servant by comforting his worn-out and weary mother....

[ [!-- H2 anchor --] ]

TO HIS UNCLE, M. G. CHEKHOV.

MOSCOW, 1885.

... I could not come to see you last summer because I took the place of a district doctor friend of mine who went away for his holiday, but this year I hope to travel and therefore to see you. Last December I had an attack of spitting blood, and decided to take some money from the Literary Fund and go abroad for my health. I am a little better now, but I still think that I shall have to go away. And whenever I go abroad, or to the Crimea, or to the Caucasus, I will go through Taganrog.

... I am sorry I cannot join you in being of service to my native Taganrog.... I am sure that if my work had been there I should have been calmer, more cheerful, in better health, but evidently it is my fate to remain in Moscow. My home and my career are here. I have work of two sorts. As a doctor I should have grown slack in Taganrog and forgotten my medicine, but in Moscow a doctor has no time to go to the club and play cards. As a writer I am no use except in Moscow or Petersburg.

My medical work is progressing little by little. I go on steadily treating patients. Every day I have to spend more than a rouble on cabs. I have a lot of friends and therefore many patients. Half of them I have to treat for nothing, but the other half pay me three or five roubles a visit.... I need hardly say I have not made a fortune yet, and it will be a long time before I do, but I live tolerably and need nothing. So long as I am alive and well the position of the family is secure. I have bought new furniture, hired a good piano, keep two servants, give little evening parties with music and singing. I have no debts and do not want to borrow. Till quite recently we used to run an account at the butcher’s and grocer’s, but now I have stopped even that, and we pay cash for everything. What will come later, there is no knowing; as it is we have nothing to complain of....

[ [!-- H2 anchor --] ]

TO N. A. LEIKIN.

MOSCOW, October, 1885.

... You advise me to go to Petersburg, and say that Petersburg is not China. I know it is not, and as you are aware, I have long realized the necessity of going there; but what am I to do? Owing to the fact that we are a large family, I never have a ten-rouble note to spare, and to go there, even if I did it in the most uncomfortable and beggarly way, would cost at least fifty roubles. How am I to get the money? I can’t squeeze it out of my family and don’t think I ought to. If I were to cut down our two courses at dinner to one, I should begin to pine away from pangs of conscience.... Allah only knows how difficult it is for me to keep my balance, and how easy it would be for me to slip and lose my equilibrium. I fancy that if next month I should earn twenty or thirty roubles less, my balance would be gone, and I should be in difficulties. I am awfully apprehensive about money matters and, owing to this quite uncommercial cowardice in pecuniary affairs, I avoid loans and payments on account. I am not difficult to move. If I had money I should fly from one city to another endlessly.

[ [!-- H2 anchor --] ]

TO A. S. SUVORIN.

MOSCOW, February 21, 1886.

... Thank you for the flattering things you say about my work and for having published my story so soon. You can judge yourself how refreshing, even inspiring, the kind attention of an experienced and gifted writer like yourself has been to me.

I agree with what you say about the end of my story which you have cut out; thank you for the helpful advice. I have been writing for the last six years, but you are the first person who has taken the trouble to advise and explain.

... I do not write very much—not more than two or three short stories weekly.

[ [!-- H2 anchor --] ]

TO D. V. GRIGOROVITCH.

MOSCOW, March 28, 1886.

Your letter, my kind, fervently beloved bringer of good tidings, struck me like a flash of lightning. I almost burst into tears, I was overwhelmed, and now I feel it has left a deep trace in my soul! May God show the same tender kindness to you in your age as you have shown me in my youth! I can find neither words nor deeds to thank you. You know with what eyes ordinary people look at the elect such as you, and so you can judge what your letter means for my self-esteem. It is better than any diploma, and for a writer who is just beginning it is payment both for the present and the future. I am almost dazed. I have no power to judge whether I deserve this high reward. I only repeat that it has overwhelmed me.

If I have a gift which one ought to respect, I confess before the pure candour of your heart that hitherto I have not respected it. I felt that I had a gift, but I had got into the habit of thinking that it was insignificant. Purely external causes are sufficient to make one unjust to oneself, suspicious, and morbidly sensitive. And as I realize now I have always had plenty of such causes. All my friends and relatives have always taken a condescending tone to my writing, and never ceased urging me in a friendly way not to give up real work for the sake of scribbling. I have hundreds of friends in Moscow, and among them a dozen or two writers, but I cannot recall a single one who reads me or considers me an artist. In Moscow there is a so-called Literary Circle: talented people and mediocrities of all ages and colours gather once a week in a private room of a restaurant and exercise their tongues. If I went there and read them a single passage of your letter, they would laugh in my face. In the course of the five years that I have been knocking about from one newspaper office to another I have had time to assimilate the general view of my literary insignificance. I soon got used to looking down upon my work, and so it has gone from bad to worse. That is the first reason. The second is that I am a doctor, and am up to my ears in medical work, so that the proverb about trying to catch two hares has given to no one more sleepless nights than me.

I am writing all this to you in order to excuse this grievous sin a little before you. Hitherto my attitude to my literary work has been frivolous, heedless, casual. I don’t remember a single story over which I have spent more than twenty-four hours, and “The Huntsman,” which you liked, I wrote in the bathing-shed! I wrote my stories as reporters write their notes about fires, mechanically, half-unconsciously, taking no thought of the reader or myself.... I wrote and did all I could not to waste upon the story the scenes and images dear to me which—God knows why—I have treasured and kept carefully hidden.

The first impulse to self-criticism was given me by a very kind and, to the best of my belief, sincere letter from Suvorin. I began to think of writing something decent, but I still had no faith in my being any good as a writer. And then, unexpected and undreamed of, came your letter. Forgive the comparison: it had on me the effect of a Governor’s order to clear out of the town within twenty-four hours—i.e., I suddenly felt an imperative need to hurry, to make haste and get out of where I have stuck....

I agree with you in everything. When I saw “The Witch” in print I felt myself the cynicism of the points to which you call my attention. They would not have been there had I written this story in three or four days instead of in one.

I shall put an end to working against time, but cannot do so just yet.... It is impossible to get out of the rut I have got into. I have nothing against going hungry, as I have done in the past, but it is not a question of myself.... I give to literature my spare time, two or three hours a day and a bit of the night, that is, time which is of no use except for short things. In the summer, when I have more time and have fewer expenses, I will start on some serious work.

I cannot put my real name on the book because it is too late: the design for the cover is ready and the book printed. [Footnote: “Motley Tales” is meant.] Many of my Petersburg friends advised me, even before you did, not to spoil the book by a pseudonym, but I did not listen to them, probably out of vanity. I dislike my book very much. It’s a hotch-potch, a disorderly medley of the poor stuff I wrote as a student, plucked by the censor and by the editors of comic papers. I am sure that many people will be disappointed when they read it. Had I known that I had readers and that you were watching me, I would not have published this book.

I rest all my hopes on the future. I am only twenty-six. Perhaps I shall succeed in doing something, though time flies fast.

Forgive my long letter and do not blame a man because, for the first time in his life, he has made bold to treat himself to the pleasure of writing to Grigorovitch.

Send me your photograph, if possible. I am so overwhelmed with your kindness that I feel as though I should like to write a whole ream to you. God grant you health and happiness, and believe in the sincerity of your deeply respectful and grateful

A. CHEKHOV.

[ [!-- H2 anchor --] ]

TO N. A. LEIKIN.

MOSCOW, April 6, 1886.

... I am ill. Spitting of blood and weakness. I am not writing anything.... If I don’t sit down to write to-morrow, you must forgive me—I shall not send you a story for the Easter number. I ought to go to the South but I have no money.... I am afraid to submit myself to be sounded by my colleagues. I am inclined to think it is not so much my lungs as my throat that is at fault.... I have no fever.

[ [!-- H2 anchor --] ]

TO MADAME M. V. KISELYOV.

BABKINO, June, 1886.

LOVE UNRIPPLED [Footnote: Parody of a feminine novel.]

(A NOVEL) Part I.

It was noon.... The setting sun with its crimson, fiery rays gilded the tops of pines, oaks, and fir-trees.... It was still; only in the air the birds were singing, and in the distance a hungry wolf howled mournfully.... The driver turned round and said:

“More snow has fallen, sir.”

“What?”

“I say, more snow has fallen.”

“Ah!”

Vladimir Sergeitch Tabatchin, who is the hero of our story, looked for the last time at the sun and expired.

A week passed.... Birds and corncrakes hovered, whistling, over a newly-made grave. The sun was shining. A young widow, bathed in tears, was standing by, and in her grief sopping her whole handkerchief....

[ [!-- H2 anchor --] ]

MOSCOW,

September 21, 1886.

... It is not much fun to be a great writer. To begin with, it’s a dreary life. Work from morning till night and not much to show for it. Money is as scarce as cats’ tears. I don’t know how it is with Zola and Shtchedrin, but in my flat it is cold and smoky.... They give me cigarettes, as before, on holidays only. Impossible cigarettes! Hard, damp, sausage-like. Before I begin to smoke I light the lamp, dry the cigarette over it, and only then I begin on it; the lamp smokes, the cigarette splutters and turns brown, I burn my fingers ... it is enough to make one shoot oneself!

... I am more or less ill, and am gradually turning into a dried dragon-fly.

... I go about as festive as though it were my birthday, but to judge from the critical glances of the lady cashier at the Budilnik, I am not dressed in the height of fashion, and my clothes are not brand-new. I go in buses, not in cabs.

But being a writer has its good points. In the first place, my book, I hear, is going rather well; secondly, in October I shall have money; thirdly, I am beginning to reap laurels: at the refreshment bars people point at me with their fingers, they pay me little attentions and treat me to sandwiches. Korsh caught me in his theatre and straight away presented me with a free pass.... My medical colleagues sigh when they meet me, begin to talk of literature and assure me that they are sick of medicine. And so on....

[ [!-- H2 anchor --] ]

September 29.

... Life is grey, there are no happy people to be seen.... Life is a nasty business for everyone. When I am serious I begin to think that people who have an aversion for death are illogical. So far as I understand the order of things, life consists of nothing but horrors, squabbles, and trivialities mixed together or alternating!

[ [!-- H2 anchor --] ]

December 3.

This morning an individual sent by Prince Urusov turned up and asked me for a short story for a sporting magazine edited by the said Prince. I refused, of course, as I now refuse all who come with supplications to the foot of my pedestal. In Russia there are now two unattainable heights: Mount Elborus and myself.

The Prince’s envoy was deeply disappointed by my refusal, nearly died of grief, and finally begged me to recommend him some writers who are versed in sport. I thought a little, and very opportunely remembered a lady writer who dreams of glory and has for the last year been ill with envy of my literary fame. In short, I gave him your address.... You might write a story “The Wounded Doe”—you remember, how the huntsmen wound a doe; she looks at them with human eyes, and no one can bring himself to kill her. It’s not a bad subject, but dangerous because it is difficult to avoid sentimentality—you must write it like a report, without pathetic phrases, and begin like this: “On such and such a date the huntsmen in the Daraganov forest wounded a young doe....” And if you drop a tear you will strip the subject of its severity and of everything worth attention in it.

[ [!-- H2 anchor --] ]

December 13.

... With your permission I steal out of your last two letters to my sister two descriptions of nature for my stories. It is curious that you have quite a masculine way of writing. In every line (except when dealing with children) you are a man! This, of course, ought to flatter your vanity, for speaking generally, men are a thousand times better than women, and superior to them.

In Petersburg I was resting—i.e., for days together I was rushing about town paying calls and listening to compliments which my soul abhors. Alas and alack! In Petersburg I am becoming fashionable like Nana. While Korolenko, who is serious, is hardly known to the editors, my twaddle is being read by all Petersburg. Even the senator G. reads me.... It is gratifying, but my literary feeling is wounded. I feel ashamed of the public which runs after lap-dogs simply because it fails to notice elephants, and I am deeply convinced that not a soul will know me when I begin to work in earnest.

[ [!-- H2 anchor --] ]

TO HIS BROTHER NIKOLAY.

MOSCOW, 1886.

... You have often complained to me that people “don’t understand you”! Goethe and Newton did not complain of that.... Only Christ complained of it, but He was speaking of His doctrine and not of Himself.... People understand you perfectly well. And if you do not understand yourself, it is not their fault.

I assure you as a brother and as a friend I understand you and feel for you with all my heart. I know your good qualities as I know my five fingers; I value and deeply respect them. If you like, to prove that I understand you, I can enumerate those qualities. I think you are kind to the point of softness, magnanimous, unselfish, ready to share your last farthing; you have no envy nor hatred; you are simple-hearted, you pity men and beasts; you are trustful, without spite or guile, and do not remember evil.... You have a gift from above such as other people have not: you have talent. This talent places you above millions of men, for on earth only one out of two millions is an artist. Your talent sets you apart: if you were a toad or a tarantula, even then, people would respect you, for to talent all things are forgiven.

You have only one failing, and the falseness of your position, and your unhappiness and your catarrh of the bowels are all due to it. That is your utter lack of culture. Forgive me, please, but veritas magis amicitiae.... You see, life has its conditions. In order to feel comfortable among educated people, to be at home and happy with them, one must be cultured to a certain extent. Talent has brought you into such a circle, you belong to it, but ... you are drawn away from it, and you vacillate between cultured people and the lodgers vis-a-vis.

Cultured people must, in my opinion, satisfy the following conditions:

1. They respect human personality, and therefore they are always kind, gentle, polite, and ready to give in to others. They do not make a row because of a hammer or a lost piece of india-rubber; if they live with anyone they do not regard it as a favour and, going away, they do not say “nobody can live with you.” They forgive noise and cold and dried-up meat and witticisms and the presence of strangers in their homes.

2. They have sympathy not for beggars and cats alone. Their heart aches for what the eye does not see.... They sit up at night in order to help P...., to pay for brothers at the University, and to buy clothes for their mother.

3. They respect the property of others, and therefor pay their debts.

4. They are sincere, and dread lying like fire. They don’t lie even in small things. A lie is insulting to the listener and puts him in a lower position in the eyes of the speaker. They do not pose, they behave in the street as they do at home, they do not show off before their humbler comrades. They are not given to babbling and forcing their uninvited confidences on others. Out of respect for other people’s ears they more often keep silent than talk.

5. They do not disparage themselves to rouse compassion. They do not play on the strings of other people’s hearts so that they may sigh and make much of them. They do not say “I am misunderstood,” or “I have become second-rate,” because all this is striving after cheap effect, is vulgar, stale, false....

6. They have no shallow vanity. They do not care for such false diamonds as knowing celebrities, shaking hands with the drunken P., [Translator’s Note: Probably Palmin, a minor poet.] listening to the raptures of a stray spectator in a picture show, being renowned in the taverns.... If they do a pennyworth they do not strut about as though they had done a hundred roubles’ worth, and do not brag of having the entry where others are not admitted.... The truly talented always keep in obscurity among the crowd, as far as possible from advertisement.... Even Krylov has said that an empty barrel echoes more loudly than a full one.

7. If they have a talent they respect it. They sacrifice to it rest, women, wine, vanity.... They are proud of their talent.... Besides, they are fastidious.

8. They develop the aesthetic feeling in themselves. They cannot go to sleep in their clothes, see cracks full of bugs on the walls, breathe bad air, walk on a floor that has been spat upon, cook their meals over an oil stove. They seek as far as possible to restrain and ennoble the sexual instinct.... What they want in a woman is not a bed-fellow ... They do not ask for the cleverness which shows itself in continual lying. They want especially, if they are artists, freshness, elegance, humanity, the capacity for motherhood.... They do not swill vodka at all hours of the day and night, do not sniff at cupboards, for they are not pigs and know they are not. They drink only when they are free, on occasion.... For they want mens sana in corpore sano.

And so on. This is what cultured people are like. In order to be cultured and not to stand below the level of your surroundings it is not enough to have read “The Pickwick Papers” and learnt a monologue from “Faust.” ...

What is needed is constant work, day and night, constant reading, study, will.... Every hour is precious for it.... Come to us, smash the vodka bottle, lie down and read.... Turgenev, if you like, whom you have not read.

You must drop your vanity, you are not a child ... you will soon be thirty. It is time!

I expect you.... We all expect you.

[ [!-- H2 anchor --] ]

TO MADAME M. V. KISELYOV.

MOSCOW, January 14, 1887.

... Even your praise of “On the Road” has not softened my anger as an author, and I hasten to avenge myself for “Mire.” Be on your guard, and catch hold of the back of a chair that you may not faint. Well, I begin.

One meets every critical article with a silent bow even if it is abusive and unjust—such is the literary etiquette. It is not the thing to answer, and all who do answer are justly blamed for excessive vanity. But since your criticism has the nature of “an evening conversation on the steps of the Babkino lodge” ... and as, without touching on the literary aspects of the story, it raises general questions of principle, I shall not be sinning against the etiquette if I allow myself to continue our conversation.

In the first place, I, like you, do not like literature of the kind we are discussing. As a reader and “a private resident” I am glad to avoid it, but if you ask my honest and sincere opinion about it, I shall say that it is still an open question whether it has a right to exist, and no one has yet settled it.... Neither you nor I, nor all the critics in the world, have any trustworthy data that would give them the right to reject such literature. I do not know which are right: Homer, Shakespeare, Lopez da Vega, and, speaking generally, the ancients who were not afraid to rummage in the “muck heap,” but were morally far more stable than we are, or the modern writers, priggish on paper but coldly cynical in their souls and in life. I do not know which has bad taste—the Greeks who were not ashamed to describe love as it really is in beautiful nature, or the readers of Gaboriau, Marlitz, Pierre Bobo. [Footnote: P. D. Boborykin.] Like the problems of non-resistance to evil, of free will, etc., this question can only be settled in the future. We can only refer to it, but are not competent to decide it. Reference to Turgenev and Tolstoy—who avoided the “muck heap”—does not throw light on the question. Their fastidiousness does not prove anything; why, before them there was a generation of writers who regarded as dirty not only accounts of “the dregs and scum,” but even descriptions of peasants and of officials below the rank of titular councillor. Besides, one period, however brilliant, does not entitle us to draw conclusions in favour of this or that literary tendency. Reference to the demoralizing effects of the literary tendency we are discussing does not decide the question either. Everything in this world is relative and approximate. There are people who can be demoralized even by children’s books, and who read with particular pleasure the piquant passages in the Psalms and in Solomon’s Proverbs, while there are others who become only the purer from closer knowledge of the filthy side of life. Political and social writers, lawyers, and doctors who are initiated into all the mysteries of human sinfulness are not reputed to be immoral; realistic writers are often more moral than archimandrites. And, finally, no literature can outdo real life in its cynicism, a wineglassful won’t make a man drunk when he has already emptied a barrel.

2. That the world swarms with “dregs and scum” is perfectly true. Human nature is imperfect, and it would therefore be strange to see none but righteous ones on earth. But to think that the duty of literature is to unearth the pearl from the refuse heap means to reject literature itself. “Artistic” literature is only “art” in so far as it paints life as it really is. Its vocation is to be absolutely true and honest. To narrow down its function to the particular task of finding “pearls” is as deadly for it as it would be to make Levitan draw a tree without including the dirty bark and the yellow leaves. I agree that “pearls” are a good thing, but then a writer is not a confectioner, not a provider of cosmetics, not an entertainer; he is a man bound, under contract, by his sense of duty and his conscience; having put his hand to the plough he mustn’t turn back, and, however distasteful, he must conquer his squeamishness and soil his imagination with the dirt of life. He is just like any ordinary reporter. What would you say if a newspaper correspondent out of a feeling of fastidiousness or from a wish to please his readers would describe only honest mayors, high-minded ladies, and virtuous railway contractors?

To a chemist nothing on earth is unclean. A writer must be as objective as a chemist, he must lay aside his personal subjective standpoint and must understand that muck heaps play a very respectable part in a landscape, and that the evil passions are as inherent in life as the good ones.

3. Writers are the children of their age, and therefore, like everybody else, must submit to the external conditions of the life of the community. Thus, they must be perfectly decent. This is the only thing we have a right to ask of realistic writers. But you say nothing against the form and executions of “Mire.” ... And so I suppose I have been decent.

4. I confess I seldom commune with my conscience when I write. This is due to habit and the brevity of my work. And so when I express this or that opinion about literature, I do not take myself into account.

5. You write: “If I were the editor I would have returned this feuilleton to you for your own good.” Why not go further? Why not muzzle the editors themselves who publish such stories? Why not send a reprimand to the Headquarters of the Press Department for not suppressing immoral newspapers?

The fate of literature would be sad indeed if it were at the mercy of individual views. That is the first thing. Secondly, there is no police which could consider itself competent in literary matters. I agree that one can’t dispense with the reins and the whip altogether, for knaves find their way even into literature, but no thinking will discover a better police for literature than the critics and the author’s own conscience. People have been trying to discover such a police since the creation of the world, but they have found nothing better.

Here you would like me to lose one hundred and fifteen roubles and be put to shame by the editor; others, your father among them, are delighted with the story. Some send insulting letters to Suvorin, pouring abuse on the paper and on me, etc. Who, then, is right? Who is the true judge?

6. Further you write, “Leave such writing to spiritless and unlucky scribblers such as Okrects, Pince-Nez, [Footnote: The pseudonym of Madame Kisselyov.] or Aloe.” [Footnote: The pseudonym of Chekhov’s brother Alexandr.]

Allah forgive you if you were sincere when you wrote those words! A condescending and contemptuous tone towards humble people simply because they are humble does no credit to the heart. In literature the lower ranks are as necessary as in the army—this is what the head says, and the heart ought to say still more.

Ough! I have wearied you with my drawn-out reflections. Had I known my criticism would turn out so long I would not have written it. Please forgive me! ...

You have read my “On the Road.” Well, how do you like my courage? I write of “intellectual” subjects and am not afraid. In Petersburg I excite a regular furore. A short time ago I discoursed upon non-resistance to evil, and also surprised the public. On New Year’s Day all the papers presented me with a compliment, and in the December number of the Russkoye Bogatstvo, in which Tolstoy writes, there is an article thirty-two pages long by Obolensky entitled “Chekhov and Korolenko.” The fellow goes into raptures over me and proves that I am more of an artist than Korolenko. He is probably talking rot, but, anyway, I am beginning to be conscious of one merit of mine: I am the only writer who, without ever publishing anything in the thick monthlies, has merely on the strength of writing newspaper rubbish won the attention of the lop-eared critics—there has been no instance of this before.... At the end of 1886 I felt as though I were a bone thrown to the dogs.

... I have written a play [Footnote: “Calchas,” later called “Swansong.”] on four sheets of paper. It will take fifteen to twenty minutes to act.... It is much better to write small things than big ones: they are unpretentious and successful.... What more would you have? I wrote my play in an hour and five minutes. I began another, but have not finished it, for I have no time.

[ [!-- H2 anchor --] ]

TO HIS UNCLE, M. G. CHEKHOV.

MOSCOW, January 18, 1887.

... During the holidays I was so overwhelmed with work that on Mother’s name-day I was almost dropping with exhaustion.

I must tell you that in Petersburg I am now the most fashionable writer. One can see that from papers and magazines, which at the end of 1886 were taken up with me, bandied my name about, and praised me beyond my deserts. The result of this growth of my literary reputation is that I get a number of orders and invitations—and this is followed by work at high pressure and exhaustion. My work is nervous, disturbing, and involving strain. It is public and responsible, which makes it doubly hard. Every newspaper report about me agitates both me and my family.... My stories are read at public recitations, wherever I go people point at me, I am overwhelmed with acquaintances, and so on, and so on. I have not a day of peace, and feel as though I were on thorns every moment.

... Volodya [Translator’s Note: He had apparently criticized the name Vladimir, which means “lord of the world.”] is right.... It is true that a man cannot possess the world, but a man can be called “the lord of the world.” Tell Volodya that out of gratitude, reverence, or admiration of the virtues of the best men—those qualities which make a man exceptional and akin to the Deity—peoples and historians have a right to call their elect as they like, without being afraid of insulting God’s greatness or of raising a man to God. The fact is we exalt, not a man as such, but his good qualities, just that divine principle which he has succeeded in developing in himself to a high degree. Thus remarkable kings are called “great,” though bodily they may not be taller than I. I. Loboda; the Pope is called “Holiness,” the patriarch used to be called “Ecumenical,” although he was not in relations with any planet but the earth; Prince Vladimir was called “the lord of the world,” though he ruled only a small strip of ground, princes are called “serene” and “illustrious,” though a Swedish match is a thousand times brighter than they are—and so on. In using these expressions we do not lie or exaggerate, but simply express our delight, just as a mother does not lie when she calls her child “my golden one.” It is the feeling of beauty that speaks in us, and beauty cannot endure what is commonplace and trivial; it induces us to make comparisons which Volodya may, with his intellect, pull to pieces, but which he will understand with his heart. For instance, it is usual to compare black eyes with the night, blue with the azure of the sky, curls with waves, etc., and even the Bible likes these comparisons; for instance, “Thy womb is more spacious than heaven,” or “The Sun of righteousness arises,” “The rock of faith,” etc. The feeling of beauty in man knows no limits or bounds. This is why a Russian prince may be called “the lord of the world”; and my friend Volodya may have the same name, for names are given to people, not for their merits, but in honour and commemoration of remarkable men of the past.... If your young scholar does not agree with me, I have one more argument which will be sure to appeal to him: in exalting people even to God we do not sin against love, but, on the contrary, we express it. One must not humiliate people—that is the chief thing. Better say to man “My angel” than hurl “Fool” at his head—though men are more like fools than they are like angels.

[ [!-- H2 anchor --] ]

TO HIS SISTER.

TAGANROG, April 2, 1887.

The journey from Moscow to Serpuhov was dull. My fellow-travellers were practical persons of strong character who did nothing but talk of the prices of flour....

... At twelve o’clock we were at Kursk. An hour of waiting, a glass of vodka, a tidy-up and a wash, and cabbage soup. Change to another train. The carriage was crammed full. Immediately after Kursk I made friends with my neighbours: a landowner from Harkov, as jocose as Sasha K.; a lady who had just had an operation in Petersburg; a police captain; an officer from Little Russia; and a general in military uniform. We settled social questions. The general’s arguments were sound, short, and liberal; the police captain was the type of an old battered sinner of an hussar yearning for amorous adventures. He had the affectations of a governor: he opened his mouth long before he began to speak, and having said a word he gave a long growl like a dog, “er-r-r.” The lady was injecting morphia, and sent the men to fetch her ice at the stations.

At Belgrade I had cabbage soup. We got to Harkov at nine o’clock. A touching parting from the police captain, the general and the others.... I woke up at Slavyansk and sent you a postcard. A new lot of passengers got in: a landowner and a railway inspector. We talked of railways. The inspector told us how the Sevastopol railway stole three hundred carriages from the Azov line and painted them its own colour. [Footnote: See the story “Cold Blood.”]

... Twelve o’clock. Lovely weather. There is a scent of the steppe and one hears the birds sing. I see my old friends the ravens flying over the steppe.

The barrows, the water-towers, the buildings—everything is familiar and well-remembered. At the station I have a helping of remarkably good and rich sorrel soup. Then I walk along the platform. Young ladies. At an upper window at the far end of the station sits a young girl (or a married lady, goodness knows which) in a white blouse, beautiful and languid. [Footnote: See the story “Two Beauties.”] I look at her, she looks at me.... I put on my glasses, she does the same.... Oh, lovely vision! I caught a catarrh of the heart and continued my journey. The weather is devilishly, revoltingly fine. Little Russians, oxen, ravens, white huts, rivers, the line of the Donets railway with one telegraph wire, daughters of landowners and farmers, red dogs, the trees—it all flits by like a dream.... It is hot. The inspector begins to bore me. The rissoles and pies, half of which I have not got through, begin to smell bitter.... I shove them under somebody else’s seat, together with the remains of the vodka.

... I arrive at Taganrog.... It gives one the impression of Herculaneum and Pompeii; there are no people, and instead of mummies there are sleepy drishpaks [Footnote: Uneducated young men in the jargon of Taganrog.] and melon-shaped heads. All the houses look flattened out, and as though they had long needed replastering, the roofs want painting, the shutters are closed....

At eight o’clock in the evening my uncle, his family, Irina, the dogs, the rats that live in the storeroom, the rabbits were fast asleep. There was nothing for it but to go to bed too. I sleep on the drawing-room sofa. The sofa has not increased in length, and is as short as it was before, and so when I go to bed I have either to stick up my legs in an unseemly way or to let them hang down to the floor. I think of Procrustes and his bed....

[ [!-- H2 anchor --] ]

April 6.

I wake up at five. The sky is grey. There is a cold, unpleasant wind that reminds one of Moscow. It is dull. I wait for the church bells and go to late Mass. In the cathedral it is all very charming, decorous, and not boring. The choir sings well, not at all in a plebeian style, and the congregation entirely consists of young ladies in olive-green dresses and chocolate-coloured jackets....

[ [!-- H2 anchor --] ]

April 8, 9, and 10.

Frightfully dull. It is cold and grey.... During all my stay in Taganrog I could only do justice to the following things: remarkably good ring rolls sold at the market, the Santurninsky wine, fresh caviare, excellent crabs and uncle’s genuine hospitality. Everything else is poor and not to be envied. The young ladies here are not bad, but it takes some time to get used to them. They are abrupt in their movements, frivolous in their attitude to men, run away from their parents with actors, laugh loudly, easily fall in love, whistle to dogs, drink wine, etc....

On Saturday I continued my journey. At the Moskaya station the air is lovely and fresh, caviare is seventy kopecks a pound. At Rostdov I had two hours to wait, at Taganrog twenty. I spent the night at an acquaintance’s. The devil only knows what I haven’t spent a night on: on beds with bugs, on sofas, settees, boxes. Last night I spent in a long and narrow parlour on a sofa under a looking-glass....

[ [!-- H2 anchor --] ]

April 25.

... Yesterday was the wedding—a real Cossack wedding with music, feminine bleating, and revolting drunkenness.... The bride is sixteen. They were married in the cathedral. I acted as best man, and was dressed in somebody else’s evening suit with fearfully wide trousers, and not a single stud on my shirt. In Moscow such a best man would have been kicked out, but here I looked smarter than anyone.

I saw many rich and eligible young ladies. The choice is enormous, but I was so drunk all the time that I took bottles for young ladies and young ladies for bottles. Probably owing to my drunken condition the local ladies found me witty and satirical! The young ladies here are regular sheep, if one gets up from her place and walks out of the room all the others follow her. One of them, the boldest and the most brainy, wishing to show that she is not a stranger to social polish and subtlety, kept slapping me on the hand and saying, “Oh, you wretch!” though her face still retained its scared expression. I taught her to say to her partners, “How naive you are!”

The bride and bridegroom, probably because of the local custom of kissing every minute, kissed with such gusto that their lips made a loud smack, and it gave me a taste of sugary raisins in my mouth and a spasm in my left calf. The inflammation of the vein in my left leg got worse through their kisses.

... At Zvyerevo I shall have to wait from nine in the evening till five in the morning. Last time I spent the night there in a second-class railway-carriage on the siding. I went out of the carriage in the night and outside I found veritable marvels: the moon, the limitless steppe, the barrows, the wilderness; deathly stillness, and the carriages and the railway lines sharply standing out from the dusk. It seemed as though the world were dead.... It was a picture one would not forget for ages and ages.

[ [!-- H2 anchor --] ]

RAGOZINA BALKA,

April 30, 1887.

It is April 30. The evening is warm. There are storm-clouds about, and so one cannot see a thing. The air is close and there is a smell of grass.

I am staying in the Ragozina Balka at K.‘s. There is a small house with a thatched roof, and barns made of flat stone. There are three rooms, with earthen floors, crooked ceilings, and windows that lift up and down instead of opening outwards.... The walls are covered with rifles, pistols, sabres and whips. The chest of drawers and the window-sills are littered with cartridges, instruments for mending rifles, tins of gunpowder, and bags of shot. The furniture is lame and the veneer is coming off it. I have to sleep on a consumptive sofa, very hard, and not upholstered ... Ash-trays and all such luxuries are not to be found within a radius of ten versts.... The first necessaries are conspicuous by their absence, and one has in all weathers to slip out to the ravine, and one is warned to make sure there is not a viper or some other creature under the bushes.

The population consists of old K., his wife, Pyotr, a Cossack officer with broad red stripes on his trousers, Alyosha, Hahko (that is, Alexandr), Zoika, Ninka, the shepherd Nikita and the cook Akulina. There are immense numbers of dogs who are furiously spiteful and don’t let anyone pass them by day or by night. I have to go about under escort, or there will be one writer less in Russia.... The most cursed of the dogs is Muhtar, an old cur on whose face dirty tow hangs instead of wool. He hates me and rushes at me with a roar every time I go out of the house.

Now about food. In the morning there is tea, eggs, ham and bacon fat. At midday, soup with goose, roast goose with pickled sloes, or a turkey, roast chicken, milk pudding, and sour milk. No vodka or pepper allowed. At five o’clock they make on a camp fire in the wood a porridge of millet and bacon fat. In the evening there is tea, ham, and all that has been left over from dinner.

The entertainments are: shooting bustards, making bonfires, going to Ivanovka, shooting at a mark, setting the dogs at one another, preparing gunpowder paste for fireworks, talking politics, building turrets of stone, etc.

The chief occupation is scientific farming, introduced by the youthful Cossack, who bought five roubles’ worth of works on agriculture. The most important part of this farming consists of wholesale slaughter, which does not cease for a single moment in the day. They kill sparrows, swallows, bumblebees, ants, magpies, crows—to prevent them eating bees; to prevent the bees from spoiling the blossom on the fruit-trees they kill bees, and to prevent the fruit-trees from exhausting the ground they cut down the fruit-trees. One gets thus a regular circle which, though somewhat original, is based on the latest data of science.

We retire at nine in the evening. Sleep is disturbed, for Belonozhkas and Muhtars howl in the yard and Tseter furiously barks in answer to them from under my sofa. I am awakened by shooting: my hosts shoot with rifles from the windows at some animal which does damage to their crops. To leave the house at night one has to call the Cossack, for otherwise the dogs would tear one to bits.

The weather is fine. The grass is tall and in blossom. I watch bees and men among whom I feel myself something like a Mikluha-Maklay. Last night there was a beautiful thunderstorm.

... The coal mines are not far off. To-morrow morning early I am going on a one-horse droshky to Ivanovka (twenty-three versts) to fetch my letters from the post.

... We eat turkeys’ eggs. Turkeys lay eggs in the wood on last year’s leaves. They kill hens, geese, pigs, etc., by shooting here. The shooting is incessant.

[ [!-- H2 anchor --] ]

TAGANROG,

May 11.

... From K.‘s I went to the Holy Mountains.... I came to Slavyansk on a dark evening. The cabmen refuse to take me to the Holy Mountains at night, and advise me to spend the night at Slavyansk, which I did very willingly, for I felt broken and lame with pain.... The town is something like Gogol’s Mirgorod; there is a hairdresser and a watchmaker, so that one may hope that in another thousand years there will be a telephone. The walls and fences are pasted with the advertisements of a menagerie.... On green and dusty streets walk pigs, cows, and other domestic creatures. The houses look cordial and friendly, rather like kindly grandmothers; the pavements are soft, the streets are wide, there is a smell of lilac and acacia in the air; from the distance come the singing of a nightingale, the croaking of frogs, barking, and sounds of a harmonium, of a woman screeching.... I stopped in Kulikov’s hotel, where I took a room for seventy-five kopecks. After sleeping on wooden sofas and washtubs it was a voluptuous sight to see a bed with a mattress, a washstand.... Fragrant breezes came in at the wide-open window and green branches thrust themselves in. It was a glorious morning. It was a holiday (May 6th) and the bells were ringing in the cathedral. People were coming out from mass. I saw police officers, justices of the peace, military superintendents, and other principalities and powers come out of the church. I bought two kopecks’ worth of sunflower seeds, and hired for six roubles a carriage on springs to take me to the Holy Mountains and back (in two days’ time). I drove out of the town through little streets literally drowned in the green of cherry, apricot, and apple trees. The birds sang unceasingly. Little Russians whom I met took off their caps, taking me probably for Turgenev; my driver jumped every minute off the box to put the harness to rights, or to crack his whip at the boys who ran after the carriage.... There were strings of pilgrims along the road. On all sides there were white hills, big and small. The horizon was bluish-white, the rye was tall, oak copses were met with here and there—the only things lacking were crocodiles and rattlesnakes.

I came to the Holy Mountains at twelve o’clock. It is a remarkably beautiful and unique place. The monastery stands on the bank of the river Donets at the foot of a huge white rock covered with gardens, oaks, and ancient pines crowded together and over-hanging, one above another. It seems as if the trees had not enough room on the rock, and as if some force were driving them upwards.... The pines literally hang in the air and look as though they might fall any minute. Cuckoos and nightingales sing night and day.

The monks, very pleasant people, gave me a very unpleasant room with a pancake-like mattress. I spent two nights at the monastery and gathered a mass of impressions. While I was there some fifteen thousand pilgrims assembled because of St. Nicolas’ Day; eight-ninths of them were old women. I did not know before that there were so many old women in the world; had I known, I would have shot myself long ago. About the monks, my acquaintance with them and how I gave medical advice to the monks and the old women, I will write to the Novoye Vremya and tell you when we meet. The services are endless: at midnight they ring for matins, at five for early mass, at nine for late mass, at three for the song of praise, at five for vespers, at six for the special prayers. Before every service one hears in the corridors the weeping sound of a bell, and a monk runs along crying in the voice of a creditor who implores his debtor to pay him at least five kopecks for a rouble:

“Lord Jesus Christ, have mercy upon us! Please come to matins!”

It is awkward to stay in one’s room, and so one gets up and goes out. I have chosen a spot on the bank of the Donets, where I sit during all the services.

I have bought an ikon for Auntie. [Translator’s Note: His mother’s sister.] The food is provided gratis by the monastery for all the fifteen thousand: cabbage soup with dried fresh-water fish and porridge. Both are good, and so is the rye bread.

The church bells are wonderful. The choir is not up to much. I took part in a religious procession on boats.

[ [!-- H2 anchor --] ]

TO V. G. KOROLENKO.

MOSCOW, October 17, 1887.

... I am extremely glad to have met you. I say it sincerely and with all my heart. In the first place, I deeply value and love your talent; it is dear to me for many reasons. In the second, it seems to me that if you and I live in this world another ten or twenty years we shall be bound to find points of contact. Of all the Russians now successfully writing I am the lightest and most frivolous; I am looked upon doubtfully; to speak the language of the poets, I have loved my pure Muse but I have not respected her; I have been unfaithful to her and often took her to places that were not fit for her to go to. But you are serious, strong, and faithful. The difference between us is great, as you see, but nevertheless when I read you, and now when I have met you, I think that we have something in common. I don’t know if I am right, but I like to think it.

[ [!-- H2 anchor --] ]

TO HIS BROTHER ALEXANDR.

MOSCOW, November 20, 1887.

Well, the first performance [Translator’s Note: “Ivanov.”] is over. I will tell you all about it in detail. To begin with, Korsh promised me ten rehearsals, but gave me only four, of which only two could be called rehearsals, for the other two were tournaments in which messieurs les artistes exercised themselves in altercation and abuse. Davydov and Glama were the only two who knew their parts; the others trusted to the prompter and their own inner conviction.

Act One.—I am behind the stage in a small box that looks like a prison cell. My family is in a box of the benoire and is trembling. Contrary to my expectations, I am cool and am conscious of no agitation. The actors are nervous and excited, and cross themselves. The curtain goes up ... the actor whose benefit night it is comes on. His uncertainty, the way that he forgets his part, and the wreath that is presented to him make the play unrecognizable to me from the first sentences. Kiselevsky, of whom I had great hopes, did not deliver a single phrase correctly—literally not a single one. He said things of his own composition. In spite of this and of the stage manager’s blunders, the first act was a great success. There were many calls.

Act Two.—A lot of people on the stage. Visitors. They don’t know their parts, make mistakes, talk nonsense. Every word cuts me like a knife in my back. But—o Muse!—this act, too, was a success. There were calls for all the actors, and I was called before the curtain twice. Congratulations and success.

Act Three.—The acting is not bad. Enormous success. I had to come before the curtain three times, and as I did so Davydov was shaking my hand, and Glama, like Manilov, was pressing my other hand to her heart. The triumph of talent and virtue.

Act Four, Scene One.—It does not go badly. Calls before the curtain again. Then a long, wearisome interval. The audience, not used to leaving their seats and going to the refreshment bar between two scenes, murmur. The curtain goes up. Fine: through the arch one can see the supper table (the wedding). The band plays flourishes. The groomsmen come out: they are drunk, and so you see they think they must behave like clowns and cut capers. The horseplay and pot-house atmosphere reduce me to despair. Then Kiselevsky comes out: it is a poetical, moving passage, but my Kiselevsky does not know his part, is drunk as a cobbler, and a short poetical dialogue is transformed into something tedious and disgusting: the public is perplexed. At the end of the play the hero dies because he cannot get over the insult he has received. The audience, grown cold and tired, does not understand this death (the actors insisted on it; I have another version). There are calls for the actors and for me. During one of the calls I hear sounds of open hissing, drowned by the clapping and stamping.

On the whole I feel tired and annoyed. It was sickening though the play had considerable success....

Theatre-goers say that they had never seen such a ferment in a theatre, such universal clapping and hissing, nor heard such discussions among the audience as they saw and heard at my play. And it has never happened before at Korsh’s that the author has been called after the second act.

[ [!-- H2 anchor --] ]

November 24.

... It has all subsided at last, and I sit as before at my writing-table and compose stories with untroubled spirit. You can’t think what it was like! ... I have already told you that at the first performance there was such excitement in the audience and on the stage as the prompter, who has served at the theatre for thirty-two years, had never seen. They made an uproar, shouted, clapped and hissed; at the refreshment bar it almost came to fighting, and in the gallery the students wanted to throw someone out and two persons were removed by the police. The excitement was general....

... The actors were in a state of nervous tension. All that I wrote to you and Maslov about their acting and attitude to their work must not, of course, go any further. There is much one has to excuse and understand.... It turned out that the actress who was doing the chief part in my play had a daughter lying dangerously ill—how could she feel like acting? Kurepin did well to praise the actors.

The next day after the performance there was a review by Pyotr Kitcheyev in the Moskovsky Listok. He calls my play impudently cynical and immoral rubbish. The Moskovskiya Vyedomosti praised it.

... If you read the play you will not understand the excitement I have described to you; you will find nothing special in it. Nikolay, Shehtel, and Levitan—all of them painters—assure me that on the stage it is so original that it is quite strange to look at. In reading one does not notice it.

[ [!-- H2 anchor --] ]

TO D. V. GRIGOROVITCH.

MOSCOW, 1887.

I have just read “Karelin’s Dream,” and I am very much interested to know how far the dream you describe really is a dream. I think your description of the workings of the brain and of the general feeling of a person who is asleep is physiologically correct and remarkably artistic. I remember I read two or three years ago a French story, in which the author described the daughter of a minister., and probably without himself suspecting it, gave a correct medical description of hysteria. I thought at the time that an artist’s instinct may sometimes be worth the brains of a scientist, that both have the same purpose, the same nature, and that perhaps in time, as their methods become perfect, they are destined to become one vast prodigious force which now it is difficult even to imagine.... “Karelin’s Dream” has suggested to me similar thoughts, and to-day I willingly believe Buckle, who saw in Hamlet’s musings on the dust of Alexander the Great, Shakespeare’s knowledge of the law of the transmutation of substance—i.e., the power of the artist to run ahead of the men of science.... Sleep is a subjective phenomenon, and the inner aspect of it one can only observe in oneself. But since the process of dreaming is the same in all men, every reader can, I think, judge Karelin by his own standards, and every critic is bound to be subjective. From my own personal experience this is how I can formulate my impression.

In the first place the sensation of cold is given by you with remarkable subtlety. When at night the quilt falls off I begin to dream of huge slippery stones, of cold autumnal water, naked banks—and all this dim, misty, without a patch of blue sky; sad and dejected like one who has lost his way, I look at the stones and feel that for some reason I cannot avoid crossing a deep river; I see then small tugs that drag huge barges, floating beams.... All this is infinitely grey, damp, and dismal. When I run from the river I come across the fallen cemetery gates, funerals, my school-teachers.... And all the time I am cold through and through with that oppressive nightmare-like cold which is impossible in waking life, and which is only felt by those who are asleep. The first pages of “Karelin’s Dream” vividly brought it to my memory—especially the first half of page five, where you speak of the cold and loneliness of the grave.

I think that had I been born in Petersburg and constantly lived there, I should always dream of the banks of the Neva, the Senate Square, the massive monuments.

When I feel cold in my sleep I dream of people.... I happened to have read a criticism in which the reviewer blames you for introducing a man who is “almost a minister,” and thus spoiling the generally dignified tone of the story. I don’t agree with him. What spoils the tone is not the people but your characterization of them, which in some places interrupts the picture of the dream. One does dream of people, and always of unpleasant ones.... I, for instance, when I feel cold, always dream of my teacher of scripture, a learned priest of imposing appearance, who insulted my mother when I was a little boy; I dream of vindictive, implacable, intriguing people, smiling with spiteful glee—such as one can never see in waking life. The laughter at the carriage window is a characteristic symptom of Karelin’s nightmare. When in dreams one feels the presence of some evil will, the inevitable ruin brought about by some outside force, one always hears something like such laughter.... One dreams of people one loves, too, but they generally appear to suffer together with the dreamer.

But when my body gets accustomed to the cold, or one of my family covers me up, the sensation of cold, of loneliness, and of an oppressive evil will, gradually disappears.... With the returning warmth I begin to feel that I walk on soft carpets or on grass, I see sunshine, women, children.... The pictures change gradually, but more rapidly than they do in waking life, so that on awaking it is difficult to remember the transitions from one scene to another.... This abruptness is well brought out in your story, and increases the impression of the dream.

Another natural fact you have noticed is also extremely striking: dreamers express their moods in outbursts of an acute kind, with childish genuineness, like Karelin. Everyone knows that people weep and cry out in their sleep much more often than they do in waking life. This is probably due to the lack of inhibition in sleep and of the impulses which make us conceal things.

Forgive me, I so like your story that I am ready to write you a dozen sheets, though I know I can tell you nothing new or good.... I restrain myself and am silent, fearing to bore you and to say something silly.

I will say once more that your story is magnificent. The public finds it “vague,” but to a writer who gloats over every line such vagueness is more transparent than holy water.... Hard as I tried I could detect only two small blots, even those are rather farfetched!

(1) I think that at the beginning of the story the feeling of cold is soon blunted in the reader and becomes habitual, owing to the frequent repetition of the word “cold,” and (2), the word “glossy” is repeated too often.

There is nothing else I could find, and I feel that as one is always feeling the need of refreshing models, “Karelin’s Dream” is a splendid event in my existence as an author. This is why I could not contain myself and ventured to put before you some of my thoughts and impressions.

There is little good I can say about myself. I write not what I want to be writing, and I have not enough energy or solitude to write as you advised me.... There are many good subjects jostling in my head—and that is all. I am sustained by hopes of the future, and watch the present slip fruitlessly away.

Forgive this long letter, and accept the sincere good wishes of your devoted

A. CHEKHOV.

[ [!-- H2 anchor --] ]

TO V. G. KOROLENKO.

MOSCOW, January 9, 1888.

Following your friendly advice I began writing a story [Footnote: “The Steppe”] for the Syeverny Vyestnik. To begin with I have attempted to describe the steppe, the people who live there, and what I have experienced in the steppe. It is a good subject, and I enjoy writing about it, but unfortunately from lack of practice in writing long things, and from fear of making it too rambling, I fall into the opposite extreme: each page turns out a compact whole like a short story, the pictures accumulate, are crowded, and, getting in each other’s way, spoil the impression as a whole. As a result one gets, not a picture in which all the details are merged into one whole like stars in the heavens, but a mere diagram, a dry record of impressions. A writer—you, for instance—will understand me, but the reader will be bored and curse.

... Your “Sokolinets” is, I think, the most remarkable novel that has appeared of late. It is written like a good musical composition, in accordance with all the rules which an artist instinctively divines. Altogether in the whole of your book you are such a great artist, such a force, that even your worst failings, which would have been the ruin of any other writer, pass unnoticed. For instance, in the whole of your book there is an obstinate exclusion of women, and I have only just noticed it.

[ [!-- H2 anchor --] ]

TO A. N. PLESHTCHEYEV.

MOSCOW, February 5, 1888.

... I am longing to read Korolenko’s story. He is my favourite of contemporary writers. His colours are rich and vivid, his style is irreproachable, though in places rather elaborate, his images are noble. Leontyev [Footnote: I. L. Shtcheglov.] is good too. He is not so mature and picturesque, but he is warmer than Korolenko, more peaceful and feminine.... But, Allah kerim, why do they both specialize? The first will not part with his convicts, and the second feeds his readers with nothing but officers.... I understand specialization in art such as genre, landscape, history, but I cannot admit of such specialties as convicts, officers, priests.... This is not specialization but partiality. In Petersburg you do not care for Korolenko, and here in Moscow we do not read Shtcheglov, but I fully believe in the future of both of them. Ah, if only we had decent critics!

[ [!-- H2 anchor --] ]

February 9.

... You say you liked Dymov [Translator’s Note: One of the characters in “The Steppe.”] as a subject. Life creates such characters as the dare-devil Dymov not to be dissenters nor tramps, but downright revolutionaries.... There never will be a revolution in Russia, and Dymov will end by taking to drink or getting into prison. He is a superfluous man.

[ [!-- H2 anchor --] ]

March 6.

It is devilishly cold, but the poor birds are already flying to Russia! They are driven by homesickness and love for their native land. If poets knew how many millions of birds fall victims to their longing and love for their homes, how many of them freeze on the way, what agonies they endure on getting home in March and at the beginning of April, they would have sung their praises long ago! ... Put yourself in the place of a corncrake who does not fly but walks all the way, or of a wild goose who gives himself up to man to escape being frozen.... Life is hard in this world!

[ [!-- H2 anchor --] ]

TO I. L. SHTCHEGLOV.

MOSCOW, April 18, 1888.

... In any case I am more often merry than sad, though if one comes to think of it I am bound hand and foot.... You, my dear man, have a flat, but I have a whole house which, though a poor specimen, is still a house, and one of two storeys, too! You have a wife who will forgive your having no money, and I have a whole organization which will collapse if I don’t earn a sufficient number of roubles a month—collapse and fall on my shoulders like a heavy stone.

[ [!-- H2 anchor --] ]

May 3.

... I have just sent a story [Footnote: “The Lights.”] to the Syeverny Vyestnik. I feel a little ashamed of it. It is frightfully dull, and there is so much discussion and preaching in it that it is mawkish. I didn’t like to send it, but had to, for I need money as I do air....

I have had a letter from Leman. He tells me that “we” (that is all of you Petersburg people) “have agreed to print advertisements about each other’s work on our books,” invites me to join, and warns me that among the elect may be included only such persons as have a “certain degree of solidarity with us.” I wrote to say that I agreed, and asked him how does he know with whom I have solidarity and with whom I have not? How fond of stuffiness you are in Petersburg! Don’t you feel stifled with such words as “solidarity,” “unity of young writers,” “common interests,” and so on? Solidarity and all the rest of it I admit on the stock-exchange, in politics, in religious affairs, etc., but solidarity among young writers is impossible and unnecessary.... We cannot feel and think in the same way, our aims are different, or we have no aims whatever, we know each other little or not at all, and so there is nothing on to which this solidarity could be securely hooked.... And is there any need for it? No, in order to help a colleague, to respect his personality and his work, to refrain from gossiping about him, envying him, telling him lies and being hypocritical, one does not need so much to be a young writer as simply a man.... Let us be ordinary people, let us treat everybody alike, and then we shall not need any artificially worked up solidarity. Insistent desire for particular, professional, clique solidarity such as you want, will give rise to unconscious spying on one another, suspiciousness, control, and, without wishing to do so, we shall become something like Jesuits in relation to one another.... I, dear Jean, have no solidarity with you, but I promise you as a literary man perfect freedom so long as you live; that is, you may write where and how you wish, you may think like Koreisha [Footnote: A well-known religious fanatic in Moscow.] if you like, betray your convictions and tendencies a thousand times, etc., etc., and my human relations with you will not alter one jot, and I will always publish advertisements of your books on the wrappers of mine.

[ [!-- H2 anchor --] ]

TO A. S. SUVORIN.

SUMY, MADAME LINTVARYOV’S ESTATE, May 30, 1888.

... I am staying on the bank of the Psyol, in the lodge of an old signorial estate. I took the place without seeing it, trusting to luck, and have not regretted it so far. The river is wide and deep, with plenty of islands, of fish and of crayfish. The banks are beautiful, well-covered with grass and trees. And best of all, there is so much space that I feel as if for my one hundred roubles I have obtained a right to live on an expanse of which one can see no end. Nature and life here is built on the pattern now so old-fashioned and rejected by magazine editors. Nightingales sing night and day, dogs bark in the distance, there are old neglected gardens, sad and poetical estates shut up and deserted where live the souls of beautiful women; old footmen, relics of serfdom, on the brink of the grave; young ladies longing for the most conventional love. In addition to all these things, not far from me there is even such a hackneyed cliche as a water-mill (with sixteen wheels), with a miller, and his daughter who always sits at the window, apparently waiting for someone. All that I see and hear now seems familiar to me from old novels and fairy-tales. The only thing that has something new about it is a mysterious bird, which sits somewhere far away in the reeds, and night and day makes a noise that sounds partly like a blow on an empty barrel and partly like the mooing of a cow shut up in a barn. Every Little Russian has seen this bird in the course of his life, but everyone describes it differently, which means that no one has seen it.... Every day I row to the mill, and in the evening I go to the islands to fish with fishing maniacs from the Haritovenko factory. Our conversations are sometimes interesting. On the eve of Whit Sunday all the maniacs will spend the night on the islands and fish all night; I, too. There are some splendid types.

My hosts have turned out to be very nice and hospitable people. It is a family worth studying. It consists of six members. The old mother, a very kind, rather flabby woman who has had suffering enough in her life; she reads Schopenhauer and goes to church to hear the Song of Praise; she conscientiously studies every number of the Vyestnik Evropi and Syeverny Vyestnik, and knows writers I have not dreamed of; attaches much importance to the fact that once the painter Makovsky stayed in her lodge and now a young writer is staying there; talking to Pleshtcheyev she feels a holy thrill all over and rejoices every minute that it has been “vouchsafed” to her to see the great poet.

Her eldest daughter, a woman doctor—the pride of the whole family and “a saint” as the peasants call her—really is remarkable. She has a tumour on the brain, and in consequence of it she is totally blind, has epileptic fits and constant headaches. She knows what awaits her, and stoically with amazing coolness speaks of her approaching death. In the course of my medical practice I have grown used to seeing people who were soon going to die, and I have always felt strange when people whose death was at hand talked, smiled, or wept in my presence; but here, when I see on the verandah this blind woman who laughs, jokes, or hears my stories read to her, what begins to seem strange to me is not that she is dying, but that we do not feel our own death, and write stories as though we were never going to die.

The second daughter, also a woman doctor, is a gentle, shy, infinitely kind creature, loving to everyone. Patients are a regular torture to her, and she is scrupulous to morbidity with them. At consultations we always disagree: I bring good tidings where she sees death, and I double the doses which she prescribes. But where death is obvious and inevitable my lady doctor feels quite in an unprofessional way. I was receiving patients with her one day at a medical centre; a young Little Russian woman came with a malignant tumour of the glands in her neck and at the back of her head. The tumour had spread so far that no treatment could be thought of. And because the woman was at present feeling no pain, but would in another six months die in terrible agony, the doctor looked at her in such a guilty way as though she were asking forgiveness for being well, and ashamed that medical science was helpless. She takes a zealous part in managing the house and estate, and understands every detail of it. She knows all about horses even. When the side horse does not pull or gets restless, she knows how to help matters and instructs the coachman. I believe she has never hurt anyone, and it seems to me that she has not been happy for a single instant and never will be.

The third daughter, who has finished her studies at Bezstuzhevka, is a vigorous, sunburnt young girl with a loud voice. Her laugh can be heard a mile away. She is a passionate Little Russian patriot. She has built a school on the estate at her own expense, and teaches the children Krylov’s fables translated into Little Russian. She goes to Shevtchenko’s grave as a Turk goes to Mecca. She does not cut her hair, wears stays and a bustle, looks after the housekeeping, is fond of laughing and singing.

The eldest son is a quiet, modest, intelligent, hardworking young man with no talents; he has no pretensions, and is apparently content with what life has given him. He has been dismissed from the University [Translator’s Note: On political grounds, of course, is understood.] just before taking his degree, but he does not boast of it. He speaks little. He loves farming and the land and lives in harmony with the peasants.

The second son is a young man mad over Tchaikovsky’s being a genius. He dreams of living according to Tolstoy.

Pleshtcheyev is staying with us. They all look upon him as a demi-god, consider themselves happy if he bestows attention on somebody’s junket, bring him flowers, invite him everywhere, and so on.... And he “listens and eats,” and smokes his cigars which give his admirers a headache. He is slow to move, with the indolence of old age, but this does not prevent the fair sex from taking him about in boats, driving with him to the neighbouring estates, and singing songs to him. Here he is by way of being the same thing as in Petersburg—i.e., an ikon which is prayed to for being old and for having once hung by the side of the miracle-working ikons. So far as I am concerned I regard him—not to speak of his being a very good, warm-hearted and sincere man—as a vessel full of traditions, interesting memories, and good platitudes.

... What you say about “The Lights” is quite just. You say that neither the conversation about pessimism nor Kisotcha’s story in any way help to solve the question of pessimism. It seems to me it is not for writers of fiction to solve such questions as that of God, of pessimism, etc. The writer’s business is simply to describe who has been speaking about God or about pessimism, how, and in what circumstances. The artist must be not the judge of his characters and of their conversations, but merely an impartial witness. I have heard a desultory conversation of two Russians about pessimism—a conversation which settles nothing—and I must report that conversation as I heard it; it is for the jury, that is, for the readers, to decide on the value of it. My business is merely to be talented—i.e., to know how to distinguish important statements from unimportant, how to throw light on the characters, and to speak their language. Shtcheglov-Leontyev blames me for finishing the story with the words, “There’s no making out anything in this world.” He thinks a writer who is a good psychologist ought to be able to make it out—that is what he is a psychologist for. But I don’t agree with him. It is time that writers, especially those who are artists, recognized that there is no making out anything in this world, as once Socrates recognized it, and Voltaire, too. The mob thinks it knows and understands everything; and the more stupid it is the wider it imagines its outlook to be. And if a writer whom the mob believes in has the courage to say that he does not understand anything of what he sees, that alone will be something gained in the realm of thought and a great step in advance.

[ [!-- H2 anchor --] ]

TO A. N. PLESHTCHEYEV.

SUMY, June 28, 1888.

... We have been to the province of Poltava. We went to the Smagins’, and to Sorotchintsi. We drove with a four-in-hand, in an ancestral, very comfortable carriage. We had no end of laughter, adventures, misunderstandings, halts, and meetings on the way.... If you had only seen the places where we stayed the night and the villages stretching eight or ten versts through which we drove! ... What weddings we met on the road, what lovely music we heard in the evening stillness, and what a heavy smell of fresh hay there was! Really one might sell one’s soul to the devil for the pleasure of looking at the warm evening sky, the pools and the rivulets reflecting the sad, languid sunset....

... The Smagins’ estate is “great and fertile,” but old, neglected, and dead as last year’s cobwebs. The house has sunk, the doors won’t shut, the tiles in the stove squeeze one another out and form angles, young suckers of cherries and plums peep up between the cracks of the floors. In the room where I slept a nightingale had made herself a nest between the window and the shutter, and while I was there little naked nightingales, looking like undressed Jew babies, hatched out from the eggs. Sedate storks live on the barn. At the beehouse there is an old grandsire who remembers the King Goroh [Translator’s Note: The equivalent of Old King Cole.] and Cleopatra of Egypt.

Everything is crumbling and decrepit, but poetical, sad, and beautiful in the extreme.

[ [!-- H2 anchor --] ]

TO HIS SISTER.

FEODOSIA, July, 1888.

... The journey from Sumy to Harkov is frightfully dull. Going from Harkov to Simferopol one might well die of boredom. The Crimean steppe is depressing, monotonous, with no horizon, colourless like Ivanenko’s stories, and on the whole rather like the tundra.... From Simferopol mountains begin and, with them, beauty. Ravines, mountains, ravines, mountains, poplars stick out from the ravines, vineyards loom dark on the mountains—all this is bathed in moonlight, is new and wild, and sets one’s imagination working in harmony with Gogol’s “Terrible Vengeance.” Particularly fantastic are the alternating precipices and tunnels when you see now depths full of moonlight and now complete sinister darkness. It is rather uncanny and delightful. One feels it is something not Russian, something alien. I reached Sevastopol at night. The town is beautiful in itself and beautiful because it stands by a marvellous sea. The best in the sea is its colour, and that one cannot describe. It is like blue copperas. As to steamers and sailing vessels, piers and harbours, what strikes one most of all is the poverty of the Russians. Except the “popovkas,” which look like Moscow merchants’ wives, and two or three decent steamers, there is nothing to speak of in the bay.

... In the morning it was deadly dull. Heat, dust, thirst.... In the harbour there was a stench of ropes, and one caught glimpses of faces burnt brick-red, sounds of a pulley, of the splashing of dirty water, knocking, Tatar words, and all sorts of uninteresting nonsense. You go up to a steamer: men in rags, bathed in sweat and almost baked by the sun, dizzy, with tatters on their backs and shoulders, unload Portland cement; you stand and look at them and the whole scene becomes so remote, so alien, that one feels insufferably dull and uninterested. It is entertaining to get on board and set off, but it is rather a bore to sail and talk to a crowd of passengers consisting of elements all of which one knows by heart and is weary of already.... Yalta is a mixture of something European that reminds one of the views of Nice, with something cheap and shoddy. The box-like hotels in which unhappy consumptives are pining, the impudent Tatar faces, the ladies’ bustles with their very undisguised expression of something very abominable, the faces of the idle rich, longing for cheap adventures, the smell of perfumery instead of the scent of the cedars and the sea, the miserable dirty pier, the melancholy lights far out at sea, the prattle of young ladies and gentlemen who have crowded here in order to admire nature of which they have no idea—all this taken together produces such a depressing effect and is so overwhelming that one begins to blame oneself for being biassed and unfair.... At five o’clock in the morning I arrived at Feodosia—a greyish-brown, dismal, and dull-looking little town. There is no grass, the trees are wretched, the soil is coarse and hopelessly poor. Everything is burnt up by the sun, and only the sea smiles—the sea which has nothing to do with wretched little towns or tourists. Sea bathing is so nice that when I got into the water I began to laugh for no reason at all....

[ [!-- H2 anchor --] ]

July 22.

... Yesterday we went to Shah-Mamai Aivazovsky’s estate, twenty-five versts from Feodosia. It is a magnificent estate, rather like fairyland; such estates may probably be seen in Persia. Aivazovsky [Translator’s Note: The famous marine painter.] himself, a vigorous old man of seventy-five, is a mixture of a good-natured Armenian and an overfed bishop; he is full of dignity, has soft hands, and offers them like a general. He is not very intelligent, but is a complex nature worthy of attention. He combines in himself a general, a bishop, an artist, an Armenian, a naive old peasant, and an Othello. He is married to a young and very beautiful woman whom he rules with a rod of iron. He is friendly with Sultans, Shahs, and Amirs. He collaborated with Glinka in writing “Ruslan and Liudmila.” He was a friend of Pushkin, but has never read him. He has not read a single book in his life. When it is suggested to him that he should read something he answers, “Why should I read when I have opinions of my own?” I spent a whole day in his house and had dinner there. The dinner was fearfully long, with endless toasts. By the way, at that dinner I was introduced to the lady doctor, wife of the well-known professor. She is a fat, bulky piece of flesh. If she were undressed and painted green she would look just like a frog. After talking to her I mentally scratched her off the list of women doctors....

[ [!-- H2 anchor --] ]

TO HIS BROTHER MIHAIL.

July 28, 1888.

On the Seas Black, Caspian, and of Life.

... A wretched little cargo steamer, Dir, is racing full steam from Suhum to Poti. It is about midnight. The little cabin—the only one in the steamer—is insufferably hot and stuffy. There is a smell of burning, of rope, of fish and of the sea. One hears the engine going “Boom-boom-boom.” ... There are devils creaking up aloft and under the floor. The darkness is swaying in the cabin and the bed rocks up and down.... One’s stomach’s whole attention is concentrated on the bed, and, as though to find its level, it rolls the Seltzer water I had drunk right up to my throat and then lets it down to my heels. Not to be sick over my clothes in the dark I hastily put on my things and go out.... It is dark. My feet stumble against some invisible iron bars, a rope; wherever you step there are barrels, sacks, rags. There is coal dust under foot. In the dark I knock against a kind of grating: it is a cage with wild goats which I saw in the daytime. They are awake and anxiously listening to the rocking of the boat. By the cage sit two Turks who are not asleep either.... I grope my way up the stairs to the captain’s bridge.... A warm but violent and unpleasant wind tries to blow away my cap.... The steamer rocks. The mast in front of the captain’s bridge sways regularly and leisurely like a metronome; I try to look away from it, but my eyes will not obey me and, just like my stomach, insist on following moving objects.... The sky and the sea are dark, the shore is not in sight, the deck looks a dark blur ... there is not a single light.

Behind me is a window ... I look into it and see a man who looks attentively at something and turns a wheel with an expression as though he were playing the ninth symphony.... Next to me stands the little stout captain in tan shoes.... He talks to me of Caucasian emigrants, of the heat, of winter storms, and at the same time looks intently into the dark distance in the direction of the shore.

“You seem to be going too much to the left again,” he says to someone; or, “There ought to be lights here.... Do you see them?”

“No, sir,” someone answers from the dark.

“Climb up and look.”

A dark figure appears on the bridge and leisurely climbs up. In a minute we hear:

“Yes, sir.”

I look to the left where the lights of the lighthouse are supposed to be, borrow the captain’s glasses, but see nothing.... Half an hour passes, then an hour. The mast sways regularly, the devils creak, the wind makes dashes at my cap.... It is not pitch dark, but one feels uneasy.

Suddenly the captain dashes off somewhere to the rear of the ship, crying, “You devil’s doll!”

“To the left,” he shouts anxiously at the top of his voice. “To the left! ... To the right! A-va-va-a!”

Incomprehensible words of command are heard. The steamer starts, the devils give a creak.... “A-va-va!” shouts the captain; at the bows a bell is rung, on the black deck there are sounds of running, knocking, cries of anxiety.... The Dir starts once more, puffs painfully, and apparently tries to move backwards.

“What is it?” I ask, and feel something like a faint terror. There is no answer.

“He’d like a collision, the devil’s doll!” I hear the captain’s harsh shout. “To the left!”

Red lights appear in front, and suddenly among the uproar is heard the whistling, not of the Dir, but of some other steamer.... Now I understand it: there is going to be a collision! The Dir puffs, trembles, and does not move, as though waiting for a signal to go down.... But just when I think all is lost, the red lights appear on the left of us, and the dark silhouette of a steamer can be discerned.... A long black body sails past us, guiltily blinks its red eyes, and gives a guilty whistle....

“Oof! What steamer is it?” I ask the captain.

The captain looks at the silhouette through his glasses and replies:

“It is the Tweedie.”

After a pause we begin to talk of the Vesta, which collided with two steamers and went down. Under the influence of this conversation the sea, the night and the wind begin to seem hideous, created on purpose for man’s undoing, and I feel sorry as I look at the fat little captain.... Something whispers to me that this poor man, too, will sooner or later sink to the bottom and be choked with salt water. [Footnote: Chekhov’s presentiment about the captain was partly fulfilled: that very autumn the Dir was wrecked on the shores of Alupka.]

I go back to my cabin.... It is stuffy, and there is a smell of cooking. My travelling companion, Suvorin-fils, is asleep already.... I take off all my clothes and go to bed.... The darkness sways to and fro, the bed seems to breathe.... Boom-boom-boom! Bathed in perspiration, breathless, and feeling an oppression all over with the rocking, I ask myself, “What am I here for?”

I wake up. It is no longer dark. Wet all over, with a nasty taste in my mouth, I dress and go out. Everything is covered with dew.... The wild goats look with human eyes through the grating of their cage and seem to be asking “Why are we here?” The captain stands still as before and looks intently into the distance....

A mountainous shore stretches on the left.... Elborus is seen from behind the mountains.

A blurred sun rises in the sky.... One can see the green valley of Rion and the Bay of Poti by the side of it.

[ [!-- H2 anchor --] ]

TO N. A. LEIKIN.

SUMY, August 12.

... I have been to the Crimea. I spent twelve days at Suvorin’s in Feodosia, bathed, idled about; I have been to Aivazovsky’s estate. From Feodosia I went by steamer to Batum. On the way I spent half a day at Suhum—a charming little town buried in luxuriant, un-Russian greenery, and one day at the Monastery, at New Athos. It is so lovely there at New Athos that there is no describing it: waterfalls, eucalyptuses, tea-plants, cypresses, olive-trees, and, above all, sea and mountains, mountains, mountains. From Athos and Suhum I went to Poti; the River Rion, renowned for its valley and its sturgeons, is close by. The vegetation is luxuriant. All the streets are planted with poplars. Batum is a big commercial and military, foreign-looking, cafe’-chantant sort of town; you feel in it at every step that we have conquered the Turks. There is nothing special about it (except a great number of brothels), but the surrounding country is charming. Particularly fine is the road to Kars and the swift river Tchoraksu.

The road from Batum to Tiflis is poetical and original; you look all the time out of window and exclaim: there are mountains, tunnels, rocks, rivers, waterfalls, big and little. But the road from Tiflis to Baku is the abomination of desolation, a bald plain, covered with sand and created for Persians, tarantulas, and phalangas to live in. There is not a single tree, there is no grass ... dreary as hell.... Baku and the Caspian Sea are such rotten places that I would not agree to live there for a million. There are no roofs, there are no trees either; Persian faces everywhere, fifty degrees Reaumur of heat, a smell of kerosine, the naphtha-soaked mud squelches under one’s feet, the drinking water is salt.

... You have seen the Caucasus. I believe you have seen the Georgian Military Road, too. If you have not been there yet, pawn your wives and children and the Oskolki [Translator’s Note: Oskolki, (i.e., “Chips,” “Bits”) the paper of which Leikin was editor.] and go. I have never in my life seen anything like it. It is not a road, but unbroken poetry, a wonderful, fantastic story written by the Demon in love with Tamara.

[ [!-- H2 anchor --] ]

TO A. S. SUVORIN.

SUMY, August 29, 1888.

... When as a boy I used to stay at my grandfather’s on Count Platov’s estate, I had to sit from sunrise to sunset by the thrashing machine and write down the number of poods and pounds of corn that had been thrashed; the whistling, the hissing, and the bass note, like the sound of a whirling top, that the machine makes at full speed, the creaking of the wheels, the lazy tread of the oxen, the clouds of dust, the grimy, perspiring faces of some three score of men—all this has stamped itself upon my memory like the Lord’s Prayer. And now, too, I have been spending hours at the thrashing and felt intensely happy. When the thrashing engine is at work it looks as though alive; it has a cunning, playful expression, while the men and oxen look like machines. In the district of Mirgorod few have thrashing machines of their own, but everyone can hire one. The engine goes about the whole province drawn by six oxen and offers itself to all who can pay for it.

[ [!-- H2 anchor --] ]

MOSCOW,

September 11.

... You advise me not to hunt after two hares, and not to think of medical work. I do not know why one should not hunt two hares even in the literal sense.... I feel more confident and more satisfied with myself when I reflect that I have two professions and not one. Medicine is my lawful wife and literature is my mistress. When I get tired of one I spend the night with the other. Though it’s disorderly, it’s not so dull, and besides neither of them loses anything from my infidelity. If I did not have my medical work I doubt if I could have given my leisure and my spare thoughts to literature. There is no discipline in me.

[ [!-- H2 anchor --] ]

MOSCOW,

October 27, 1888.

... In conversation with my literary colleagues I always insist that it is not the artist’s business to solve problems that require a specialist’s knowledge. It is a bad thing if a writer tackles a subject he does not understand. We have specialists for dealing with special questions: it is their business to judge of the commune, of the future of capitalism, of the evils of drunkenness, of boots, of the diseases of women. An artist must only judge of what he understands, his field is just as limited as that of any other specialist—I repeat this and insist on it always. That in his sphere there are no questions, but only answers, can only be maintained by those who have never written and have had no experience of thinking in images. An artist observes, selects, guesses, combines—and this in itself presupposes a problem: unless he had set himself a problem from the very first there would be nothing to conjecture and nothing to select. To put it briefly, I will end by using the language of psychiatry: if one denies that creative work involves problems and purposes, one must admit that an artist creates without premeditation or intention, in a state of aberration; therefore, if an author boasted to me of having written a novel without a preconceived design, under a sudden inspiration, I should call him mad.

You are right in demanding that an artist should take an intelligent attitude to his work, but you confuse two things: solving a problem and stating a problem correctly. It is only the second that is obligatory for the artist. In “Anna Karenin” and “Evgeny Onyegin” not a single problem is solved, but they satisfy you completely because all the problems are correctly stated in them. It is the business of the judge to put the right questions, but the answers must be given by the jury according to their own lights.

... You say that the hero of my “Party” is a character worth developing. Good Lord! I am not a senseless brute, you know, I understand that. I understand that I cut the throats of my characters and spoil them, and that I waste good material.... To tell you the truth, I would gladly have spent six months over the “Party”; I like taking things easy, and see no attraction in publishing at headlong speed. I would willingly, with pleasure, with feeling, in a leisurely way, describe the whole of my hero, describe the state of his mind while his wife was in labour, his trial, the horrid feeling he has after he is acquitted; I would describe the midwife and the doctors having tea in the middle of the night, I would describe the rain.... It would give me nothing but pleasure because I like to rummage about and dawdle. But what am I to do? I begin a story on September 10th with the thought that I must finish it by October 5th at the latest; if I don’t I shall fail the editor and be left without money. I let myself go at the beginning and write with an easy mind; but by the time I get to the middle I begin to grow timid and to fear that my story will be too long: I have to remember that the Syeverny Vyestnik has not much money, and that I am one of their expensive contributors. This is why the beginning of my stories is always very promising and looks as though I were starting on a novel, the middle is huddled and timid, and the end is, as in a short sketch, like fireworks. And so in planning a story one is bound to think first about its framework: from a crowd of leading or subordinate characters one selects one person only—wife or husband; one puts him on the canvas and paints him alone, making him prominent, while the others one scatters over the canvas like small coin, and the result is something like the vault of heaven: one big moon and a number of very small stars around it. But the moon is not a success because it can only be understood if the stars too are intelligible, and the stars are not worked out. And so what I produce is not literature, but something like the patching of Trishka’s coat. What am I to do? I don’t know, I don’t know. I must trust to time which heals all things.

To tell the truth again, I have not yet begun my literary work, though I have received a literary prize. Subjects for five stories and two novels are languishing in my head. One of the novels was thought of long ago, and some of the characters have grown old without managing to be written. In my head there is a whole army of people asking to be let out and waiting for the word of command. All that I have written so far is rubbish in comparison with what I should like to write and should write with rapture. It is all the same to me whether I write “The Party” or “The Lights,” or a vaudeville or a letter to a friend—it is all dull, spiritless, mechanical, and I get annoyed with critics who attach any importance to “The Lights,” for instance. I fancy that I deceive him with my work just as I deceive many people with my face, which looks serious or over-cheerful. I don’t like being successful; the subjects which sit in my head are annoyed and jealous of what has already been written. I am vexed that the rubbish has been done and the good things lie about in the lumber-room like old books. Of course, in thus lamenting I rather exaggerate, and much of what I say is only my fancy, but there is a part of the truth in it, a good big part of it. What do I call good? The images which seem best to me, which I love and jealously guard lest I spend and spoil them for the sake of some “Party” written against time.... If my love is mistaken, I am wrong, but then it may not be mistaken! I am either a fool and a conceited fellow or I really am an organism capable of being a good writer. All that I now write displeases and bores me, but what sits in my head interests, excites and moves me—from which I conclude that everybody does the wrong thing and I alone know the secret of doing the right one. Most likely all writers think that. But the devil himself would break his neck in these problems.

Money will not help me to decide what I am to do and how I am to act. An extra thousand roubles will not settle matters, and a hundred thousand is a castle in the air. Besides, when I have money—it may be from lack of habit, I don’t know—I become extremely careless and idle; the sea seems only knee-deep to me then.... I need time and solitude.

[ [!-- H2 anchor --] ]

November, 1888.

In the November number of the Syeverny Vyestnik there is an article by the poet Merezhkovsky about your humble servant. It is a long article. I commend to your attention the end of it; it is characteristic. Merezhkovsky is still very young, a student—of science I believe. Those who have assimilated the wisdom of the scientific method and learned to think scientifically experience many alluring temptations. Archimedes wanted to turn the earth round, and the present day hot-heads want by science to conceive the inconceivable, to discover the physical laws of creative art, to detect the laws and the formulae which are instinctively felt by the artist and are followed by him in creating music, novels, pictures, etc. Such formulae probably exist in nature. We know that A, B, C, do, re, mi, fa, sol, are found in nature, and so are curves, straight lines, circles, squares, green, blue, and red.... We know that in certain combinations all this produces a melody, or a poem or a picture, just as simple chemical substances in certain combinations produce a tree, or a stone, or the sea; but all we know is that the combination exists, while the law of it is hidden from us. Those who are masters of the scientific method feel in their souls that a piece of music and a tree have something in common, that both are built up in accordance with equally uniform and simple laws. Hence the question: What are these laws? And hence the temptation to work out a physiology of creative art (like Boborykin), or in the case of younger and more diffident writers, to base their arguments on nature and on the laws of nature (Merezhkovsky). There probably is such a thing as the physiology of creative art, but we must nip in the bud our dreams of discovering it. If the critics take up a scientific attitude no good will come of it: they will waste a dozen years, write a lot of rubbish, make the subject more obscure than ever—and nothing more. It is always a good thing to think scientifically, but the trouble is that scientific thinking about creative art will be bound to degenerate in the end into searching for the “cells” or the “centres” which control the creative faculty. Some stolid German will discover these cells somewhere in the occipital lobes, another German will agree with him, a third will disagree, and a Russian will glance through the article about the cells and reel off an essay about it to the Syeverny Vyestnik. The Vyestnik Evropi will criticize the essay, and for three years there will be in Russia an epidemic of nonsense which will give money and popularity to blockheads and do nothing but irritate intelligent people.

For those who are obsessed with the scientific method and to whom God has given the rare talent of thinking scientifically, there is to my mind only one way out—the philosophy of creative art. One might collect together all the best works of art that have been produced throughout the ages and, with the help of the scientific method, discover the common element in them which makes them like one another and conditions their value. That common element will be the law. There is a great deal that works which are called immortal have in common; if this common element were excluded from each of them, a work would lose its charm and its value. So that this universal something is necessary, and is the conditio sine qua non of every work that claims to be immortal. It is of more use to young people to write critical articles than poetry. Merezhkovsky writes smoothly and youthfully, but at every page he loses heart, makes reservations and concessions, and this means that he is not clear upon the subject. He calls me a poet, he styles my stories “novelli” and my heroes “failures”—that is, he follows the beaten track. It is time to give up these “failures,” superfluous people, etc., and to think of something original. Merezhkovsky calls my monk [Translator’s Note: “Easter Eve.”] who composes the songs of praise a failure. But how is he a failure? God grant us all a life like his: he believed in God, and he had enough to eat and he had the gift of composing poetry.... To divide men into the successful and the unsuccessful is to look at human nature from a narrow, preconceived point of view. Are you a success or not? Am I? Was Napoleon? Is your servant Vassily? What is the criterion? One must be a god to be able to tell successes from failures without making a mistake.

[ [!-- H2 anchor --] ]

MOSCOW,

November 7, 1888.

... It is not the public that is to blame for our theatres being so wretched. The public is always and everywhere the same: intelligent and stupid, sympathetic and pitiless according to mood. It has always been a flock which needs good shepherds and dogs, and it has always gone in the direction in which the shepherds and the dogs drove it. You are indignant that it laughs at flat witticisms and applauds sounding phrases; but then the very same stupid public fills the house to hear “Othello,” and, listening to the opera “Evgeny Onyegin,” weeps when Tatyana writes her letter.

... The water-carrier has stolen from somewhere a Siberian kitten with long white fur and black eyes, and brought it to us. This kitten takes people for mice: when it sees anyone it lies flat on its stomach, stalks one’s feet and rushes at them. This morning as I was pacing up and down the room it several times stalked me, and a la tigre pounced at my boots. I imagine the thought of being more terrible than anyone in the house affords it the greatest delight.

[ [!-- H2 anchor --] ]

November 11, 1888.

I finished to-day the story [Footnote: “A Nervous Breakdown.”] for the Garshin sbornik: it is such a load off my mind. In this story I have told my own opinion—which is of no interest to anyone—of such rare men as Garshin. I have run to almost 2,000 lines. I speak at length about prostitution, but settle nothing. Why do they write nothing about prostitution in your paper? It is the most fearful evil, you know. Our Sobolev street is a regular slave-market.

[ [!-- H2 anchor --] ]

November 15, 1888.

My “Party” has pleased the ladies. They sing my praises wherever I go. It really isn’t bad to be a doctor and to understand what one is writing about. The ladies say the description of the confinement is true. In the story for the Garshin sbornik I have described spiritual agony.

[ [!-- H2 anchor --] ]

(No date), 1888.

... You say that writers are God’s elect. I will not contradict you. Shtcheglov calls me the Potyomkin of literature, and so it is not for me to speak of the thorny path, of disappointments, and so on. I do not know whether I have ever suffered more than shoemakers, mathematicians, or railway guards do; I do not know who speaks through my lips—God or someone worse. I will allow myself to mention only one little drawback which I have experienced and you probably know from experience also. It is this. You and I are fond of ordinary people; but other people are fond of us because they think we are not ordinary. Me, for instance, they invite everywhere and regale me with food and drink like a general at a wedding. My sister is indignant that people on all sides invite her simply because she is a writer’s sister. No one wants to love the ordinary people in us. Hence it follows that if in the eyes of our friends we should appear to-morrow as ordinary mortals, they will leave off loving us, and will only pity us. And that is horrid. It is horrid, too, that they like the very things in us which we often dislike and despise in ourselves. It is horrid that I was right when I wrote the story “The First-Class Passenger,” in which an engineer and a professor talk about fame.

I am going away into the country. Hang them all! You have Feodosia. By the way, about Feodosia and the Tatars. The Tatars have been robbed of their land, but no one thinks of their welfare. There ought to be Tatar schools. Write and suggest that the money which is being spent on the sausage Dorpat University, where useless Germans are studying, should be devoted to schools for Tatars, who are of use to Russia. I would write about it myself, but I don’t know how to.

[ [!-- H2 anchor --] ]

December 23, 1888.

... There are moments when I completely lose heart. For whom and for what do I write? For the public? But I don’t see it, and believe in it less than I do in spooks: it is uneducated, badly brought up, and its best elements are unfair and insincere to us. I cannot make out whether this public wants me or not. Burenin says that it does not, and that I waste my time on trifles; the Academy has given me a prize. The devil himself could not make head or tail of it. Write for the sake of money? But I never have any money, and not being used to having it I am almost indifferent to it. For the sake of money I work apathetically. Write for the sake of praise? But praise merely irritates me. Literary society, students, Pleshtcheyev, young ladies, etc., were enthusiastic in their praises of my “Nervous Breakdown,” but Grigorovitch is the only one who has noticed the description of the first snow. And so on, and so on. If we had critics I should know that I provide material, whether good or bad does not matter—that to men who devote themselves to the study of life I am as necessary as a star is to an astronomer. And then I would take trouble over my work and should know what I was working for. But as it is you, I, Muravlin, and the rest are like lunatics who write books and plays to please themselves. To please oneself is, of course, an excellent thing; one feels the pleasure while one is writing, but afterwards? But ... I will shut up. In short, I am sorry for Tatyana Repin, [Translator’s Note: Suvorin’s play.] not because she poisoned herself, but because she lived her life, died in agony, and was described absolutely to no purpose, without any good to anyone. A number of tribes, religions, languages, civilizations, have vanished without a trace—vanished because there were no historians or biologists. In the same way a number of lives and works of art disappear before our very eyes owing to the complete absence of criticism. It may be objected that critics would have nothing to do because all modern works are poor and insignificant. But this is a narrow way of looking at things. Life must be studied not from the pluses alone, but from the minuses too. The conviction that the “eighties” have not produced a single writer may in itself provide material for five volumes.

... I settled down last night to write a story for the Novoye Vremya, but a woman appeared and dragged me to see the poet Palmin who, when he was drunk, had fallen and cut his forehead to the bone. I was busy over the drunken fellow for nearly two hours, was tired out, began to smell of iodoform all over, felt cross, and came home exhausted.... Altogether my life is a dreary one, and I begin to get fits of hating people which used never to happen to me before. Long stupid conversations, visitors, people asking for help, and helping them to the extent of one or two or three roubles, spending money on cabs for the sake of patients who do not pay me a penny—altogether it is such a hotch-potch that I feel like running away from home. People borrow money from me and don’t pay it back, they take my books, they waste my time.... Blighted love is the one thing that is missing.

[ [!-- H2 anchor --] ]

December 26, 1888.

... You say that from compassion women fall in love, from compassion they get married.... And what about men? I don’t like realistic writers to slander women, but I don’t like it either when people put women on a pedestal and attempt to prove that even if they are worse than men, anyway they are angels and men scoundrels. Neither men nor women are worth a brass farthing, but men are more just and more intelligent.

[ [!-- H2 anchor --] ]

December 30, 1888.

... This is how I understand my characters. [Translator’s Note: In the play “Ivanov.”] Ivanov is a gentleman, a University man, and not remarkable in any way. He is excitable, hotheaded, easily carried away, honest and straightforward like most people of his class. He has lived on his estate and served on the Zemstvo. What he has been doing and how he has behaved, what he has been interested in and enthusiastic over, can be seen from the following words of his, addressed to the doctor (Act I., Scene 5): “Don’t marry Jewesses or neurotic women or blue-stockings ... don’t fight with thousands single-handed, don’t wage war on windmills, don’t batter your head against the wall ... God preserve you from scientific farming, wonderful schools, enthusiastic speeches....” This is what he has in his past. Sarra, who has seen his scientific farming and other crazes, says about him to the doctor: “He is a remarkable man, doctor, and I am sorry you did not meet him two or three years ago. Now he is depressed and melancholy, he doesn’t talk or do anything, but in old days ... how charming he was!” (Act I., Scene 7). His past is beautiful, as is generally the case with educated Russians. There is not, or there hardly is, a single Russian gentleman or University man who does not boast of his past. The present is always worse than the past. Why? Because Russian excitability has one specific characteristic: it is quickly followed by exhaustion. A man has scarcely left the class-room before he rushes to take up a burden beyond his strength; he tackles at once the schools, the peasants, scientific farming, and the Vyestnik Evropi, he makes speeches, writes to the minister, combats evil, applauds good, falls in love, not in an ordinary, simple way, but selects either a blue-stocking or a neurotic or a Jewess, or even a prostitute whom he tries to save, and so on, and so on. But by the time he is thirty or thirty-five he begins to feel tired and bored. He has not got decent moustaches yet, but he already says with authority:

“Don’t marry, my dear fellow.... Trust my experience,” or, “After all, what does Liberalism come to? Between ourselves Katkov was often right....” He is ready to reject the Zemstvo and scientific farming, and science and love. My Ivanov says to the doctor (Act I., Scene 5): “You took your degree only last year, my dear friend, you are still young and vigorous, while I am thirty-five. I have a right to advise you....” That is how these prematurely exhausted people talk. Further down, sighing authoritatively, he advises: “Don’t you marry in this or that way (see above), but choose something commonplace, grey, with no vivid colours or superfluous flourishes. Altogether build your life according to the conventional pattern. The greyer and more monotonous the background the better.... The life that I have led—how tiring it is! Ah, how tiring!”

Conscious of physical exhaustion and boredom, he does not understand what is the matter with him, and what has happened. Horrified, he says to the doctor (Act I., Scene 3): “Here you tell me she is soon going to die and I feel neither love nor pity, but a sort of emptiness and weariness.... If one looks at me from outside it must be horrible. I don’t understand what is happening to my soul.” Finding themselves in such a position, narrow and unconscientious people generally throw the whole blame on their environment, or write themselves down as Hamlets and superfluous people, and are satisfied with that. But Ivanov, a straightforward man, openly says to the doctor and to the public that he does not understand his own mind. “I don’t understand! I don’t understand!” That he really doesn’t understand can be seen from his long monologue in Act III., where, tete-a-tete with the public, he opens his heart to it and even weeps.

The change that has taken place in him offends his sense of what is fitting. He looks for the causes outside himself and fails to find them; he begins to look for them inside and finds only an indefinite feeling of guilt. It is a Russian feeling. Whether there is a death or illness in his family, whether he owes money or lends it, a Russian always feels guilty. Ivanov talks all the time about being to blame in some way, and the feeling of guilt increases in him at every juncture. In Act I. he says: “Suppose I am terribly to blame, yet my thoughts are in a tangle, my soul is in bondage to a sort of sloth, and I am incapable of understanding myself....” In Act II. he says to Sasha: “My conscience aches day and night, I feel that I am profoundly to blame, but in what exactly I have done wrong I cannot make out.”

To exhaustion, boredom, and the feeling of guilt add one more enemy: loneliness. Were Ivanov an official, an actor, a priest, a professor, he would have grown used to his position. But he lives on his estate. He is in the country. His neighbours are either drunkards or fond of cards, or are of the same type as the doctor. None of them care about his feelings or the change that has taken place in him. He is lonely. Long winters, long evenings, an empty garden, empty rooms, the grumbling Count, the ailing wife.... He has nowhere to go. This is why he is every minute tortured by the question: what is he to do with himself?

Now about his fifth enemy. Ivanov is tired and does not understand himself, but life has nothing to do with that! It makes its legitimate demands upon him, and whether he will or no, he must settle problems. His sick wife is a problem, his numerous debts are a problem, Sasha flinging herself on his neck is a problem. The way in which he settles all these problems must be evident from his monologue in Act III., and from the contents of the last two acts. Men like Ivanov do not solve difficulties but collapse under their weight. They lose their heads, gesticulate, become nervous, complain, do silly things, and finally, giving rein to their flabby, undisciplined nerves, lose the ground under their feet and enter the class of the “broken down” and “misunderstood.”

Disappointment, apathy, nervous limpness and exhaustion are the inevitable consequence of extreme excitability, and such excitability is extremely characteristic of our young people. Take literature. Take the present time.... Socialism is one of the forms of this excitement. But where is socialism? You see it in Tihomirov’s letter to the Tsar. The socialists are married and are criticizing the Zemstvo. Where is Liberalism? Mihailovsky himself says that all the labels have been mixed up now. And what are all the Russian enthusiasms worth? The war has wearied us, Bulgaria has wearied us till we can only be ironical about it. Zucchi has wearied us and so has the comic opera.

Exhaustion (Dr. Bertensen will confirm this) finds expression not only in complaining or the sensation of boredom. The life of an over-tired man cannot be represented like this:

[Transcriber’s note: The line graph in the print version depicts a wavy horizontal “line” with minimal variation in the vertical direction. The ASCII diagram below gives a rough approximation.]

~~~~~~~~~~~~~~~~~~~~~~~~~

It is very unequal. Over-tired people never lose the capacity for becoming extremely excited, but cannot keep it up for long, and each excitement is followed by still greater apathy.... Graphically, it could be represented like this:

[Transcriber’s note: The line graph in the print version depicts a series of wavy horizontal segments punctuated by sharp “dips,” each horizontal segment a little lower than the one before. The ASCII illustration below gives a rough approximation.]

~~~~~~
\ ~~~~~~
\ / \ ~~~~~~
\/ \ / \ ~~~~~~
\ / \/
\/

The fall, as you see, is not continuous but broken. Sasha declares her love and Ivanov cries out in ecstasy, “A new life!”—and next morning he believes in this new life as little as he does in spooks (the monologue in Act III.); his wife insults him, and, fearfully worked up and beside himself with anger, he flings a cruel insult at her. He is called a scoundrel. This is either fatal to his tottering brain, or stimulates him to a fresh paroxysm and he pronounces sentence on himself.

Not to tire you out altogether I pass now to Dr. Lvov. He is the type of an honest, straightforward, hotheaded, but narrow and uncompromising man. Clever people say of such men: “He is stupid but his heart is in the right place.” Anything like width of outlook or unreflecting feeling is foreign to Lvov. He is the embodiment of a programme, a walking tendency. He looks through a narrow frame at every person and event, he judges everything according to preconceived notions. Those who shout, “Make way for honest labour!” are an object of worship to him; those who do not shout it are scoundrels and exploiters. There is no middle. He has been brought up on Mihailov’s [Translator’s Note: The author of second-rate works inculcating civic virtue with a revolutionary bias.] novels; at the theatre he has seen on the stage “new men,” i.e., the exploiters and sons of our age, painted by the modern playwrights. He has stored it all up, and so much so, that when he reads “Rudin” he is sure to be asking himself, “Is Rudin a scoundrel or not?” Literature and the stage have so educated him that he approaches every character in real life and in fiction with this question.... It is not enough for him that all men are sinners. He wants saints and villains!

He was prejudiced before he came to the district. He at once classed all the rich peasants as exploiters, and Ivanov, whom he could not understand, as a scoundrel. Why, the man has a sick wife and he goes to see a rich lady neighbour—of course he is a scoundrel! It is obvious that he is killing his wife in order to marry an heiress.

Lvov is honest and straightforward, and he blurts out the truth without sparing himself. If necessary, he will throw a bomb at a carriage, give a school inspector a blow in the face, or call a man a scoundrel. He will not stop at anything. He never feels remorse—it is his mission as “an honest worker” to fight “the powers of darkness”!

Such people are useful, and are for the most part attractive. To caricature them, even in the interests of the play, is unfair and, indeed, unnecessary. True, a caricature is more striking, and therefore easier to understand, but it is better to put your colour on too faint than too strong.

Now about the women. What do they love Ivanov for? Sarra loves him because he is a fine man, because he has enthusiasm, because he is brilliant and speaks with as much heat as Lvov does (Act I., Scene 7). She loves him so long as he is excited and interesting; but when he begins to grow misty in her eyes, and to lose definiteness of outline, she ceases to understand him, and at the end of Act III. speaks out plainly and sharply.

Sasha is a young woman of the newest type. She is well-educated, intelligent, honest, and so on. In the realm of the blind a one-eyed man is king, and so she favours Ivanov in spite of his being thirty-five. He is better than anyone else. She knew him when she was a child and saw his work close at hand, at the period before he was exhausted. He is a friend of her father’s.

She is a female who is not won by the vivid plumage of the male, not by their courage and dexterity, but by their complaints, whinings and failures. She is the sort of girl who loves a man when he is going downhill. The moment Ivanov loses heart the young lady is on the spot! That’s just what she was waiting for. Just think of it, she now has such a holy, such a grateful task before her! She will raise up the fallen one, set him on his feet, make him happy.... It is not Ivanov she loves, but this task. Argenton in Daudet’s book says, “Life is not a novel.” Sasha does not know this. She does not know that for Ivanov love is only a fresh complication, an extra stab in the back. And what comes of it? She struggles with him for a whole year and, instead of being raised, he sinks lower and lower.

... In my description of Ivanov there often occurs the word “Russian.” Don’t be cross about it. When I was writing the play I had in mind only the things that really matter—that is, only the typical Russian characteristics. Thus the extreme excitability, the feeling of guilt, the liability to become exhausted are purely Russian. Germans are never excited, and that is why Germany knows nothing of disappointed, superfluous, or over-tired people.... The excitability of the French is always maintained at one and the same level, and makes no sudden bounds or falls, and so a Frenchman is normally excited down to a decrepit old age. In other words, the French do not have to waste their strength in over-excitement; they spend their powers sensibly, and do not go bankrupt.

... Ivanov and Lvov appear to my imagination to be living people. I tell you honestly, in all conscience, these men were born in my head, not by accident, not out of sea foam, or preconceived “intellectual" ideas. They are the result of observing and studying life. They stand in my brain, and I feel that I have not falsified the truth nor exaggerated it a jot. If on paper they have not come out clear and living, the fault is not in them but in me, for not being able to express my thoughts. It shows it is too early for me to begin writing plays.

[ [!-- H2 anchor --] ]

January 7, 1889.

... I have been cherishing the bold dream of summing up all that has hitherto been written about whining, miserable people, and with my Ivanov saying the last word. It seemed to me that all Russian novelists and playwrights were drawn to depict despondent men, but that they all wrote instinctively, having no definite image or views on the subject. As far as my design goes I was on the right track, but the execution is good for nothing. I ought to have waited! I am glad I did not listen to Grigorovitch two or three years ago, and write a novel! I can just imagine what a lot of good material I should have spoiled. He says: “Talent and freshness overcome everything.” It is more true to say that talent and freshness can spoil a great deal. In addition to plenty of material and talent, one wants something else which is no less important. One wants to be mature—that is one thing; and for another the feeling of personal freedom is essential, and that feeling has only recently begun to develop in me. I used not to have it before; its place was successfully filled by my frivolity, carelessness, and lack of respect for my work.

What writers belonging to the upper class have received from nature for nothing, plebeians acquire at the cost of their youth. Write a story of how a young man, the son of a serf, who has served in a shop, sung in a choir, been at a high school and a university, who has been brought up to respect everyone of higher rank and position, to kiss priests’ hands, to reverence other people’s ideas, to be thankful for every morsel of bread, who has been many times whipped, who has trudged from one pupil to another without goloshes, who has been used to fighting, and tormenting animals, who has liked dining with his rich relations, and been hypocritical before God and men from the mere consciousness of his own insignificance—write how this young man squeezes the slave out of himself, drop by drop, and how waking one beautiful morning he feels that he has no longer a slave’s blood in his veins but a real man’s....

[ [!-- H2 anchor --] ]

March 5, 1889.

... Last night I drove out of town and listened to the gypsies. They sing well, the wild creatures. Their singing reminds me of a train falling off a high bank in a violent snow-storm: there is a lot of turmoil, screeching and banging.

... I bought Dostoevsky in your shop and am now reading him. It is fine, but very long and indiscreet. It is over-pretentious.

[ [!-- H2 anchor --] ]

SUMY,

LINTVARYOVS’ ESTATE, May, 1889.

... Among other things I am reading Gontcharov and wondering. I wonder how I could have considered Gontcharov a first-rate writer. His “Oblomov” is not really good. Oblomov himself is exaggerated and is not so striking as to make it worth while to write a whole book about him. A flabby sluggard like so many, a commonplace, petty nature without any complexity in it: to raise this person to the rank of a social type is to make too much of him. I ask myself, what would Oblomov be if he had not been a sluggard? And I answer that he would not have been anything. And if so, let him snore in peace. The other characters are trivial, with a flavour of Leikin about them; they are taken at random, and are half unreal. They are not characteristic of the epoch and give one nothing new. Stoltz does not inspire me with any confidence. The author says he is a splendid fellow, but I don’t believe him. He is a sly brute, who thinks very well of himself and is very complacent. He is half unreal, and three-quarters on stilts. Olga is unreal and is dragged in by the tail. And the chief trouble is that the whole novel is cold, cold, cold. I scratch out Gontcharov from the list of my demi-gods.

But how direct, how powerful is Gogol, and what an artist he is! His “Marriage” alone is worth two hundred thousand roubles. It is simply delicious, and that is all about it. He is the greatest of Russian writers. In “The Inspector General” the first act is the best, in “The Marriage” the third act is the worst. I am going to read it aloud to my people.

[ [!-- H2 anchor --] ]

May 4, 1889.

... Nature is an excellent sedative. It pacifies—that is, it makes one indifferent. And it is essential in this world to be indifferent. Only those who are indifferent are able to see things clearly, to be just and to work. Of course, I am only speaking of intelligent people of fine natures; the empty and selfish are indifferent enough any way.

You say that I have grown lazy. That does not mean that I am now lazier than I used to be. I work now as much as I did three or five years ago. To work and to look as though I were working from nine in the morning till dinner, and from evening tea till bedtime has become a habit with me, and in that respect I am just like a government clerk. And if my work does not produce two novels a month or an income of ten thousand, it is not my laziness that is at fault, but my fundamental, psychological peculiarities. I do not care enough for money to succeed in medicine, and for literature I have not enough passion and therefore not enough talent. The fire burns in me slowly and evenly, without suddenly spluttering and flaring up, and this is why it does not happen to me to write three or four signatures a night, or to be so carried away by work as to prevent myself from going to bed if I am sleepy; this is why I commit no particular follies nor do anything particularly wise.

I am afraid that in this respect I resemble Gontcharov, whom I don’t like, who is ten heads taller than I am in talent. I have not enough passion; add to that this sort of lunacy: for the last two years I have for no reason at all ceased to care about seeing my work in print, have become indifferent to reviews, to literary conversations, to gossip, to success and failure, to good pay—in short, I have gone downright silly. There is a sort of stagnation in my soul. I explain it by the stagnation in my personal life. I am not disappointed, I am not tired, I am not depressed, but simply everything has suddenly become less interesting. I must do something to rouse myself.

[ [!-- H2 anchor --] ]

May 7.

I have read Bourget’s “Disciple” in the Russian translation. This is how it strikes me. Bourget is a gifted, very intelligent and cultured man. He is as thoroughly acquainted with the method of the natural sciences, and as imbued with it as though he had taken a good degree in science or medicine. He is not a stranger in the domain he proposes to deal with—a merit absent in Russian writers both new and old.

... The novel is interesting. I have read it and understand why you were so absorbed by it. It is clever, interesting, in places witty, somewhat fantastic. As to its defects, the chief of them is his pretentious crusade against materialism. Forgive me, but I can’t understand such crusades. They never lead to anything and only bring needless confusion into people’s thoughts. Whom is the crusade against, and what is its object? Where is the enemy and what is there dangerous about him? In the first place, the materialistic movement is not a school or tendency in the narrow journalistic sense; it is not something passing or accidental; it is necessary, inevitable, and beyond the power of man. All that lives on earth is bound to be materialistic. In animals, in savages, in Moscow merchants, all that is higher and non-animal is conditioned by an unconscious instinct, while all the rest is material, and they of course cannot help it. Beings of a higher order, thinking men, are also bound to be materialists. They seek for truth in matter, for there is nowhere else to seek for it, since they see, hear, and sense matter alone. Of necessity they can only seek for truth where their microscopes, lancets, and knives are of use to them. To forbid a man to follow the materialistic line of thought is equivalent to forbidding him to seek truth. Outside matter there is neither knowledge nor experience, and consequently there is no truth....

I think that when dissecting a corpse, the most inveterate spiritualist will be bound to ask himself, “Where is the soul here?” And if one knows how great is the likeness between bodily and mental diseases, and that both are treated by the same remedies, one cannot help refusing to separate the soul from the body.

... To speak of the danger and harm of materialism, and even more to fight against it, is, to say the least, premature. We have not enough data to draw up an indictment. There are many theories and suppositions, but no facts.... The priests complain of unbelief, immorality, and so on. There is no unbelief. People believe in something, whatever it may be....

As to immorality, it is not people like Mendeleyev but poets, abbots, and personages regularly attending Embassy churches, who have the reputation of being perverted debauchees, libertines, and drunkards.

In short, I cannot understand Bourget’s crusade. If, in starting upon it, he had at the same time taken the trouble to point out to the materialists an incorporeal God in the sky, and to point to Him in such a way that they should see Him, that would be another matter, and I should understand what he is driving at.

[ [!-- H2 anchor --] ]

May 14, 1889.

... You want to know if the lady doctor hates you as before. Alas! she has grown stouter and much more resigned, which I do not like at all. There are not many women doctors left on earth. They are disappearing and dying out like the branches in the Byelovyezhsky forest. Some die of consumption, others become mystics, some marry widowed squadron-commanders, some still try to stand firm, but are obviously losing heart. Probably the first tailors and the first astrologers also died out rapidly. Life is hard on those who have the temerity first to enter upon an unknown path. The vanguard always has a bad time of it.

[ [!-- H2 anchor --] ]

May 15, 1889.

If you have not gone abroad yet, I will answer your letter about Bourget.... You are speaking of the “right to live” of this or that branch of knowledge; I am speaking of peace, not of rights. I want people not to see war where there is none. Different branches of knowledge have always lived together in peace. Anatomy and belles-lettres are of equally noble descent; they have the same purpose and the same enemy—the devil—and there is absolutely nothing for them to fight about. There is no struggle for existence between them. If a man knows about the circulation of the blood, he is rich; if he also learns the history of religion and the song “I remember a marvellous moment,” he becomes richer, not poorer—that is to say, we are concerned with pluses alone. This is why geniuses have never fought, and in Goethe the poet lived amicably side by side with the scientist.

It is not branches of knowledge such as poetry and anatomy, but errors—that is to say, men—that fight with one another. When a man fails to understand something he is conscious of a discord, and seeks for the cause of it not in himself, as he should, but outside himself—hence the war with what he does not understand. In the middle ages alchemy was gradually in a natural, peaceful way changing into chemistry, and astrology into astronomy; the monks did not understand, saw a conflict and fought against it. Just such a belligerent Spanish monk was our Pisarev in the sixties.

Bourget, too, is fighting. You say he is not, and I say he is. Imagine his novel falling into the hands of a man whose children are studying in the faculty of science, or of a bishop who is looking for a subject for his Sunday sermon. Will the effect be anything like peace? It will not. Or imagine the novel catching the eye of an anatomist or a physiologist, or any such. It will not breathe peace into anyone’s soul; it will irritate those who know and give false ideas to those who don’t.

[ [!-- H2 anchor --] ]

TO A. N. PLESHTCHEYEV.

MOSCOW, September 30, 1889.

... I do not think I ought to change the title of the story. [Footnote: “A Dreary Story.”] The wags who will, as you foretell, make jokes about “A Dreary Story,” are so dull that one need not fear them; and if someone makes a good joke I shall be glad to have given him the occasion for it. The professor could not write about Katya’s husband because he did not know him, and Katya does not say anything about him; besides, one of my hero’s chief characteristics is that he cares far too little about the inner life of those who surround him, and while people around him are weeping, making mistakes, telling lies, he calmly talks about the theatre or literature. Were he a different sort of man, Liza and Katya might not have come to grief.

[ [!-- H2 anchor --] ]

October, 1889.

I am afraid of those who look for a tendency between the lines, and who are determined to regard me either as a liberal or as a conservative. I am not a liberal, not a conservative, not a believer in gradual progress, not a monk, not an indifferentist. I should like to be a free artist and nothing more, and I regret that God has not given me the power to be one. I hate lying and violence in all their forms, and am equally repelled by the secretaries of consistories and by Notovitch and Gradovsky. Pharisaism, stupidity and despotism reign not in merchants’ houses and prisons alone. I see them in science, in literature, in the younger generation.... That is why I have no preference either for gendarmes, or for butchers, or for scientists, or for writers, or for the younger generation. I regard trade-marks and labels as a superstition. My holy of holies is the human body, health, intelligence, talent, inspiration, love, and the most absolute freedom—freedom from violence and lying, whatever forms they may take. This is the programme I would follow if I were a great artist.

[ [!-- H2 anchor --] ]

MOSCOW,

February 15, 1890.

I answer you, dear Alexey Nikolaevitch, at once on receiving your letter. It was your name-day, and I forgot it!! Forgive me, dear friend, and accept my belated congratulations.

Did you really not like the “Kreutzer Sonata”? I don’t say it is a work of genius for all time, of that I am no judge; but to my thinking, among the mass of all that is written now, here and abroad, one scarcely could find anything else as powerful both in the gravity of its conception and the beauty of its execution. To say nothing of its artistic merits, which in places are striking, one must be grateful to the novel, if only because it is keenly stimulating to thought. As one reads it, one can scarcely refrain from crying out: “That’s true,” or “That’s absurd.” It is true it has some very annoying defects. Apart from all those you enumerate, it has one for which one cannot readily forgive the author—that is, the audacity with which Tolstoy holds forth about what he doesn’t know and is too obstinate to care to understand. Thus his statements about syphilis, foundling hospitals, the aversion of women for the sexual relation, and so on, are not merely open to dispute, but show him up as an ignoramus who has not, in the course of his long life, taken the trouble to read two or three books written by specialists. But yet these defects fly away like feathers in the wind; one simply does not notice them in face of the real worth of the story, or, if one notices them, it is only with a little vexation that the story has not escaped the fate of all the works of man, all imperfect and never free from blemish.

My Petersburg friends and acquaintances are angry with me? What for? For my not having bored them enough with my presence, which has for so long been a bore to myself! Soothe their minds. Tell them that in Petersburg I ate a great many dinners and a great many suppers, but did not fascinate one lady; that every day I was confident of leaving by the evening train, that I was detained by my friends and by The Marine Almanack, the whole of which I had to look through from the year 1852. While I was in Petersburg, I got through in one month more than my young friends would in a year. Let them be angry, though!

I sit all day long reading and making extracts. I have nothing in my head or on paper except Sahalin. Mental obsession. Mania Sachalinosa.

Not long ago I dined with Madame Yermolov. [Translator’s Note: The celebrated actress.] A wild-flower thrust into the same nosegay with the carnation was the more fragrant for the good company it had kept. So I, after dining with the star, was aware of a halo round my head for two days afterwards ...

Good-bye, my dear friend; come and see us....

[ [!-- H2 anchor --] ]

TO A. S. SUVORIN.

MOSCOW, February 23, 1890.

... My brother Alexandr is a slow-witted creature; he is enthusiastic over Ornatsky’s missionary speech, in which he says that the natives do not become Christians because they are waiting for a special ukaz (that is, command) from the Tsar on the subject and are waiting for their chiefs to be baptized ... (by force—be it understood). This eloquent pontifex says, too, that the native priests ought, in view of their ascetic manner of life, to be removed from the natives and put into special institutions somewhat after the fashion of monasteries. A nice set of people and no mistake! They have wasted two million roubles, they send out every year from the academy dozens of missionaries who cost the treasury and the people large sums, yet they cannot convert the natives, and what is more, want the police and the military to help them with fire and sword....

If you have Madame Tsebrikov’s article, do not trouble to send it. Such articles give no information and only waste time; I want facts. Indeed, in Russia there is a terrible poverty of facts, and a terrible abundance of reflections of all sorts.

[ [!-- H2 anchor --] ]

February 28.

... To-morrow is spring, and within ten to fifteen days the larks will come back. But alas!—the coming spring seems strange to me, for I am going away from it.

In Sahalin there is very good fish, but there are no hot drinks....

Our geologists, ichthyologists, zoologists and so on, are fearfully uneducated people. They write such a vile jargon that it not only bores one to read it, but one actually has at times to remodel the sentences before one can understand them; on the other hand, they have solemnity and earnestness enough and to spare. It’s really beastly....

[ [!-- H2 anchor --] ]

March 4.

I have sent you to-day two stories: Filippov’s (he was here yesterday) and Yezhov’s. I have not had time to read the latter, and I think it is as well to say, once for all, that I am not responsible for what I send you. My handwriting on the address does not mean that I like the story.

Poor Yezhov has been to see me; he sat near the table crying: his young wife is in consumption. He must take her at once to the south. To my question whether he had money he answered that he had.... It’s vile catch-cold weather; the sky itself is sneezing. I can’t bear to look at it.... I have already begun writing of Sahalin. I have written five pages. It reads all right, as though written with intelligence and authority ... I quote foreign authors second-hand, but minutely and in a tone as though I could speak every foreign language perfectly. It’s regular swindling.

Yezhov has upset me with his tears. He reminded me of something, and I was sorry for him too.

Don’t forget us sinners.

[ [!-- H2 anchor --] ]

TO N. M. LINTVARYOV.

MOSCOW, March 5, 1890.

... As for me, I have a cough too, but I am alive and I believe I’m well. I shan’t be with you this summer, as I am going in April, on affairs of my own, to the island of Sahalin, and shall not be back till December. I am going across Siberia (eleven thousand versts) and shall come back by sea. I believe Misha wrote to you as though someone were commissioning me to go, but that’s nonsense. I am commissioning myself to go, on my own account. There are lots of bears and escaped convicts in Sahalin, so that in case messieurs the wild beasts dine off me or some tramp cuts my throat, I beg you not to remember evil against me.

Of course if I have the time and the skill to write what I want to about Sahalin, I shall send you the book immediately that it comes into the world; it will be dull, a specialist’s book consisting of nothing but figures, but let me count upon your indulgence: you will suppress your yawns as you read it....

[ [!-- H2 anchor --] ]

TO A. S. SUVORIN.

MOSCOW, March 9.

About Sahalin we are both mistaken, but you probably more than I. I am going in the full conviction that my visit will furnish no contribution of value either to literature or science: I have neither the knowledge, nor the time, nor the ambition for that. I have neither the plans of a Humboldt nor of a Kennan. I want to write some 100 to 200 pages, and so do something, however little, for medical science, which, as you are aware, I have neglected shockingly. Possibly I shall not succeed in writing anything, but still the expedition does not lose its charm for me: reading, looking about me, and listening, I shall learn a great deal and gain experience. I have not yet travelled, but thanks to the books which I have been compelled to read, I have learned a great deal which anyone ought to be flogged for not knowing, and which I was so ignorant as not to have known before. Moreover, I imagine the journey will be six months of incessant hard work, physical and mental, and that is essential for me, for I am a Little Russian and have already begun to be lazy. I must take myself in hand. My expedition may be nonsense, obstinacy, a craze, but think a moment and tell me what I am losing if I go. Time? Money? Shall I suffer hardships? My time is worth nothing; money I never have anyway; as for hardships, I shall travel with horses, twenty-five to thirty days, not more, all the rest of the time I shall be sitting on the deck of a steamer or in a room, and shall be continually bombarding you with letters.

Suppose the expedition gives me nothing, yet surely there will be 2 or 3 days out of the whole journey which I shall remember all my life with ecstasy or bitterness, etc., etc.... So that’s how it is, sir. All that is unconvincing, but you know you write just as unconvincingly. For instance, you say that Sahalin is of no use and no interest to anyone. Can that be true? Sahalin can be useless and uninteresting only to a society which does not exile thousands of people to it and does not spend millions of roubles on it. Except Australia in the past and Cayenne, Sahalin is the only place where one can study colonization by convicts; all Europe is interested in it, and is it no use to us? Not more than 25 to 30 years ago our Russians exploring Sahalin performed amazing feats which exalt them above humanity, and that’s no use to us: we don’t know what those men were, and simply sit within four walls and complain that God has made man amiss. Sahalin is a place of the most unbearable sufferings of which man, free and captive, is capable. Those who work near it and upon it have solved fearful, responsible problems, and are still solving them. I am not sentimental, or I would say that we ought to go to places like Sahalin to worship as the Turks go to Mecca, and that sailors and gaolers ought to think of the prison in Sahalin as military men think of Sevastopol. From the books I have read and am reading, it is evident that we have sent millions of men to rot in prison, have destroyed them—casually, without thinking, barbarously; we have driven men in fetters through the cold ten thousand versts, have infected them with syphilis, have depraved them, have multiplied criminals, and the blame for all this we have thrown upon the gaolers and red-nosed superintendents. Now all educated Europe knows that it is not the superintendents that are to blame, but all of us; yet that has nothing to do with us, it is not interesting. The vaunted sixties did nothing for the sick and for prisoners, so breaking the chief commandment of Christian civilization. In our day something is being done for the sick, nothing for prisoners; prison management is entirely without interest for our jurists. No, I assure you that Sahalin is of use and of interest to us, and the only thing to regret is that I am going there, and not someone else who knows more about it and would be more able to rouse public interest. Nothing much will come of my going there.

There have been disturbances among the students on a grand scale here. It began with the Petrovsky Academy, where the authorities forbade the students to take young ladies to their rooms, suspecting the ladies of politics as well as of prostitution. From the Academy it spread to the University, where now the students, surrounded by fully armed and mounted Hectors and Achilleses with lances, make the following demands:

1. Complete autonomy for the universities.

2. Complete freedom of teaching.

3. Free right of entrance to the university without distinction of religious denomination, nationality, sex, and social position.

4. Right of entrance to the university for the Jews without restriction, and equal rights for them with the other students.

5. Freedom of meeting and recognition of the students’ associations.

6. The establishment of a university and students’ tribunal.

7. The abolition of the police duties of the inspectors.

8. Lowering of the fees for instruction.

This I copied from a manifesto, with some abbreviations.

[ [!-- H2 anchor --] ]

TO I. L. SHTCHEGLOV.

MOSCOW, March 22, 1890.

My greetings, dear Jean! Thanks for your long letter and for the good will of which it is full from beginning to end. I shall be delighted to read your military story. Will it come out in the Easter number? It is a long time since I read anything of yours or my own. You say that you want to give me a harsh scolding “especially on the score of morality and art,” you speak vaguely of my crimes as deserving friendly censure, and threaten me with “an influential newspaper criticism.” If you scratch out the word “art,” the whole phrase in quotation marks becomes clearer, but gains a significance which, to tell the truth, perplexes me not a little. Jean, what is it? How is one to understand it? Can I really be different in my ideas of morality from people like you, and so much so as to deserve censure and even an influential article? I cannot take it that you mean some subtle higher morality, as there are no lower, higher, or medium moralities, but only one which Jesus Christ gave us, and which now prevents you and me and Barantsevitch from stealing, insulting, lying, and so on. If I can trust the ease of my conscience, I have never by word or deed, in thought, or in my stories, or in my farces, coveted my neighbour’s wife, nor his man, nor his ox, nor any of his cattle, I have not stolen, nor been a hypocrite, I have not flattered the great nor sought their favour, I have not blackmailed, nor lived at other people’s expense. It is true I have waxed wanton and slothful, have laughed heedlessly, have eaten too much and drunk too much and been profligate. But all that is a personal matter, and all that does not deprive me of the right to think that, as far as morals are concerned, I am nothing out of the ordinary, one way or the other. Nothing heroic and nothing scoundrelly—I am just like everyone else; I have many sins, but I am quits with morality, as I pay for those sins with interest in the discomforts they bring with them. If you want to abuse me cruelly because I am not a hero, you’d better throw your cruelty out of the window, and instead of abuse, let me hear your charming tragic laugh—that’s better.

But of the word “art” I am terrified, as merchants’ wives are terrified of “brimstone.” When people talk to me of what is artistic and inartistic, of what is dramatic and not dramatic, of tendency, realism, and so on, I am bewildered, hesitatingly assent, and answer with banal half-truths not worth a brass farthing. I divide all works into two classes: those I like and those I don’t. I have no other criterion, and if you ask me why I like Shakespeare and don’t like Zlatovratsky, I don’t venture to answer. Perhaps in time and as I grow wiser I may work out some criterion, but meanwhile all conversations about what is “artistic” only weary me, and seem to me like a continuation of the scholastic disputations with which people wearied themselves in the middle ages.

If criticism, on the authority of which you rely, knows what you and I don’t know, why has it up till now not spoken? why does it not reveal the truth and the immutable laws? If it knew, believe me, it would long ago have shown us the true path and we should have known what to do, and Fofanov would not have been in a madhouse, Garshin would have been alive to-day, Barantsevitch would not have been so depressed and we should not be so dull and ill at ease as we are, and you would not feel drawn to the theatre and I to Sahalin. But criticism maintains a dignified silence or gets out of it with idle trashy babble. If it seems to you authoritative it is because it is stupid, conceited, impudent, and clamorous; because it is an empty barrel one cannot help hearing.

But let us have done with that and sing something out of a different opera. Please don’t build any literary hopes on my Sahalin trip. I am not going for the sake of impressions or observations, but simply for the sake of living for six months differently from how I have lived hitherto. Don’t rely on me, old man; if I am successful and clever enough to do something, so much the better; if not, don’t blame me. I am going after Easter. I will send you in due time my Sahalin address and minute instructions....

[ [!-- H2 anchor --] ]

TO A. S. SUVORIN.

MOSCOW, March 22, 1890.

... Yesterday a young lady told me that Professor Storozhenko had related to her the following anecdote. The Sovereign liked the Kreutzer Sonata. Pobyedonostsev, Lubimov, and the other cherubim and seraphim, hastened to justify their attitude to Tolstoy by showing his Majesty “Nikolay Palkin.” After reading it, his Majesty was so furious that he ordered measures to be taken. Prince Dolgorukov was informed. And so one fine day an adjutant from Dolgorukov comes to Tolstoy and invites him to go at once to the prince. The latter replies: “Tell the prince that I only visit the houses of my acquaintances.” The adjutant, overcome with confusion, rides away, and next day brings Tolstoy the official notice demanding from him an explanation in regard to his “Nikolay Palkin.” Tolstoy reads the document and says:

“Tell his excellency that I have not for a long time past written anything for publication; I write only for my friends, and if my friends spread my writings abroad, they are responsible and not I. Tell him that!”

“But I can’t tell him that,” cried the adjutant in horror, “the prince will not believe me!”

“The prince will not believe his subordinates? That’s bad.”

Two days later the adjutant comes again with a fresh document, and learns that Tolstoy has gone away to Yasnaya Polyana. That is the end of the anecdote.

Now about the new movements. They flog in our police stations; a rate has been fixed; from a peasant they take ten kopecks for a beating, from a workman twenty—that’s for the rods and the trouble. Peasant women are flogged too. Not long ago, in their enthusiasm for beating in a police station, they thrashed a couple of budding lawyers, an incident upon which Russkiya Vyedomosti has a vague paragraph to-day; an investigation has begun.

Another sign of the times: the cabmen approve of the students’ disturbances.

“They are making a riot for the poor to be taken in to study,” they explain, “learning is not only for the rich.” It is said that when a crowd of students were being taken by night to the prison the populace fell upon the gendarmes to rescue the students from them. The populace is said to have shouted: “You have set up flogging for us, but they stand up for us.”

[ [!-- H2 anchor --] ]

March 29.

... Fatigue is a relative matter. You say you used to work twenty hours out of the twenty-four and were not exhausted. But you know one may be exhausted lying all day long on the sofa. You used to write for twenty hours, but you know you were in perfect health all that time, you were stimulated by success, defiance, a sense of your talent; you liked your work, or you wouldn’t have written. Your heir-apparent sits up late, not because he has a talent for journalism or a love for his work, but simply because his father is an editor of a newspaper. The difference is vast. He ought to have been a doctor or a lawyer, to have had an income of two thousand roubles a year, and published his articles not in Novoye Vremya and not in the spirit of Novoye Vremya. Only those young people can be accepted as healthy who refuse to be reconciled with the old order and foolishly or wisely struggle against it—such is the will of nature and it is the foundation of progress, while your son began by absorbing the old order. In our most intimate talks he has never once abused Tatistchev or Burenin, and that’s a bad sign. You are a hundred times as liberal as he is, and it ought to be the other way. He utters a listless and indolent protest, he soon drops his voice and soon agrees, and altogether one has the impression that he has no interest whatever in the contest; that is, he looks on at the cock-fight like a spectator and has no cock of his own. And one ought to have one’s own cock, else life is without interest. The unfortunate thing, too, is that he is intelligent, and great intelligence with little interest in life is like a great machine which produces nothing, yet requires a great deal of fuel and exhausts the owner....

[ [!-- H2 anchor --] ]

April 1.

You abuse me for objectivity, calling it indifference to good and evil, lack of ideals and ideas, and so on. You would have me, when I describe horse-stealers, say: “Stealing horses is an evil.” But that has been known for ages without my saying so. Let the jury judge them, it’s my job simply to show what sort of people they are. I write: you are dealing with horse-stealers, so let me tell you that they are not beggars but well-fed people, that they are people of a special cult, and that horse-stealing is not simply theft but a passion. Of course it would be pleasant to combine art with a sermon, but for me personally it is extremely difficult and almost impossible, owing to the conditions of technique. You see, to depict horse-stealers in seven hundred lines I must all the time speak and think in their tone and feel in their spirit, otherwise, if I introduce subjectivity, the image becomes blurred and the story will not be as compact as all short stories ought to be. When I write I reckon entirely upon the reader to add for himself the subjective elements that are lacking in the story.

[ [!-- H2 anchor --] ]

April 11.

Madame N. who used at one time to live in your family is here now. She married the artist N., a nice but tedious man who wants at all costs to travel with me to Sahalin to sketch. To refuse him my company I haven’t the courage, but to travel with him would be simple misery. He is going to Petersburg in a day or two to sell his pictures, and at his wife’s request will call on you to ask your advice. With a view to this his wife came to ask me for a letter of introduction to you. Be my benefactor, tell N. that I am a drunkard, a swindler, a nihilist, a rowdy character, and that it is out of the question to travel with me, and that a journey in my company will do nothing but upset him. Tell him he will be wasting his time. Of course it would be very nice to have my book illustrated, but when I learned that N. was hoping to get not less than a thousand roubles for it, I lost all appetite for illustrations. My dear fellow, advise him against it!!! Why it is your advice he wants, the devil only knows.

[ [!-- H2 anchor --] ]

April 15.

And so, my dear friend, I am setting off on Wednesday or Thursday at latest. Good-bye till December. Good luck in my absence. I received the money, thank you very much, though fifteen hundred roubles is a great deal; I don’t know where to put it.... I feel as though I were preparing for the battlefield, though I see no dangers before me but toothache, which I am sure to have on the journey. As I am provided with nothing in the way of papers but a passport, I may have unpleasant encounters with the authorities, but that is a passing trouble. If they refuse to show me something, I shall simply write in my book that they wouldn’t show it me, and that’s all, and I won’t worry. In case I am drowned or anything of that sort, you might keep it in mind that all I have or may have in the future belongs to my sister; she will pay my debts.

I am taking my mother with me and putting her down at the Troitsky Monastery; I am taking my sister too, and leaving her at Kostroma. I am telling them I shall be back in September.

I shall go over the university in Tomsk. As the only faculty there is medicine I shall not show myself an ignoramus.

I have bought myself a fur coat, an officer’s waterproof leather coat, big boots, and a big knife for cutting sausage and hunting tigers. I am equipped from head to foot.

[ [!-- H2 anchor --] ]

TO HIS SISTER.

STEAMER “ALEXANDR NEVSKY 23,” April, 1890, early in the morning.

My dear Tunguses!

Did you have rain when Ivan was coming back from the monastery? In Yaroslavl there was such a downpour that I had to swathe myself in my leather chiton. My first impression of the Volga was poisoned by the rain, by the tear-stained windows of the cabin, and the wet nose of G., who came to meet me at the station. In the rain Yaroslavl looks like Zvenigorod, and its churches remind me of Perervinsky Monastery; there are lots of illiterate signboards, it’s muddy, jackdaws with big heads strut about the pavement.

In the steamer I made it my first duty to indulge my talent—that is, to sleep. When I woke I beheld the sun. The Volga is not bad; water meadows, monasteries bathed in sunshine, white churches; the wide expanse is marvellous, wherever one looks it would be a nice place to sit down and begin fishing. Class ladies [Translator’s Note: I.e., School chaperons, whose duty it is to sit in the classroom while the girls are receiving instruction from a master.] wander about on the banks, nipping at the green grass. The shepherd’s horn can be heard now and then. White gulls, looking like the younger Drishka, hover over the water.

The steamer is not up to much....

Kundasova is travelling with me. Where she is going and with what object I don’t know. When I question her about it, she launches off into extremely misty allusions about someone who has appointed a tryst with her in a ravine near Kineshma, then goes off into a wild giggle and begins stamping her feet or prodding with her elbow whatever comes first. We have passed both Kineshma and the ravine, but she still goes on in the steamer, at which of course I am very much pleased; by the way, yesterday for the first time in my life I saw her eating. She eats no less than other people, but she eats mechanically, as though she were munching oats.

Kostroma is a nice town. I saw the stretch of river on which the languid Levitan used to live. I saw Kineshma, where I walked along the boulevard and watched the local beaus. Here I went into the chemist’s shop to buy some Bertholet salts for my tongue, which was like leather after the medicine I had taken. The chemist, on seeing Olga Petrovna, was overcome with delight and confusion; she was the same. They were evidently old acquaintances, and judging from the conversation between them they had walked more than once about the ravines near Kineshma.

... It’s rather cold and rather dull, but interesting on the whole. The steamer whistles every minute; its whistle is midway between the bray of an ass and an Aeolian harp. In five or six hours we shall be in Nizhni. The sun is rising. I slept last night artistically. My money is safe; that is because I am constantly pressing my hands on my stomach.

Very beautiful are the steam-tugs, dragging after them four or five barges each; they look like some fine young intellectual trying to run away while a plebeian wife, mother-in-law, sister-in-law, and wife’s grandmother hold on to his coat-tails.

The sun is hiding behind the clouds, the sky is overcast, and the broad Volga looks gloomy. Levitan ought not to live on the Volga. It lays a weight of gloom on the soul. Though it would not be bad to have an estate on its banks.

If the waiter would wake I should ask him for some coffee; as it is, I have to drink water without any relish for it. My greetings to Maryushka and Olga. [Footnote: The Chekhovs’ servants.]

Well, keep well and take care of yourselves. I will write regularly.

Your bored Volga-travelling
Homo Sachaliensis,
A. CHEKHOV.

[ [!-- H2 anchor --] ]

FROM THE STEAMER,

Evening, April 24, 1890.

MY DEAR TUNGUSES!

I am floating on the Kama, but I can’t fix the exact locality; I believe we are near Tchistopol. I cannot extol the beauties of the scenery either, as it is hellishly cold; the birches are not yet out, there are still patches of snow here and there, bits of ice float by—in short, the picturesque has gone to the dogs. I sit in the cabin, where people of all sorts and conditions sit at the table, and listen to the conversation, wondering whether it is not time for me to have tea. If I had my way I should do nothing all day but eat; as I haven’t the money to be eating all day long I sleep and sleep. I don’t go up on deck, it’s cold. By night it rains and by day there is an unpleasant wind.

Oh, the caviare! I eat it and eat and never have enough.

... It is a pity I did not think to get myself a little bag for tea and sugar. I have to order it a glass at a time, which is tiresome and expensive. I meant to buy some tea and sugar to-day at Kazan, but I over-slept myself.

Rejoice, O mother! I believe I stop twenty-four hours at Ekaterinburg, and shall see the relations. Perhaps their hearts may be softened and they will give me three roubles and an ounce of tea.

From the conversation I am listening to at this moment, I gather that the members of a judicial tribunal are travelling with me. They are not gifted persons. The merchants, who put in their word from time to time seem, however, intelligent. One comes across fearfully rich people.

Sterlets are cheaper than mushrooms; you soon get sick of them. What more is there for me to write about? There is nothing.... There is a General, though, and a lean fair man. The former keeps dashing from his cabin to the deck and back again, and sending his photograph off somewhere; the latter is got up to look like Nadson, and tries thereby to give one to know that he is a writer. Today he was mendaciously telling a lady that he had a book published by Suvorin; I, of course, put on an expression of awe.

My money is all safe, except what I have eaten. They won’t feed me for nothing, the scoundrels.

I am neither gay nor bored, but there is a sort of numbness in my soul. I like to sit without moving or speaking. To-day, for instance, I have scarcely uttered five words. That’s not true, though: I talked to a priest on deck.

We begin to come across natives; there are lots of Tatars: they are a respectable and well-behaved people.

I beg Father and Mother not to worry, and not to imagine dangers which do not exist.

Excuse me for writing about nothing but food. If I did not write about food I should have to write about cold, for I have no other subjects.

[ [!-- H2 anchor --] ]

April 29, 1890.

MY DEAR TUNGUSES!

The Kama is a very dull river. To realise its beauties one would have to be a native sitting motionless on a barge beside a barrel of naphtha, or a sack of dried fish, continually taking a pull at the bottle. The river banks are bare, the trees are bare, the earth is a dull brown, there are patches of snow, and there is such a wind that the devil himself could not blow as keenly and hatefully. When a cold wind blows and ruffles up the water, which now after the floods is the colour of coffee slops, one feels cold and bored and miserable; the strains of a concertina on the bank sound dejected, figures in tattered sheepskins standing motionless on the barges that meet us look as though they were petrified by some unending grief. The towns on the Kama are grey; one would think the inhabitants were employed in the manufacture of clouds, boredom, soaking fences and mud in the streets, as their sole occupation. The stopping-places are thronged with inhabitants of the educated class, for whom the arrival of a steamer is an event....

... To judge from appearances not one of them earns more than thirty-five roubles, and all of them are ailing in some way.

I have told you already there are some legal gentlemen in the steamer: the president of the court, one of the judges, and the prosecutor. The president is a hale and hearty old German who has embraced Orthodoxy, is pious, a homoeopath, and evidently a devotee of the sex. The judge is an old man such as dear Nikolay used to draw; he walks bent double, coughs, and is fond of facetious subjects. The prosecutor is a man of forty-three, dissatisfied with life, a liberal, a sceptic, and a very good-natured fellow. All the journey these gentlemen have been occupied in eating, settling mighty questions and eating, reading and eating. There is a library on the steamer, and I saw the prosecutor reading my “In the Twilight.” They began talking about me. Mamin-Sibiryak, who has described the Urals, is the author most liked in these parts. He is more talked of than Tolstoy.

I have been two and a half years sailing to Perm, so it seems to me. We reached there at two o’clock in the night. The train went at six o’clock in the evening. I had to wait. It rained. Rain, cold, mud ... brrr! The Uralsky line is a good one.... That is due to the abundance of business-like people here, factories, mines, and so on, for whom time is precious.

Waking yesterday morning and looking out of the carriage window I felt an aversion for nature: the earth was white, trees covered with hoar-frost, and a regular blizzard pursuing the train. Now isn’t it revolting? Isn’t it disgusting? ... I have no goloshes, I pulled on my big boots, and on my way to the refreshment-room for coffee I made the whole Ural region smell of tar. And when we got to Ekaterinburg there was rain, snow, and hail. I put on my leather coat. The cabs are something inconceivable, wretched, dirty, drenched, without springs, the horse’s four legs straddling, huge hoofs, gaunt spines ... the droshkies here are a clumsy parody of our britchkas. A tattered top is put on to a britchka, that is all. And the more exactly I describe the cabman here and his vehicle, the more it will seem like a caricature. They drive not on the middle of the road where it is jolting, but near the gutter where it is muddy and soft. All the cabmen are like Dobrolyubov.

In Russia all the towns are alike. Ekaterinburg is exactly the same as Perm or Tula. The note of the bells is magnificent, velvety. I stopped at the American Hotel (not at all bad), and at once sent word of my arrival to A. M. S., telling him I meant to stay in my hotel room for two days.

The people here inspire the newcomer with a feeling akin to horror. They are big-browed, big-jawed, broad-shouldered fellows with huge fists and tiny eyes. They are born in the local iron foundries, and at their birth a mechanic officiates instead of an accoucheur. A specimen comes into your room with a samovar or a bottle of water, and you expect him every minute to murder you. I stand aside. This morning just such a one came in, big-browed, big-jawed, huge, towering up to the ceiling, seven feet across the shoulders and wearing a fur coat too.

Well, I thought, this one will certainly murder me. It appeared that this was our relation A. M. S. We began to talk. He is a member of the local Zemstvo and manager of his cousin’s mill, which is lighted by electric light; he is editor of the Ekaterinburg Week which is under the censorship of the police-master Baron Taube, is married and has two children, is growing rich and getting fat and elderly, and lives in a “substantial way.” He says he has no time to be bored. He advised me to visit the museum, the factories, and the mines; I thanked him for his advice. He invited me to tea to-morrow evening; I invited him to dine with me. He did not invite me to dinner, and altogether did not press me very much to visit him. From this mother may conclude that the relations’ heart is not softened.... Relations are a race in which I take no interest.

There is snow in the street, and I have purposely let down the blind over the windows so as not to see the Asiatic sight. I am sitting here waiting for an answer from Tyumen to my telegram. I telegraphed: “Tyumen. Kurbatov steamer line. Reply paid. Inform me when the passenger steamer starts Tomsk.” It depends on the answer whether I go by steamer or gallop fifteen hundred versts in the slush of the thaw.

All night long they beat on sheets of iron at every corner here. You need a head of iron not to go crazy from the incessant clanging. To-day I tried to make myself coffee. The result was a horrid mess. I just drank it with a shrug. I looked at five sheets, handled them, and did not take one. I am going to-day to buy rubber overshoes.

Shall I find a letter from you at Irkutsk?

Ask Lika not to leave such big margins in her letters.

Your Homo Sachaliensis,
A. CHEKHOV.

[ [!-- H2 anchor --] ]

TO MADAME KISELYOV.

THE BANK OF THE IRTYSH, May 7, 1890.

My greetings, honoured Marya Vladimirovna! I meant to write you a farewell letter from Moscow, but I had not time; I write to you now sitting in a hut on the bank of the Irtysh.

It is night. This is how I have come to be here. I am driving across the plain of Siberia. I have already driven 715 versts; I have been transformed from head to foot into a great martyr. This morning a keen cold wind began blowing, and it began drizzling with the most detestable rain. I must observe that there is no spring yet in Siberia. The earth is brown, the trees are bare, and there are white patches of snow wherever one looks; I wear my fur coat and felt overboots day and night.... Well, the wind has been blowing since early morning.... Heavy leaden clouds, dull brown earth, mud, rain, wind.... Brrr! I drive on and on.... I drive on endlessly, and the weather does not improve. Towards evening I am told at the station I can’t go on further, as everything is under water, the bridges have been carried away, and so on. Knowing how fond these drivers are of frightening one with the elements so as to keep the traveller for the night (it is to their interest), I did not believe them, and ordered them to harness the three horses; and now—alas for me!—I had not driven more than five versts when I saw the land on the bank of the Irtysh all covered with great lakes, the road disappeared under water, and the bridges on the road really had been swept away or had decayed. I was prevented from turning back partly by obstinacy and partly by the desire to get out of these dreary parts as quickly as possible. We began driving through the lakes.... My God, I have never experienced anything like it in my life! The cutting wind, the cold, the loathsome rain, and one had to get out of the chaise (not a covered one), if you please, and hold the horses: at each little bridge one could only lead the horses over one at a time.... What had I come to? Where was I? All around, desert, dreariness; the bare sullen bank of the Irtysh in sight.... We drive into the very biggest lake. Now I should be glad to turn back, but it is not easy.... We drive on a long strip of land ... the strip comes to an end—we go splash! Again a strip of land, again a splash.... My hands were numb, and the wild ducks seemed jeering at us and floated in huge flocks over our heads.... It got dark. The driver said nothing—he was bewildered. But at last we reached the last strip that separated the Irtysh from the lake.... The sloping bank of the Irtysh was nearly three feet above the level; it was of clay, bare, hollowed out, and looked slippery. The water was muddy.... White waves splashed on the clay, but the Irtysh itself made no roar or din, but gave forth a strange sound as though someone were nailing up a coffin under the water.... The further bank was a flat, disconsolate plain.... You often dream of the Bozharovsky pool; in the same way now I shall dream of the Irtysh....

But behold a ferry. We must be ferried across to the other side. A peasant shrinking from the rain comes out of a hut, and tells us that the ferry cannot cross now as it is too windy.... (The ferries are worked by oars). He advises us to wait for calm weather....

And so I am sitting at night in a hut on a lake at the very edge of the Irtysh. I feel a penetrating dampness to the very marrow of my bones, and a loneliness in my soul; I hear my Irtysh banging on the coffins and the wind howling, and wonder where I am, why I am here.

In the next room the peasants who work the ferry and my driver are asleep. They are good-natured people. But if they were bad people they could perfectly well rob me and drown me in the Irtysh. The hut is the only one on the river bank; there would be no witnesses.

The road to Tomsk is absolutely free from danger as far as brigands are concerned. It isn’t the fashion even to talk of robbery. There is no stealing even from travellers. When you go into a hut you can leave your things outside and they will all be safe.

But they very nearly did kill me all the same. Imagine the night just before dawn.... I was driving along in a chaise, thinking and thinking.... All at once I see coming flying towards us at full gallop a post-cart with three horses; my driver had hardly time to turn to the right, the three horses dashed by, and I noticed in it the driver who had to take it back.... Behind it came another, also at full speed; we had turned to the right, it turned to the left. “We shall smash into each other,” flashed into my mind ... one instant, and—there was a crash, the horses were mixed up in a black mass, my chaise was rearing in the air, and I was rolling on the ground with all my bags and boxes on the top of me. I leap up and see—a third troika dashing upon us....

My mother must have been praying for me that night, I suppose. If I had been asleep, or if the third troika had come immediately after the second, I should have been crushed to death or maimed. It appeared the foremost driver lashed on the horses, while the drivers in the second and the third carts were asleep and did not see us. The collision was followed by the blankest amazement on both sides, then a storm of ferocious abuse. The traces were torn, the shafts were broken, the yokes were lying about on the road.... Ah, how the drivers swore! At night, in that swearing turbulent crew, I felt in utter solitude such as I have never felt before in my life....

But my paper is running out.

[ [!-- H2 anchor --] ]

TO HIS SISTER.

THE VILLAGE OF YAR, 45 VERSTS FROM TOMSK, May 14, 1890.

My glorious mother, my splendid Masha, my sweet Misha, and all my household! At Ekaterinburg I got my reply telegram from Tyumen. “The first steamer to Tomsk goes on the 18th May.” This meant that, whether I liked it or not, I must do the journey with horses. So I did. I drove out of Tyumen on the third of May after spending in Ekaterinburg two or three days, which I devoted to the repair of my coughing and haemorrhoidal person. Besides the public posting service, one can get private drivers that take one across Siberia. I chose the latter: it is just the same. They put me, the servant of God, into a basketwork chaise and drove me with two horses; one sits in the basket like a goldfinch, looking at God’s world and thinking of nothing.... The plain of Siberia begins, I think, from Ekaterinburg, and ends goodness knows where; I should say it is very like our South Russian Steppe, except for the little birch copses here and there and the cold wind that stings one’s cheeks. Spring has not begun yet. There is no green at all, the woods are bare, the snow has not thawed everywhere. There is opaque ice on the lakes. On the ninth of May there was a hard frost, and to-day, the fourteenth, snow has fallen to the depth of three or four inches. No one speaks of spring but the ducks. Ah, what masses of ducks! Never in my life have I seen such abundance. They fly over one’s head, they fly up close to the chaise, swim on the lakes and in the pools—in short, with the poorest sort of gun I could have shot a thousand in one day. One can hear the wild geese calling.... There are lots of them here too. One often comes upon a string of cranes or swans.... Snipe and woodcock flutter about in the birch copses. The hares which are not eaten or shot here, stand on their hindlegs, and, pricking up their ears, watch the passer-by with an inquisitive stare without the slightest misgiving. They are so often running across the road that to see them doing so is not considered a bad omen.

It’s cold driving ...; I have my fur coat on. My body is all right, but my feet are freezing. I wrap them in the leather overcoat-but it is no use.... I have two pairs of breeches on. Well, one drives on and on.... Telegraph poles, pools, birch copses flash by. Here we overtake some emigrants, then an etape.... We meet tramps with pots on their back; these gentry promenade all over the plain of Siberia without hindrance. One time they will murder some poor old woman to take her petticoat for their leg-wrappers; at another they will strip from the verst post the metal plate with the number on it—it might be useful; at another will smash the head of some beggar or knock out the eyes of some brother exile; but they never touch travellers. Altogether, travelling here is absolutely safe as far as brigands are concerned. Neither the post-drivers nor the private ones from Tyumen to Tomsk remember an instance of any things being stolen from a traveller. When you reach a station you leave your things outside; if you ask whether they won’t be stolen, they merely smile in answer. It is not the thing even to speak of robbery and murder on the road. I believe, if I were to lose my money in the station or in the chaise, the driver would certainly give it me if he found it, and would not boast of having done so. Altogether the people here are good and kindly, and have excellent traditions. Their rooms are simply furnished but clean, with claims to luxury; the beds are soft, all feather mattresses and big pillows. The floors are painted or covered with home-made linen rugs. The explanation of this, of course, is their prosperity, the fact that a family has sixteen dessyatins [Footnote: I.e., about 48 acres.] of black earth, and that excellent wheat grows in this black earth. (Wheaten flour costs thirty kopecks a pood here. [Footnote: i.e., about 7-1/2d. for 36 lb.]) But it cannot all be put down to prosperity and being well fed. One must give some of the credit to their manner of life. When you go at night into a room where people are asleep, the nose is not aware of any stuffiness or “Russian smell.” It is true one old woman when she handed me a teaspoon wiped it on the back of her skirt; but they don’t set you down to drink tea without a tablecloth, and they don’t search in each other’s heads in your presence, they don’t put their fingers inside the glass when they hand you milk or water; the crockery is clean, the kvass is transparent as beer—in fact, there is a cleanliness of which our Little Russians can only dream, yet the Little Russians are far and away cleaner than the Great Russians! They make the most delicious bread here—I over-ate myself with it at first. The pies and pancakes and fritters and the fancy rolls, which remind one of the spongy Little Russian ring rolls, are very good too.... But all the rest is not for the European stomach. For instance, I am regaled everywhere with “duck broth.” It’s perfectly disgusting, a muddy-looking liquid with bits of wild duck and uncooked onion floating in it.... I once asked them to make me some soup from meat and to fry me some perch. They gave me soup too salt, dirty, with hard bits of skin instead of meat; and the perch was cooked with the scales on it. They make their cabbage soup from salt meat; they roast it too. They have just served me some salt meat roasted: it’s most repulsive; I chewed at it and gave it up. They drink brick tea. It is a decoction of sage and beetles—that’s what it is like in taste and appearance.

By the way, I brought from Ekaterinburg a quarter of a pound of tea, five pounds of sugar, and three lemons. It was not enough tea and there is nowhere to buy any. In these scurvy little towns even the government officials drink brick tea, and even the best shops don’t keep tea at more than one rouble fifty kopecks a pound. I have to drink the sage brew.

The distance apart of the posting stations depends on the distance of the nearest villages from each other—that is, 20 to 40 versts. The villages here are large, there are no little hamlets. There are churches and schools everywhere, the huts are of wood and there are some with two storeys.

Towards the evening the road and the puddles begin to freeze, and at night there is a regular frost, one wants an extra fur coat ... Brrr! It’s jolting, for the mud is transformed into hard lumps. One’s soul is shaken inside out.... Towards daybreak one is fearfully exhausted by the cold, by the jolting and the jingle of the bells: one has a passionate longing for warmth and a bed. While they change horses one curls up in some corner and at once drops asleep, and a minute later the driver pulls at one’s sleeve and says: “Get up, friend, it is time to start.” On the second night I had acute toothache in my heels. It was unbearably painful. I wondered whether they were frostbitten.

I can’t write more though. The “president,” that is the district police inspector, has come. We have made acquaintance and are beginning to talk. Goodbye till to-morrow.

[ [!-- H2 anchor --] ]

TOMSK,

May 16.

It seems my strong boots were the cause, being too tight at the back. My sweet Misha, if you ever have any children, which I have no doubt you will, the advice I bequeath to them is not to run after cheap goods. Cheapness in Russian goods is the label of worthlessness. To my mind it is better to go barefoot than to wear cheap boots. Picture my agony! I keep getting out of the chaise, sitting down on damp ground and taking off my boots to rest my heels. So comfortable in the frost! I had to buy felt over-boots in Ishim.... So I drove in felt boots till they collapsed from the mud and the damp.

In the morning between five and six o’clock one drinks tea at a hut. Tea on a journey is a great blessing. I know its value now, and drink it with the fury of a Yanov. It warms one through and drives away sleep; one eats a lot of bread with it, and in the absence of other nourishment, bread has to be eaten in great quantities; that is why peasants eat so much bread and farinaceous food. One drinks tea and talks with the peasant women, who are sensible, tenderhearted, industrious, as well as being devoted mothers and more free than in European Russia; their husbands don’t abuse or beat them, because they are as tall, as strong, and as clever as their lords and masters are. They act as drivers when their husbands are away from home; they like making jokes. They are not severe with their children, they spoil them. The children sleep on soft beds and lie as long as they like, drink tea and eat with the men, and scold the latter when they laugh at them affectionately. There is no diphtheria. Malignant smallpox is prevalent here, but strange to say, it is less contagious than in other parts of the world; two or three catch it and die and that is the end of the epidemic. There are no hospitals or doctors. The doctoring is done by feldshers. Bleeding and cupping are done on a grandiose, brutal scale. I examined a Jew with cancer in the liver. The Jew was exhausted, hardly breathing, but that did not prevent the feldsher from cupping him twelve times. Apropos of the Jews. Here they till the land, work as drivers and ferry-men, trade and are called Krestyany, [Translator’s Note: I.e., Peasants, literally “Christians.” ] because they are de jure and de facto Krestyany. They enjoy universal respect, and according to the “president” they are not infrequently chosen as village elders. I saw a tall thin Jew who scowled with disgust and spat when the “president” told indecent stories: a chaste soul; his wife makes splendid fish-soup. The wife of the Jew who had cancer regaled me with pike caviare and with most delicious white bread. One hears nothing of exploitation by the Jews. And, by the way, about the Poles. There are a few exiles here, sent from Poland in 1864. They are good, hospitable, and very refined people. Some of them live in a very wealthy way; others are very poor, and serve as clerks at the stations. Upon the amnesty the former went back to their own country, but soon returned to Siberia again—here they are better off; the latter dream of their native land, though they are old and infirm. At Ishim a wealthy Pole, Pan Zalyessky, who has a daughter like Sasha Kiselyov, for a rouble gave me an excellent dinner and a room to sleep in; he keeps an inn and has become a money-grubber to the marrow of his bones; he fleeces everyone, but yet one feels the Polish gentleman in his manner, in the way the meals are served, in everything. He does not go back to Poland through greed, and through greed endures snow till St. Nikolay’s day; when he dies his daughter, who was born at Ishim, will remain here for ever and so will multiply the black eyes and soft features in Siberia! This casual intermixture of blood is to the good, for the Siberian people are not beautiful. There are no dark-haired people. Perhaps you would like me to write about the Tatars? Certainly. There are very few of them here. They are good people. In the province of Kazan everyone speaks well of them, even the priests, and in Siberia they are “better than the Russians” as the “president” said to me in the presence of Russians, who assented to this by their silence. My God, how rich Russia is in good people! If it were not for the cold which deprives Siberia of the summer, and if it were not for the officials who corrupt the peasants and the exiles, Siberia would be the richest and happiest of lands.

I have nothing for dinner. Sensible people usually take twenty pounds of provisions when they go to Tomsk. It seems I was a fool and so I have fed for a fortnight on nothing but milk and eggs, which are boiled so that the yolk is hard and the white is soft. One is sick of such fare in two days. I have only twice had dinner during the whole journey, not counting the Jewess’s fish-soup, which I swallowed after I had had enough to eat with my tea. I have not had any vodka: the Siberian vodka is disgusting, and indeed, I got out of the habit of taking it while I was on the way to Ekaterinburg. One ought to drink vodka: it stimulates the brain, dull and apathetic from travelling, which makes one stupid and feeble.

Stop! I can’t write: the editor of the Sibirsky Vyestnik, N., a local Nozdryov, a drunkard and a rake, has come to make my acquaintance.

N. has drunk some beer and gone away. I continue.

For the first three days of my journey my collarbones, my shoulders and my vertebrae ached from the shaking and jolting. I couldn’t stand or sit or lie.... But on the other hand, all pains in my head and chest have vanished, my appetite has developed incredibly, and my haemorrhoids have subsided completely. The overstrain, the constant worry with luggage and so on, and perhaps the farewell drinking parties in Moscow, had brought on spitting of blood in the mornings, which induced something like depression, arousing gloomy thoughts, but towards the end of the journey it has left off; now I haven’t even a cough. It is a long time since I have coughed so little as now, after being for a fortnight in the open air. After the first three days of travelling my body grew used to the jolting, and in time I did not notice the coming of midday and then of evening and night. The time flew by rapidly as it does in serious illness. You think it is scarcely midday when the peasants say—“You ought to put up for the night, sir, or we may lose our way in the dark”; you look at your watch, and it is actually eight o’clock.

They drive quickly, but the speed is nothing remarkable. Probably I have come upon the roads in bad condition, and in winter travelling would have been quicker. They dash uphill at a gallop, and before setting off and before the driver gets on the box, the horses need two or three men to hold them. The horses remind me of the fire brigade horses in Moscow. One day we nearly ran over an old woman, and another time almost dashed into an etape. Now, would you like an adventure for which I am indebted to Siberian driving? Only I beg mother not to wail and lament, for it all ended well. On the 6th of May towards daybreak I was being driven with two horses by a very nice old man. It was a little chaise, I was drowsy, and, to while away the time, watched the gleaming of zigzagging lights in the fields and birch copses—it was last year’s grass on fire; it is their habit here to burn it. Suddenly I hear the swift rattle of wheels, a post-cart at full speed comes flying towards us like a bird, my old man hastens to move to the right, the three horses dash by, and I see in the dusk a huge heavy post-cart with a driver for the return journey in it. It was followed by a second cart also going at full speed. We made haste to move aside to the right. To my great amazement and alarm the approaching cart moved not to its right, but its left ... I hardly had time to think, “Good heavens! we shall run into each other,” when there was a desperate crash, the horses were mixed up in a dark blur, the yokes fell off, my chaise reared up into the air, and I flew to the ground, and my luggage on the top of me. But that was not all ... A third cart was dashing upon us. This really ought to have smashed me and my luggage to atoms but, thank God! I was not asleep, I broke no bones in the fall, and managed to jump up so quickly that I was able to get out of the way. “Stop,” I bawled to the third cart, “Stop!” The third dashed up to the second and stopped. Of course if I were able to sleep in a chaise, or if the third cart had followed instantly on the second, I should certainly have come back a cripple or a headless horseman. The results of the collision were broken shafts, torn traces, yokes and luggage scattered on the ground, the horses scared and harassed, and the alarming feeling that we had just been in danger. It turned out that the first driver had lashed up the horses; while in the other two carts the drivers were asleep, and the horses followed the first team with no one controlling them. On recovering from the shock, my old man and the other three men fell to abusing each other ferociously. Oh, how they swore! I thought it would end in a fight. You can’t imagine the feeling of isolation in the middle of that savage swearing crew in the open country, just before dawn, in sight of the fires far and near consuming the grass, but not warming the cold night air! Oh, how heavy my heart was! One listened to the swearing, looked at the broken shafts and at one’s tormented luggage, and it seemed as though one were cast away in another world, as though one would be crushed in a moment.... After an hour’s abuse my old man began splicing together the shafts with cord and tying up the traces; my straps were forced into the service too. We got to the station somehow, crawling along and stopping from time to time.

After five or six days rain with high winds began. It rained day and night. The leather overcoat came to the rescue and kept me safe from rain and wind. It’s a wonderful coat. The mud was almost impassable, the drivers began to be unwilling to go on at night. But what was worst of all, and what I shall never forget, was crossing the rivers. One reaches a river at night.... One begins shouting and so does the driver.... Rain, wind, pieces of ice glide down the river, there is a sound of splashing.... And to add to our gaiety there is the cry of a heron. Herons live on the Siberian rivers, so it seems they don’t consider the climate but the geographical position.... Well, an hour later, in the darkness, a huge ferry-boat of the shape of a barge comes into sight with huge oars that look like the pincers of a crab. The ferry-men are a rowdy set, for the most part exiles banished here by the verdict of society for their vicious life. They use insufferably bad language, shout, and ask for money for vodka.... The ferrying across takes a long, long time ... an agonizingly long time. The ferryboat crawls. Again the feeling of loneliness, and the heron seems calling on purpose, as though he means to say: “Don’t be frightened, old man, I am here, the Lintvaryovs have sent me here from the Psyol.”

On the 7th of May when I asked for horses the driver said the Irtysh had overflowed its banks and flooded the meadows, that Kuzma had set off the day before and had difficulty in getting back, and that I could not go, but must wait.... I asked: “Wait till when?” Answer: “The Lord only knows!” That was vague. Besides, I had taken a vow to get rid on the journey of two of my vices which were a source of considerable expense, trouble, and inconvenience; I mean my readiness to give in, and be overpersuaded. I am quick to agree, and so I have had to travel anyhow, sometimes to pay double and to wait for hours at a time. I had taken to refusing to agree and to believe—and my sides have ached less. For instance, they bring out not a proper carriage but a common, jolting cart. I refuse to travel in the jolting cart, I insist, and the carriage is sure to appear, though they may have declared that there was no such thing in the whole village, and so on. Well, I suspected that the Irtysh floods were invented simply to avoid driving me by night through the mud. I protested and told them to start. The peasant who had heard of the floods from Kuzma, and had not himself seen them, scratched himself and consented; the old men encouraged him, saying that when they were young and used to drive, they were afraid of nothing. We set off. Much rain, a vicious wind, cold ... and felt boots on my feet. Do you know what felt boots are like when they are soaked? They are like boots of jelly. We drive on and on, and behold, there lies stretched before my eyes an immense lake from which the earth appears in patches here and there, and bushes stand out: these are the flooded meadows. In the distance stretches the steep bank of the Irtysh, on which there are white streaks of snow.... We begin driving through the lake. We might have turned back, but obstinacy prevented me, and an incomprehensible impulse of defiance mastered me—that impulse which made me bathe from the yacht in the middle of the Black Sea and has impelled me to not a few acts of folly ... I suppose it is a special neurosis. We drive on and make for the little islands and strips of land. The direction is indicated by bridges and planks; they have been washed away. To cross by them we had to unharness the horses and lead them over one by one.... The driver unharnesses the horses, I jump out into the water in my felt boots and hold them.... A pleasant diversion! And the rain and wind.... Queen of Heaven! At last we get to a little island where there stands a hut without a roof.... Wet horses are wandering about in the wet dung. A peasant with a long stick comes out of the hut and undertakes to guide us. He measures the depth of the water with his stick, and tries the ground. He led us out—God bless him for it!—on to a long strip of ground which he called “the ridge.” He instructs us that we must keep to the right—or perhaps it was to the left, I don’t remember—and get on to another ridge. This we do. My felt boots are soaking and squelching, my socks are snuffling. The driver says nothing and clicks dejectedly to his horses. He would gladly turn back, but by now it was late, it was dark.... At last—oh, joy!—we reach the Irtysh.... The further bank is steep but the near bank is sloping. The near one is hollowed out, looks slippery, hateful, not a trace of vegetation.... The turbid water splashes upon it with crests of white foam, and dashes back again as though disgusted at touching the uncouth slippery bank on which it seems that none but toads and the souls of murderers could live.... The Irtysh makes no loud or roaring sound, but it sounds as though it were hammering on coffins in its depths.... A damnable impression! The further bank is steep, dark brown, desolate....

There is a hut; the ferry-men live in it. One of them comes out and announces that it is impossible to work the ferry as a storm has come up. The river, they said, was wide, and the wind was strong. And so I had to stay the night at the hut.... I remember the night. The snoring of the ferry-men and my driver, the roar of the wind, the patter of the rain, the mutterings of the Irtysh.... Before going to sleep I wrote a letter to Marya Vladimirovna; I was reminded of the Bozharovsky pool.

In the morning they were unwilling to ferry me across: there was a high wind. We had to row across in the boat. I am rowed across the river, while the rain comes lashing down, the wind blows, my luggage is drenched and my felt boots, which had been dried overnight in the oven, become jelly again. Oh, the darling leather coat! If I did not catch cold I owe it entirely to that. When I come back you must reward it with an anointing of tallow or castor-oil. On the bank I sat for a whole hour on my portmanteau waiting for horses to come from the village. I remember it was very slippery clambering up the bank. In the village I warmed myself and had some tea. Some exiles came to beg for alms. Every family makes forty pounds of wheaten flour into bread for them every day. It’s a kind of forced tribute.

The exiles take the bread and sell it for drink at the tavern. One exile, a tattered, closely shaven old man, whose eyes had been knocked out in the tavern by his fellow-exiles, hearing that there was a traveller in the room and taking me for a merchant, began singing and repeating the prayers. He recited the prayer for health and for the rest of the soul, and sang the Easter hymn, “Let the Lord arise,” and “With thy Saints, O Lord”—goodness knows what he didn’t sing! Then he began telling lies, saying that he was a Moscow merchant. I noticed how this drunken creature despised the peasants upon whom he was living.

On the 11th I drove with posting horses. I read the books of complaints at the posting station in my boredom.

... On the 12th of May they would not give me horses, saying that I could not drive, because the River Ob had overflowed its banks and flooded all the meadows. They advised me to turn off the track as far as Krasny Yar; then go by boat twelve versts to Dubrovin, and at Dubrovin you can get posting horses.... I drove with private horses as far as Krasny Yar. I arrive in the morning; I am told there is a boat, but that I must wait a little as the grandfather had sent the workman to row the president’s secretary to Dubrovin in it. Very well, we will wait.... An hour passes, a second, a third.... Midday arrives, then evening.... Allah kerim, what a lot of tea I drank, what a lot of bread I ate, what a lot of thoughts I thought! And what a lot I slept! Night came on and still no boat.... Early morning came.... At last at nine o’clock the workmen returned.... Thank heaven, we are afloat at last! And how pleasant it is! The air is still, the oarsmen are good, the islands are beautiful.... The floods caught men and cattle unawares and I see peasant women rowing in boats to the islands to milk the cows. And the cows are lean and dejected. There is absolutely no grass for them, owing to the cold. I was rowed twelve versts. At the station of Dubrovin I had tea, and for tea they gave me, can you imagine! waffles.... I suppose the woman of the house was an exile or the wife of an exile. At the next station an old clerk, a Pole, to whom I gave some antipyrin for his headache, complained of his poverty, and said Count Sapyega, a Pole who was a gentleman-in-waiting at the Austrian Court, and who assisted his fellow-countrymen, had lately arrived there on his way to Siberia, “He stayed near the station,” said the clerk, “and I didn’t know it! Holy Mother! He would have helped me! I wrote to him at Vienna, but I got no answer, ...” and so on. Why am I not a Sapyega? I would send this poor fellow to his own country.

On the 14th of May again they would not give me horses. The Tom was flooded. How vexatious! It meant not mere vexation but despair! Fifty versts from Tomsk and how unexpected! A woman in my place would have sobbed. Some kind-hearted people found a solution for me. “Drive on, sir, as far as the Tom, it is only six versts from here; there they will row you across to Yar, and Ilya Markovitch will take you on from there to Tomsk.” I hired a horse and drove to the Tom, to the place where the boat was to be. I drove—there was no boat. They told me it had just set off with the post, and was hardly likely to return as there was such a wind. I began waiting.... The ground was covered with snow, it rained and hailed and the wind blew.... One hour passed, a second, and no boat. Fate was laughing at me. I returned to the station. There the driver of the mail with three posting horses was just setting off for the Tom. I told him there was no boat. He stayed. Fate rewarded me; the clerk in response to my hesitating inquiry whether there was anything to eat told me the woman of the house had some cabbage soup. Oh, rapture! Oh, radiant day! And the daughter of the house did in fact give me some excellent cabbage soup, with some capital meat with roast potatoes and cucumbers. I have not had such a dinner since I was at Pan Zalyessky’s. After the potatoes I let myself go, and made myself some coffee.

Towards evening the mail driver, an elderly man who had evidently endured a good deal in his day, and who did not venture to sit down in my presence, began preparing to set off to the Tom. I did the same. We drove off. As soon as we reached the river the boat came into sight—a long boat: I have never dreamed of a boat so long. While the post was being loaded on to the boat I witnessed a strange phenomenon—there was a peal of thunder, a queer thing in a cold wind, with snow on the ground. They loaded up and rowed off. My sweet Misha, forgive me for being so rejoiced that I did not bring you with me! How sensible it was of me not to take anyone with me! At first our boat floated over a meadow near willow-bushes.... As is common before a storm or during a storm, a violent wind suddenly sprang up on the water and stirred up the waves. The boatman who was sitting at the helm advised our waiting in the willow-bushes till the storm was over. They answered him that if the storm grew worse, they might stay in the willow-bushes till night and be drowned all the same. They proceeded to settle it by majority of votes, and decided to row on. An evil mocking fate is mine. Oh, why these jests? We rowed on in silence, concentrating our thoughts.... I remember the figure of the mail-driver, a man of varied experiences. I remember the little soldier who suddenly became as crimson as cherry juice. I thought, if the boat upsets I will fling off my fur coat and my leather coat ... then my felt boots, then ... and so on.... But the bank came nearer and nearer, one’s soul felt easier and easier, one’s heart throbbed with joy, one heaved deep sighs as though one could breathe freely at last, and leapt on the wet slippery bank.... Thank God!

At Ilya Markovitch’s, the converted Jew’s, I was told that I could not drive at night; the road was bad; that I must remain till next day. Very good, I stayed. After tea I sat down to write you this letter, interrupted by the visit of the “president.” The president is a rich mixture of Nozdryov, Hlestakov and a cur. A drunkard, a rake, a liar, a singer, a story-teller, and with all that a good-natured man. He had brought with him a big trunk stuffed full of business papers, a bedstead and mattress, a gun, and a secretary. The secretary is an excellent, well-educated man, a protesting liberal who has studied in Petersburg, and is free in his ideas; I don’t know how he came to Siberia, he is infected to the marrow of his bones with every sort of disease, and is taking to drink, thanks to his principal, who calls him Kolya. The representative of authority sends for a cordial. “Doctor,” he bawls, “drink another glass, I beseech you humbly!” Of course, I drink it. The representative of authority drinks soundly, lies outrageously, uses shameless language. We go to bed. In the morning a cordial is sent for again. They swill the cordial till ten o’clock and at last they go. The converted Jew, Ilya Markovitch, whom the peasants here idolize—so I was told—gave me horses to drive to Tomsk.

The “president,” the secretary and I got into the same conveyance. All the way the “president” told lies, drank out of the bottle, boasted that he did not take bribes, raved about the scenery, and shook his fist at the tramps that he met. We drove fifteen versts, then halt! The village of Brovkino.... We stop near a Jew’s shop and go to take “rest and refreshment.” The Jew runs to fetch us a cordial while his wife makes us some fish-soup, of which I have written to you already. The “president” gave orders that the sotsky, the desyatsky, and the road contractor should come to him, and in his drunkenness began reproving them, not the least restrained by my presence. He swore like a Tatar.

I soon parted from the “president,” and on the evening of the 15th of May by an appalling road reached Tomsk. During the last two days I have only done seventy versts; you can imagine what the roads are like!

In Tomsk the mud was almost impassable. Of the town and the manner of living here I will write in a day or two, but good-bye for now—I am tired of writing.

There are no poplars. The Kuvshinnikov General was lying. I have seen no nightingales. There are magpies and cuckoos.

I received a telegram of eighty words from Suvorin to-day.

Excuse this letter’s being like a hotch-potch. It’s incoherent, but I can’t help it. Sitting in an hotel room one can’t write better. Excuse its being long, It’s not my fault. My pen ran away with me—besides, I wanted to go on talking to you. It’s three o’clock in the night. My hand is tired. The wick of the candle wants snuffing, I can hardly see. Write to me at Sahalin every four or five days. It seems that the post goes there, not only by sea but across Siberia, so I shall get letters frequently.

All the Tomsk people tell me that there has not been a spring so cold and rainy as this one since 1842. Half Tomsk is under water. My luck!

I am eating sweets.

I shall have to stay at Tomsk till the rains are over. They say the road to Irkutsk is awful.

[ [!-- H2 anchor --] ]

TOMSK,

May 20.

It is Trinity Sunday with you, while with us even the willow has not yet come out, and there is still snow on the banks of the Tom. To-morrow I am starting for Irkutsk. I am rested. There is no need for hurry, as steam navigation on Lake Baikal does not begin till the 10th of June; but I shall go all the same.

I am alive and well, my money is safe; I have a slight pain in my right eye. It aches.

... Everyone advises me to go back across America, as they say one may die of boredom in the Volunteer Fleet; it’s all military discipline and red tape regulations, and they don’t often touch at a port.

To fill up my time I have been writing some impressions of my journey and sending them to Novoye Vremya; you will read them soon after the 10th of June. I write a little about everything, chit-chat. I don’t write for glory but from a financial point of view, and in consideration of the money I have had in advance.

Tomsk is a very dull town. To judge from the drunkards whose acquaintance I have made, and from the intellectual people who have come to the hotel to pay their respects to me, the inhabitants are very dull too.

Letters of Anton Chekhov to His Family and Friends

LETTERS OF ANTON CHEKHOV TO HIS FAMILY AND FRIENDS

With Biographical Sketch

By Anton Chekhov

Translated By Constance Garnett

TRANSLATOR’S NOTE

BIOGRAPHICAL SKETCH

LETTERS

TO HIS BROTHER MIHAIL.

DEAR BROTHER MISHA,

TO HIS COUSIN, MIHAIL CHEKHOV.

TO HIS UNCLE, M. G. CHEKHOV.

TO N. A. LEIKIN.

TO A. S. SUVORIN.

TO D. V. GRIGOROVITCH.

TO N. A. LEIKIN.

TO MADAME M. V. KISELYOV.

MOSCOW,

September 29.

December 3.

December 13.

TO HIS BROTHER NIKOLAY.

TO MADAME M. V. KISELYOV.

TO HIS UNCLE, M. G. CHEKHOV.

TO HIS SISTER.

April 6.

April 8, 9, and 10.

April 25.

RAGOZINA BALKA,

TAGANROG,

TO V. G. KOROLENKO.

TO HIS BROTHER ALEXANDR.

November 24.

TO D. V. GRIGOROVITCH.

TO V. G. KOROLENKO.

TO A. N. PLESHTCHEYEV.

February 9.

March 6.

TO I. L. SHTCHEGLOV.

May 3.

TO A. S. SUVORIN.

TO A. N. PLESHTCHEYEV.

TO HIS SISTER.

July 22.

TO HIS BROTHER MIHAIL.

July 28, 1888.

TO N. A. LEIKIN.

TO A. S. SUVORIN.

MOSCOW,

MOSCOW,

November, 1888.

MOSCOW,

November 11, 1888.

November 15, 1888.

(No date), 1888.

December 23, 1888.

December 26, 1888.

December 30, 1888.

January 7, 1889.

March 5, 1889.

SUMY,

May 4, 1889.

May 7.

May 14, 1889.

May 15, 1889.

TO A. N. PLESHTCHEYEV.

October, 1889.

MOSCOW,

TO A. S. SUVORIN.

February 28.

March 4.

TO N. M. LINTVARYOV.

TO A. S. SUVORIN.

TO I. L. SHTCHEGLOV.

TO A. S. SUVORIN.

March 29.

April 1.

April 11.

April 15.

TO HIS SISTER.