Short Stories by Chekhov
Hunching up his shoulders and stretching his fingers wide apart,
Korostelev played some chords and began singing in a tenor voice, "Show
me the abode where the Russian peasant would not groan," while Dymov
sighed once more, propped his head on his fist, and sank into thought.
Olga Ivanovna had been extremely imprudent in her conduct of late. Every
morning she woke up in a very bad humour and with the thought that she
no longer cared for Ryabovsky, and that, thank God, it was all over now.
But as she drank her coffee she reflected that Ryabovsky had robbed her
of her husband, and that now she was left with neither her husband nor
Ryabovsky; then she remembered talks she had heard among her
acquaintances of a picture Ryabovsky was preparing for the exhibition,
something striking, a mixture of genre and landscape, in the style of
Polyenov, about which every one who had been into his studio went into
raptures; and this, of course, she mused, he had created under her
influence, and altogether, thanks to her influence, he had greatly
changed for the better. Her influence was so beneficent and essential
that if she were to leave him he might perhaps go to ruin. And she
remembered, too, that the last time he had come to see her in a great-
coat with flecks on it and a new tie, he had asked her languidly:
"Am I beautiful?"
And with his elegance, his long curls, and his blue eyes, he really was
very beautiful (or perhaps it only seemed so), and he had been
affectionate to her.
Considering and remembering many things Olga Ivanovna dressed and in
great agitation drove to Ryabovsky's studio. She found him in high
spirits, and enchanted with his really magnificent picture. He was
dancing about and playing the fool and answering serious questions with
jokes. Olga Ivanovna was jealous of the picture and hated it, but from
politeness she stood before the picture for five minutes in silence,
and, heaving a sigh, as though before a holy shrine, said softly:
"Yes, you have never painted anything like it before. Do you know, it is
positively awe-inspiring?"
And then she began beseeching him to love her and not to cast her off,
to have pity on her in her misery and her wretchedness. She shed tears,
kissed his hands, insisted on his swearing that he loved her, told him
that without her good influence he would go astray and be ruined. And,
when she had spoilt his good-humour, feeling herself humiliated, she
would drive off to her dressmaker or to an actress of her acquaintance
to try and get theatre tickets.
If she did not find him at his studio she left a letter in which she
swore that if he did not come to see her that day she would poison
herself. He was scared, came to see her, and stayed to dinner.
Regardless of her husband's presence, he would say rude things to her,
and she would answer him in the same way. Both felt they were a burden
to each other, that they were tyrants and enemies, and were wrathful,
and in their wrath did not notice that their behaviour was unseemly, and
that even Korostelev, with his close-cropped head, saw it all. After
dinner Ryabovsky made haste to say good-bye and get away.
"Where are you off to?" Olga Ivanovna would ask him in the hall, looking
at him with hatred.
Scowling and screwing up his eyes, he mentioned some lady of their
acquaintance, and it was evident that he was laughing at her jealousy
and wanted to annoy her. She went to her bedroom and lay down on her
bed; from jealousy, anger, a sense of humiliation and shame, she bit the
pillow and began sobbing aloud. Dymov left Korostelev in the drawing-
room, went into the bedroom, and with a desperate and embarrassed face
said softly:
"Don't cry so loud, little mother; there's no need. You must be quiet
about it. You must not let people see.... You know what is done is done,
and can't be mended."
Not knowing how to ease the burden of her jealousy, which actually set
her temples throbbing with pain, and thinking still that things might be
set right, she would wash, powder her tear-stained face, and fly off to
the lady mentioned.
Not finding Ryabovsky with her, she would drive off to a second, then to
a third. At first she was ashamed to go about like this, but afterwards
she got used to it, and it would happen that in one evening she would
make the round of all her female acquaintances in search of Ryabovsky,
and they all understood it.
One day she said to Ryabovsky of her husband:
"That man crushes me with his magnanimity."
This phrase pleased her so much that when she met the artists who knew
of her affair with Ryabovsky she said every time of her husband, with a
vigorous movement of her arm:
"That man crushes me with his magnanimity."
Their manner of life was the same as it had been the year before. On
Wednesdays they were "At Home"; an actor recited, the artists sketched.
The violoncellist played, a singer sang, and invariably at half-past
eleven the door leading to the dining-room opened and Dymov, smiling,
said:
"Come to supper, gentlemen."
As before, Olga Ivanovna hunted celebrities, found them, was not
satisfied, and went in pursuit of fresh ones. As before, she came back
late every night; but now Dymov was not, as last year, asleep, but
sitting in his study at work of some sort. He went to bed at three
o'clock and got up at eight.
One evening when she was getting ready to go to the theatre and standing
before the pier glass, Dymov came into her bedroom, wearing his dress-
coat and a white tie. He was smiling gently and looked into his wife's
face joyfully, as in old days; his face was radiant.
"I have just been defending my thesis," he said, sitting down and
smoothing his knees.
"Defending?" asked Olga Ivanovna.
"Oh, oh!" he laughed, and he craned his neck to see his wife's face in
the mirror, for she was still standing with her back to him, doing up
her hair. "Oh, oh," he repeated, "do you know it's very possible they
may offer me the Readership in General Pathology? It seems like it."
It was evident from his beaming, blissful face that if Olga Ivanovna had
shared with him his joy and triumph he would have forgiven her
everything, both the present and the future, and would have forgotten
everything, but she did not understand what was meant by a "readership"
or by "general pathology"; besides, she was afraid of being late for the
theatre, and she said nothing.
He sat there another two minutes, and with a guilty smile went away.
VII
It had been a very troubled day.
Dymov had a very bad headache; he had no breakfast, and did not go to
the hospital, but spent the whole time lying on his sofa in the study.
Olga Ivanovna went as usual at midday to see Ryabovsky, to show him her
still-life sketch, and to ask him why he had not been to see her the
evening before. The sketch seemed to her worthless, and she had painted
it only in order to have an additional reason for going to the artist.
She went in to him without ringing, and as she was taking off her
goloshes in the entry she heard a sound as of something running softly
in the studio, with a feminine rustle of skirts; and as she hastened to
peep in she caught a momentary glimpse of a bit of brown petticoat,
which vanished behind a big picture draped, together with the easel,
with black calico, to the floor. There could be no doubt that a woman
was hiding there. How often Olga Ivanovna herself had taken refuge
behind that picture!
Ryabovsky, evidently much embarrassed, held out both hands to her, as
though surprised at her arrival, and said with a forced smile:
"Aha! Very glad to see you! Anything nice to tell me?"
Olga Ivanovna's eyes filled with tears. She felt ashamed and bitter, and
would not for a million roubles have consented to speak in the presence
of the outsider, the rival, the deceitful woman who was standing now
behind the picture, and probably giggling malignantly.
"I have brought you a sketch," she said timidly in a thin voice, and her
lips quivered. "Nature morte."
"Ah--ah!... A sketch?"
The artist took the sketch in his hands, and as he examined it walked,
as it were mechanically, into the other room.
Olga Ivanovna followed him humbly.
"Nature morte... first-rate sort," he muttered, falling into rhyme.
"Kurort... sport... port..."
From the studio came the sound of hurried footsteps and the rustle of a
skirt.
So she had gone. Olga Ivanovna wanted to scream aloud, to hit the artist
on the head with something heavy, but she could see nothing through her
tears, was crushed by her shame, and felt herself, not Olga Ivanovna,
not an artist, but a little insect.
"I am tired..." said the artist languidly, looking at the sketch and
tossing his head as though struggling with drowsiness. "It's very nice,
of course, but here a sketch today, a sketch last year, another sketch
in a month... I wonder you are not bored with them. If I were you I
should give up painting and work seriously at music or something. You're
not an artist, you know, but a musician. But you can't think how tired I
am! I'll tell them to bring us some tea, shall I?"
He went out of the room, and Olga Ivanovna heard him give some order to
his footman. To avoid farewells and explanations, and above all to avoid
bursting into sobs, she ran as fast as she could, before Ryabovsky came
back, to the entry, put on her goloshes, and went out into the street;
then she breathed easily, and felt she was free for ever from Ryabovsky
and from painting and from the burden of shame which had so crushed her
in the studio. It was all over!
She drove to her dressmaker's; then to see Barnay, who had only arrived
the day before; from Barnay to a music-shop, and all the time she was
thinking how she would write Ryabovsky a cold, cruel letter full of
personal dignity, and how in the spring or the summer she would go with
Dymov to the Crimea, free herself finally from the past there, and begin
a new life.
On getting home late in the evening she sat down in the drawing-room,
without taking off her things, to begin the letter. Ryabovsky had told
her she was not an artist, and to pay him out she wrote to him now that
he painted the same thing every year, and said exactly the same thing
every day; that he was at a standstill, and that nothing more would come
of him than had come already. She wanted to write, too, that he owed a
great deal to her good influence, and that if he was going wrong it was
only because her influence was paralysed by various dubious persons like
the one who had been hiding behind the picture that day.
"Little mother!" Dymov called from the study, without opening the door.
"What is it?"
"Don't come in to me, but only come to the door--that's right.... The day
before yesterday I must have caught diphtheria at the hospital, and
now... I am ill. Make haste and send for Korostelev."
Olga Ivanovna always called her husband by his surname, as she did all
the men of her acquaintance; she disliked his Christian name, Osip,
because it reminded her of the Osip in Gogol and the silly pun on his
name. But now she cried:
"Osip, it cannot be!"
"Send for him; I feel ill," Dymov said behind the door, and she could
hear him go back to the sofa and lie down. "Send!" she heard his voice
faintly.
"Good Heavens!" thought Olga Ivanovna, turning chill with horror. "Why,
it's dangerous!"
For no reason she took the candle and went into the bedroom, and there,
reflecting what she must do, glanced casually at herself in the pier
glass. With her pale, frightened face, in a jacket with sleeves high on
the shoulders, with yellow ruches on her bosom, and with stripes running
in unusual directions on her skirt, she seemed to herself horrible and
disgusting. She suddenly felt poignantly sorry for Dymov, for his