Николай Гоголь
Taras Bulba, and Other Tales
CHAPTER VII
HOW A RECONCILIATION WAS SOUGHT TO BE EFFECTED AND A LAW SUIT ENSUED
“Ah! how do you do? Why do you irritate the dogs?” said Ivan Nikiforovitch, on perceiving Anton Prokofievitch; for no one spoke otherwise than jestingly with Anton Prokofievitch.
“Hang them! who’s been irritating them?” retorted Anton Prokofievitch.
“You have!”
“By Heavens, no! You are invited to dinner by Peter Feodorovitch.”
“Hm!”
“He invited you in a more pressing manner than I can tell you. ‘Why,’ says he, ‘does Ivan Nikiforovitch shun me like an enemy? He never comes round to have a chat, or make a call.’”
Ivan Nikiforovitch stroked his beard.
“‘If,’ says he, ‘Ivan Nikiforovitch does not come now, I shall not know what to think: surely, he must have some design against me. Pray, Anton Prokofievitch, persuade Ivan Nikiforovitch!’ Come, Ivan Nikiforovitch, let us go! a very choice company is already met there.”
Ivan Nikiforovitch began to look at a cock, which was perched on the roof, crowing with all its might.
“If you only knew, Ivan Nikiforovitch,” pursued the zealous ambassador, “what fresh sturgeon and caviare Peter Feodorovitch has had sent to him!” Whereupon Ivan Nikiforovitch turned his head and began to listen attentively. This encouraged the messenger. “Come quickly: Thoma Grigorovitch is there too. Why don’t you come?” he added, seeing that Ivan Nikiforovitch still lay in the same position. “Shall we go, or not?”
“I won’t!”
This “I won’t” startled Anton Prokofievitch. He had fancied that his alluring representations had quite moved this very worthy man; but instead, he heard that decisive “I won’t.”
“Why won’t you?” he asked, with a vexation which he very rarely exhibited, even when they put burning paper on his head, a trick which the judge and the chief of police were particularly fond of indulging in.
Ivan Nikiforovitch took a pinch of snuff.
“Just as you like, Ivan Nikiforovitch. I do not know what detains you.”
“Why don’t I go?” said Ivan Nikiforovitch at length: “because that brigand will be there!” This was his ordinary way of alluding to Ivan Ivanovitch. “Just God! and is it long?”
“He will not be there, he will not be there! May the lightning kill me on the spot!” returned Anton Prokofievitch, who was ready to perjure himself ten times in an hour. “Come along, Ivan Nikiforovitch!”
“You lie, Anton Prokofievitch! he is there!”
“By Heaven, by Heaven, he’s not! May I never stir from this place if he’s there! Now, just think for yourself, what object have I in lying? May my hands and feet wither!—What, don’t you believe me now? May I perish right here in your presence! Don’t you believe me yet?”
Ivan Nikiforovitch was entirely reassured by these asseverations, and ordered his valet, in the boundless coat, to fetch his trousers and nankeen spencer.
To describe how Ivan Nikiforovitch put on his trousers, how they wound his neckerchief about his neck, and finally dragged on his spencer, which burst under the left sleeve, would be quite superfluous. Suffice it to say, that during the whole of the time he preserved a becoming calmness of demeanour, and answered not a word to Anton Prokofievitch’s proposition to exchange something for his Turkish tobacco-pouch.
Meanwhile, the assembly awaited with impatience the decisive moment when Ivan Nikiforovitch should make his appearance and at length comply with the general desire that these worthy people should be reconciled to each other. Many were almost convinced that Ivan Nikiforovitch would not come. Even the chief of police offered to bet with one-eyed Ivan Ivanovitch that he would not come; and only desisted when one-eyed Ivan Ivanovitch demanded that he should wager his lame foot against his own bad eye, at which the chief of police was greatly offended, and the company enjoyed a quiet laugh. No one had yet sat down to the table, although it was long past two o’clock, an hour before which in Mirgorod, even on ceremonial occasions, every one had already dined.
No sooner did Anton Prokofievitch show himself in the doorway, then he was instantly surrounded. Anton Prokofievitch, in answer to all inquiries, shouted the all-decisive words, “He will not come!” No sooner had he uttered them than a hailstorm of reproaches, scoldings, and, possibly, even fillips were about to descend upon his head for the ill success of his mission, when all at once the door opened, and—Ivan Nikiforovitch entered.
If Satan himself or a corpse had appeared, it would not have caused such consternation amongst the company as Ivan Nikiforovitch’s unexpected arrival created. But Anton Prokofievitch only went off into a fit of laughter, and held his sides with delight at having played such a joke upon the company.
At all events, it was almost past the belief of all that Ivan Nikiforovitch could, in so brief a space of time, have attired himself like a respectable gentleman. Ivan Ivanovitch was not there at the moment: he had stepped out somewhere. Recovering from their amazement, the guests expressed an interest in Ivan Nikiforovitch’s health, and their pleasure at his increase in breadth. Ivan Nikiforovitch kissed every one, and said, “Very much obliged!”
Meantime, the fragrance of the beet-soup was wafted through the apartment, and tickled the nostrils of the hungry guests very agreeably. All rushed headlong to table. The line of ladies, loquacious and silent, thin and stout, swept on, and the long table soon glittered with all the hues of the rainbow. I will not describe the courses: I will make no mention of the curd dumplings with sour cream, nor of the dish of pig’s fry that was served with the soup, nor of the turkey with plums and raisins, nor of the dish which greatly resembled in appearance a boot soaked in kvas, nor of the sauce, which is the swan’s song of the old-fashioned cook, nor of that other dish which was brought in all enveloped in the flames of spirit, and amused as well as frightened the ladies extremely. I will say nothing of these dishes, because I like to eat them better than to spend many words in discussing them.
Ivan Ivanovitch was exceedingly pleased with the fish dressed with horse-radish. He devoted himself especially to this useful and nourishing preparation. Picking out all the fine bones from the fish, he laid them on his plate; and happening to glance across the table—Heavenly Creator; but this was strange! Opposite him sat Ivan Nikiforovitch.
At the very same instant Ivan Nikiforovitch glanced up also—No, I can do no more—Give me a fresh pen with a fine point for this picture! mine is flabby. Their faces seemed to turn to stone whilst still retaining their defiant expression. Each beheld a long familiar face, to which it should have seemed the most natural of things to step up, involuntarily, as to an unexpected friend, and offer a snuff-box, with the words, “Do me the favour,” or “Dare I beg you to do me the favour?” Instead of this, that face was terrible as a forerunner of evil. The perspiration poured in streams from Ivan Ivanovitch and Ivan Nikiforovitch.
All the guests at the table grew dumb with attention, and never once took their eyes off the former friends. The ladies, who had been busy up to that time on a sufficiently interesting discussion as to the preparation of capons, suddenly cut their conversation short. All was silence. It was a picture worthy of the brush of a great artist.
At length Ivan Ivanovitch pulled out his handkerchief and began to blow his nose; whilst Ivan Nikiforovitch glanced about and his eye rested on the open door. The chief of police at once perceived this movement, and ordered the door to be fastened. Then both of the friends began to eat, and never once glanced at each other again.
As soon as dinner was over, the two former friends both rose from their seats, and began to look for their hats, with a view to departure. Then the chief beckoned; and Ivan Ivanovitch—not our Ivan Ivanovitch, but the other with the one eye—got behind Ivan Nikiforovitch, and the chief stepped behind Ivan Ivanovitch, and the two began to drag them backwards, in order to bring them together, and not release them till they had shaken hands with each other. Ivan Ivanovitch, the one-eyed, pushed Ivan Nikiforovitch, with tolerable success, towards the spot where stood Ivan Ivanovitch. But the chief of police directed his course too much to one side, because he could not steer himself with his refractory leg, which obeyed no orders whatever on this occasion, and, as if with malice and aforethought, swung itself uncommonly far, and in quite the contrary direction, possibly from the fact that there had been an unusual amount of fruit wine after dinner, so that Ivan Ivanovitch fell over a lady in a red gown, who had thrust herself into the very midst, out of curiosity.
Such an omen forboded no good. Nevertheless, the judge, in order to set things to rights, took the chief of police’s place, and, sweeping all the snuff from his upper lip with his nose, pushed Ivan Ivanovitch in the opposite direction. In Mirgorod this is the usual manner of effecting a reconciliation: it somewhat resembles a game of ball. As soon as the judge pushed Ivan Ivanovitch, Ivan Ivanovitch with the one eye exerted all his strength, and pushed Ivan Nikiforovitch, from whom the perspiration streamed like rain-water from a roof. In spite of the fact that the friends resisted to the best of their ability, they were nevertheless brought together, for the two chief movers received reinforcements from the ranks of their guests.
Then they were closely surrounded on all sides, not to be released until they had decided to give one another their hands. “God be with you, Ivan Nikiforovitch and Ivan Ivanovitch! declare upon your honour now, that what you quarrelled about were mere trifles, were they not? Are you not ashamed of yourselves before people and before God?”
“I do not know,” said Ivan Nikiforovitch, panting with fatigue, though it is to be observed that he was not at all disinclined to a reconciliation, “I do not know what I did to Ivan Ivanovitch; but why did he destroy my coop and plot against my life?”
“I am innocent of any evil designs!” said Ivan Ivanovitch, never looking at Ivan Nikiforovitch. “I swear before God and before you, honourable noblemen, I did nothing to my enemy! Why does he calumniate me and insult my rank and family?”
“How have I insulted you, Ivan Ivanovitch?” said Ivan Nikiforovitch. One moment more of explanation, and the long enmity would have been extinguished. Ivan Nikiforovitch was already feeling in his pocket for his snuff-box, and was about to say, “Do me the favour.”
“Is it not an insult,” answered Ivan Ivanovitch, without raising his eyes, “when you, my dear sir, insulted my honour and my family with a word which it is improper to repeat here?”
“Permit me to observe, in a friendly manner, Ivan Ivanovitch,” here Ivan Nikiforovitch touched Ivan Ivanovitch’s button with his finger, which clearly indicated the disposition of his mind, “that you took offence, the deuce only knows at what, because I called you a ‘goose’—”
It occurred to Ivan Nikiforovitch that he had made a mistake in uttering that word; but it was too late: the word was said. Everything went to the winds. It, on the utterance of this word without witnesses, Ivan Ivanovitch lost control of himself and flew into such a passion as God preserve us from beholding any man in, what was to be expected now? I put it to you, dear readers, what was to be expected now, when the fatal word was uttered in an assemblage of persons among whom were ladies, in whose presence Ivan Ivanovitch liked to be particularly polite? If Ivan Nikiforovitch had set to work in any other manner, if he had only said bird and not goose, it might still have been arranged, but all was at an end.
He gave one look at Ivan Nikiforovitch, but such a look! If that look had possessed active power, then it would have turned Ivan Nikiforovitch into dust. The guests understood the look and hastened to separate them. And this man, the very model of gentleness, who never let a single poor woman go by without interrogating her, rushed out in a fearful rage. Such violent storms do passions produce!
For a whole month nothing was heard of Ivan Ivanovitch. He shut himself up at home. His ancestral chest was opened, and from it were taken silver rubles, his grandfather’s old silver rubles! And these rubles passed into the ink-stained hands of legal advisers. The case was sent up to the higher court; and when Ivan Ivanovitch received the joyful news that it would be decided on the morrow, then only did he look out upon the world and resolve to emerge from his house. Alas! from that time forth the council gave notice day by day that the case would be finished on the morrow, for the space of ten years.
Five years ago, I passed through the town of Mirgorod. I came at a bad time. It was autumn, with its damp, melancholy weather, mud and mists. An unnatural verdure, the result of incessant rains, covered with a watery network the fields and meadows, to which it is as well suited as youthful pranks to an old man, or roses to an old woman. The weather made a deep impression on me at the time: when it was dull, I was dull; but in spite of this, when I came to pass through Mirgorod, my heart beat violently. God, what reminiscences! I had not seen Mirgorod for twenty years. Here had lived, in touching friendship, two inseparable friends. And how many prominent people had died! Judge Demyan Demyanovitch was already gone: Ivan Ivanovitch, with the one eye, had long ceased to live.
I entered the main street. All about stood poles with bundles of straw on top: some alterations were in progress. Several dwellings had been removed. The remnants of board and wattled fences projected sadly here and there. It was a festival day. I ordered my basket chaise to stop in front of the church, and entered softly that no one might turn round. To tell the truth, there was no need of this: the church was almost empty; there were very few people; it was evident that even the most pious feared the mud. The candles seemed strangely unpleasant in that gloomy, or rather sickly, light. The dim vestibule was melancholy; the long windows, with their circular panes, were bedewed with tears of rain. I retired into the vestibule, and addressing a respectable old man, with greyish hair, said, “May I inquire if Ivan Nikiforovitch is still living?”
At that moment the lamp before the holy picture burned up more brightly and the light fell directly upon the face of my companion. What was my surprise, on looking more closely, to behold features with which I was acquainted! It was Ivan Nikiforovitch himself! But how he had changed!
“Are you well, Ivan Nikiforovitch? How old you have grown!”
“Yes, I have grown old. I have just come from Poltava to-day,” answered Ivan Nikiforovitch.
“You don’t say so! you have been to Poltava in such bad weather?”
“What was to be done? that lawsuit—”
At this I sighed involuntarily.
Ivan Nikiforovitch observed my sigh, and said, “Do not be troubled: I have reliable information that the case will be decided next week, and in my favour.”
I shrugged my shoulders, and went to seek news of Ivan Ivanovitch.
“Ivan Ivanovitch is here,” some one said to me, “in the choir.”
I saw a gaunt form. Was that Ivan Ivanovitch? His face was covered with wrinkles, his hair was perfectly white; but the pelisse was the same as ever. After the first greetings were over, Ivan Ivanovitch, turning to me with a joyful smile which always became his funnel-shaped face, said, “Have you been told the good news?”
“What news?” I inquired.
“My case is to be decided to-morrow without fail: the court has announced it decisively.”
I sighed more deeply than before, made haste to take my leave, for I was bound on very important business, and seated myself in my kibitka.
The lean nags known in Mirgorod as post-horses started, producing with their hoofs, which were buried in a grey mass of mud, a sound very displeasing to the ear. The rain poured in torrents upon the Jew seated on the box, covered with a rug. The dampness penetrated through and through me. The gloomy barrier with a sentry-box, in which an old soldier was repairing his weapons, was passed slowly. Again the same fields, in some places black where they had been dug up, in others of a greenish hue; wet daws and crows; monotonous rain; a tearful sky, without one gleam of light!… It is gloomy in this world, gentlemen!
THE MYSTERIOUS PORTRAIT
PART I
Nowhere did so many people pause as before the little picture-shop in the Shtchukinui Dvor. This little shop contained, indeed, the most varied collection of curiosities. The pictures were chiefly oil-paintings covered with dark varnish, in frames of dingy yellow. Winter scenes with white trees; very red sunsets, like raging conflagrations, a Flemish boor, more like a turkey-cock in cuffs than a human being, were the prevailing subjects. To these must be added a few engravings, such as a portrait of Khozreff-Mirza in a sheepskin cap, and some generals with three-cornered hats and hooked noses. Moreover, the doors of such shops are usually festooned with bundles of those publications, printed on large sheets of bark, and then coloured by hand, which bear witness to the native talent of the Russian.
On one was the Tzarevna Miliktrisa Kirbitievna; on another the city of Jerusalem. There are usually but few purchasers of these productions, but gazers are many. Some truant lackey probably yawns in front of them, holding in his hand the dishes containing dinner from the cook-shop for his master, who will not get his soup very hot. Before them, too, will most likely be standing a soldier wrapped in his cloak, a dealer from the old-clothes mart, with a couple of penknives for sale, and a huckstress, with a basketful of shoes. Each expresses admiration in his own way. The muzhiks generally touch them with their fingers; the dealers gaze seriously at them; serving boys and apprentices laugh, and tease each other with the coloured caricatures; old lackeys in frieze cloaks look at them merely for the sake of yawning away their time somewhere; and the hucksters, young Russian women, halt by instinct to hear what people are gossiping about, and to see what they are looking at.
At the time our story opens, the young painter, Tchartkoff, paused involuntarily as he passed the shop. His old cloak and plain attire showed him to be a man who was devoted to his art with self-denying zeal, and who had no time to trouble himself about his clothes. He halted in front of the little shop, and at first enjoyed an inward laugh over the monstrosities in the shape of pictures.
At length he sank unconsciously into a reverie, and began to ponder as to what sort of people wanted these productions? It did not seem remarkable to him that the Russian populace should gaze with rapture upon “Eruslanoff Lazarevitch,” on “The Glutton” and “The Carouser,” on “Thoma and Erema.” The delineations of these subjects were easily intelligible to the masses. But where were there purchases for those streaky, dirty oil-paintings? Who needed those Flemish boors, those red and blue landscapes, which put forth some claims to a higher stage of art, but which really expressed the depths of its degradation? They did not appear the works of a self-taught child. In that case, in spite of the caricature of drawing, a sharp distinction would have manifested itself. But here were visible only simple dullness, steady-going incapacity, which stood, through self-will, in the ranks of art, while its true place was among the lowest trades. The same colours, the same manner, the same practised hand, belonging rather to a manufacturing automaton than to a man!
He stood before the dirty pictures for some time, his thoughts at length wandering to other matters. Meanwhile the proprietor of the shop, a little grey man, in a frieze cloak, with a beard which had not been shaved since Sunday, had been urging him to buy for some time, naming prices, without even knowing what pleased him or what he wanted. “Here, I’ll take a silver piece for these peasants and this little landscape. What painting! it fairly dazzles one; only just received from the factory; the varnish isn’t dry yet. Or here is a winter scene—take the winter scene; fifteen rubles; the frame alone is worth it. What a winter scene!” Here the merchant gave a slight fillip to the canvas, as if to demonstrate all the merits of the winter scene. “Pray have them put up and sent to your house. Where do you live? Here, boy, give me some string!”
“Hold, not so fast!” said the painter, coming to himself, and perceiving that the brisk dealer was beginning in earnest to pack some pictures up. He was rather ashamed not to take anything after standing so long in front of the shop; so saying, “Here, stop! I will see if there is anything I want here!” he stooped and began to pick up from the floor, where they were thrown in a heap, some worn, dusty old paintings. There were old family portraits, whose descendants, probably could not be found on earth; with torn canvas and frames minus their gilding; in short, trash. But the painter began his search, thinking to himself, “Perhaps I may come across something.” He had heard stories about pictures of the great masters having been found among the rubbish in cheap print-sellers’ shops.
The dealer, perceiving what he was about, ceased his importunities, and took up his post again at the door, hailing the passers-by with, “Hither, friends, here are pictures; step in, step in; just received from the makers!” He shouted his fill, and generally in vain, had a long talk with a rag-merchant, standing opposite, at the door of his shop; and finally, recollecting that he had a customer in his shop, turned his back on the public and went inside. “Well, friend, have you chosen anything?” said he. But the painter had already been standing motionless for some time before a portrait in a large and originally magnificent frame, upon which, however, hardly a trace of gilding now remained.
It represented an old man, with a thin, bronzed face and high cheek-bones; the features seemingly depicted in a moment of convulsive agitation. He wore a flowing Asiatic costume. Dusty and defaced as the portrait was, Tchartkoff saw, when he had succeeded in removing the dirt from the face, traces of the work of a great artist. The portrait appeared to be unfinished, but the power of the handling was striking. The eyes were the most remarkable picture of all: it seemed as though the full power of the artist’s brush had been lavished upon them. They fairly gazed out of the portrait, destroying its harmony with their strange liveliness. When he carried the portrait to the door, the eyes gleamed even more penetratingly. They produced nearly the same impression on the public. A woman standing behind him exclaimed, “He is looking, he is looking!” and jumped back. Tchartkoff experienced an unpleasant feeling, inexplicable even to himself, and placed the portrait on the floor.
“Well, will you take the portrait?” said the dealer.
“How much is it?” said the painter.
“Why chaffer over it? give me seventy-five kopeks.”
“No.”
“Well, how much will you give?”
“Twenty kopeks,” said the painter, preparing to go.
“What a price! Why, you couldn’t buy the frame for that! Perhaps you will decide to purchase to-morrow. Sir, sir, turn back! Add ten kopeks. Take it, take it! give me twenty kopeks. To tell the truth, you are my only customer to-day, and that’s the only reason.”
Thus Tchartkoff quite unexpectedly became the purchaser of the old portrait, and at the same time reflected, “Why have I bought it? What is it to me?” But there was nothing to be done. He pulled a twenty-kopek piece from his pocket, gave it to the merchant, took the portrait under his arm, and carried it home. On the way thither, he remembered that the twenty-kopek piece he had given for it was his last. His thoughts at once became gloomy. Vexation and careless indifference took possession of him at one and the same moment. The red light of sunset still lingered in one half the sky; the houses facing that way still gleamed with its warm light; and meanwhile the cold blue light of the moon grew brighter. Light, half-transparent shadows fell in bands upon the ground. The painter began by degrees to glance up at the sky, flushed with a transparent light; and at the same moment from his mouth fell the words, “What a delicate tone! What a nuisance! Deuce take it!” Re-adjusting the portrait, which kept slipping from under his arm, he quickened his pace.
Weary and bathed in perspiration, he dragged himself to Vasilievsky Ostroff. With difficulty and much panting he made his way up the stairs flooded with soap-suds, and adorned with the tracks of dogs and cats. To his knock there was no answer: there was no one at home. He leaned against the window, and disposed himself to wait patiently, until at last there resounded behind him the footsteps of a boy in a blue blouse, his servant, model, and colour-grinder. This boy was called Nikita, and spent all his time in the streets when his master was not at home. Nikita tried for a long time to get the key into the lock, which was quite invisible, by reason of the darkness.
Finally the door was opened. Tchartkoff entered his ante-room, which was intolerably cold, as painters’ rooms always are, which fact, however, they do not notice. Without giving Nikita his coat, he went on into his studio, a large room, but low, fitted up with all sorts of artistic rubbish—plaster hands, canvases, sketches begun and discarded, and draperies thrown over chairs. Feeling very tired, he took off his cloak, placed the portrait abstractedly between two small canvasses, and threw himself on the narrow divan. Having stretched himself out, he finally called for a light.
“There are no candles,” said Nikita.
“What, none?”
“And there were none last night,” said Nikita. The artist recollected that, in fact, there had been no candles the previous evening, and became silent. He let Nikita take his coat off, and put on his old worn dressing-gown.
“There has been a gentleman here,” said Nikita.
“Yes, he came for money, I know,” said the painter, waving his hand.
“He was not alone,” said Nikita.
“Who else was with him?”
“I don’t know, some police officer or other.”
“But why a police officer?”
“I don’t know why, but he says because your rent is not paid.”
“Well, what will come of it?”
“I don’t know what will come of it: he said, ‘If he won’t pay, why, let him leave the rooms.’ They are both coming again to-morrow.”
“Let them come,” said Tchartkoff, with indifference; and a gloomy mood took full possession of him.
Young Tchartkoff was an artist of talent, which promised great things: his work gave evidence of observation, thought, and a strong inclination to approach nearer to nature.
“Look here, my friend,” his professor said to him more than once, “you have talent; it will be a shame if you waste it: but you are impatient; you have but to be attracted by anything, to fall in love with it, you become engrossed with it, and all else goes for nothing, and you won’t even look at it. See to it that you do not become a fashionable artist. At present your colouring begins to assert itself too loudly; and your drawing is at times quite weak; you are already striving after the fashionable style, because it strikes the eye at once. Have a care! society already begins to have its attraction for you: I have seen you with a shiny hat, a foppish neckerchief.... It is seductive to paint fashionable little pictures and portraits for money; but talent is ruined, not developed, by that means. Be patient; think out every piece of work, discard your foppishness; let others amass money, your own will not fail you.”
The professor was partly right. Our artist sometimes wanted to enjoy himself, to play the fop, in short, to give vent to his youthful impulses in some way or other; but he could control himself withal. At times he would forget everything, when he had once taken his brush in his hand, and could not tear himself from it except as from a delightful dream. His taste perceptibly developed. He did not as yet understand all the depths of Raphael, but he was attracted by Guido’s broad and rapid handling, he paused before Titian’s portraits, he delighted in the Flemish masters. The dark veil enshrouding the ancient pictures had not yet wholly passed away from before them; but he already saw something in them, though in private he did not agree with the professor that the secrets of the old masters are irremediably lost to us. It seemed to him that the nineteenth century had improved upon them considerably, that the delineation of nature was more clear, more vivid, more close. It sometimes vexed him when he saw how a strange artist, French or German, sometimes not even a painter by profession, but only a skilful dauber, produced, by the celerity of his brush and the vividness of his colouring, a universal commotion, and amassed in a twinkling a funded capital. This did not occur to him when fully occupied with his own work, for then he forgot food and drink and all the world. But when dire want arrived, when he had no money wherewith to buy brushes and colours, when his implacable landlord came ten times a day to demand the rent for his rooms, then did the luck of the wealthy artists recur to his hungry imagination; then did the thought which so often traverses Russian minds, to give up altogether, and go down hill, utterly to the bad, traverse his. And now he was almost in this frame of mind.
“Yes, it is all very well, to be patient, be patient!” he exclaimed, with vexation; “but there is an end to patience at last. Be patient! but what money have I to buy a dinner with to-morrow? No one will lend me any. If I did bring myself to sell all my pictures and sketches, they would not give me twenty kopeks for the whole of them. They are useful; I feel that not one of them has been undertaken in vain; I have learned something from each one. Yes, but of what use is it? Studies, sketches, all will be studies, trial-sketches to the end. And who will buy, not even knowing me by name? Who wants drawings from the antique, or the life class, or my unfinished love of a Psyche, or the interior of my room, or the portrait of Nikita, though it is better, to tell the truth, than the portraits by any of the fashionable artists? Why do I worry, and toil like a learner over the alphabet, when I might shine as brightly as the rest, and have money, too, like them?”
