Short Stories by Chekhov

what papa exists for is unknown. There is another enigmatical person, auntie, who presented Grisha with a drum. She appears and disappears. Where does she disappear to? Grisha has more than once looked under the bed, behind the trunk, and under the sofa, but she was not there. In this new world, where the sun hurts one's eyes, there are so many papas and mammas and aunties, that there is no knowing to whom to run. But what is stranger and more absurd than anything is the horses. Grisha gazes at their moving legs, and can make nothing of it. He looks at his nurse for her to solve the mystery, but she does not speak. All at once he hears a fearful tramping. . . . A crowd of soldiers, with red faces and bath brooms under their arms, move in step along the boulevard straight upon him. Grisha turns cold all over with terror, and looks inquiringly at nurse to know whether it is dangerous. But nurse neither weeps nor runs away, so there is no danger. Grisha looks after the soldiers, and begins to move his feet in step with them himself. Two big cats with long faces run after each other across the boulevard, with their tongues out, and their tails in the air. Grisha thinks that he must run too, and runs after the cats. "Stop!" cries nurse, seizing him roughly by the shoulder. "Where are you off to? Haven't you been told not to be naughty?" Here there is a nurse sitting holding a tray of oranges. Grisha passes by her, and, without saying anything, takes an orange. "What are you doing that for?" cries the companion of his travels, slapping his hand and snatching away the orange. "Silly!" Now Grisha would have liked to pick up a bit of glass that was lying at his feet and gleaming like a lamp, but he is afraid that his hand will be slapped again. "My respects to you!" Grisha hears suddenly, almost above his ear, a loud thick voice, and he sees a tall man with bright buttons. To his great delight, this man gives nurse his hand, stops, and begins talking to her. The brightness of the sun, the noise of the carriages, the horses, the bright buttons are all so impressively new and not dreadful, that Grisha's soul is filled with a feeling of enjoyment and he begins to laugh. "Come along! Come along!" he cries to the man with the bright buttons, tugging at his coattails. "Come along where?" asks the man. "Come along!" Grisha insists. He wants to say that it would be just as well to take with them papa, mamma, and the cat, but his tongue does not say what he wants to. A little later, nurse turns out of the boulevard, and leads Grisha into a big courtyard where there is still snow; and the man with the bright buttons comes with them too. They carefully avoid the lumps of snow and the puddles, then, by a dark and dirty staircase, they go into a room. Here there is a great deal of smoke, there is a smell of roast meat, and a woman is standing by the stove frying cutlets. The cook and the nurse kiss each other, and sit down on the bench together with the man, and begin talking in a low voice. Grisha, wrapped up as he is, feels insufferably hot and stifled. "Why is this?" he wonders, looking about him. He sees the dark ceiling, the oven fork with two horns, the stove which looks like a great black hole. "Mam-ma," he drawls. "Come, come, come!" cries the nurse. "Wait a bit!" The cook puts a bottle on the table, two wine-glasses, and a pie. The two women and the man with the bright buttons clink glasses and empty them several times, and, the man puts his arm round first the cook and then the nurse. And then all three begin singing in an undertone. Grisha stretches out his hand towards the pie, and they give him a piece of it. He eats it and watches nurse drinking. . . . He wants to drink too. "Give me some, nurse!" he begs. The cook gives him a sip out of her glass. He rolls his eyes, blinks, coughs, and waves his hands for a long time afterwards, while the cook looks at him and laughs. When he gets home Grisha begins to tell mamma, the walls, and the bed where he has been, and what he has seen. He talks not so much with his tongue, as with his face and his hands. He shows how the sun shines, how the horses run, how the terrible stove looks, and how the cook drinks. . . . In the evening he cannot get to sleep. The soldiers with the brooms, the big cats, the horses, the bit of glass, the tray of oranges, the bright buttons, all gathered together, weigh on his brain. He tosses from side to side, babbles, and, at last, unable to endure his excitement, begins crying. "You are feverish," says mamma, putting her open hand on his forehead. "What can have caused it? "Stove!" wails Grisha. "Go away, stove!" "He must have eaten too much . . ." mamma decides. And Grisha, shattered by the impressions of the new life he has just experienced, receives a spoonful of castor-oil from mamma. OYSTERS I NEED no great effort of memory to recall, in every detail, the rainy autumn evening when I stood with my father in one of the more frequented streets of Moscow, and felt that I was gradually being overcome by a strange illness. I had no pain at all, but my legs were giving way under me, the words stuck in my throat, my head slipped weakly on one side . . . It seemed as though, in a moment, I must fall down and lose consciousness. If I had been taken into a hospital at that minute, the doctors would have had to write over my bed: Fames, a disease which is not in the manuals of medicine. Beside me on the pavement stood my father in a shabby summer overcoat and a serge cap, from which a bit of white wadding was sticking out. On his feet he had big heavy goloshes. Afraid, vain man, that people would see that his feet were bare under his goloshes, he had drawn the tops of some old boots up round the calves of his legs. This poor, foolish, queer creature, whom I loved the more warmly the more ragged and dirty his smart summer overcoat became, had come to Moscow, five months before, to look for a job as copying-clerk. For those five months he had been trudging about Moscow looking for work, and it was only on that day that he had brought himself to go into the street to beg for alms. Before us was a big house of three storeys, adorned with a blue signboard with the word "Restaurant" on it. My head was drooping feebly backwards and on one side, and I could not help looking upwards at the lighted windows of the restaurant. Human figures were flitting about at the windows. I could see the right side of the orchestrion, two oleographs, hanging lamps . . . . Staring into one window, I saw a patch of white. The patch was motionless, and its rectangular outlines stood out sharply against the dark, brown background. I looked intently and made out of the patch a white placard on the wall. Something was written on it, but what it was, I could not see. . . For half an hour I kept my eyes on the placard. Its white attracted my eyes, and, as it were, hypnotised my brain. I tried to read it, but my efforts were in vain. At last the strange disease got the upper hand. The rumble of the carriages began to seem like thunder, in the stench of the street I distinguished a thousand smells. The restaurant lights and the lamps dazzled my eyes like lightning. My five senses were overstrained and sensitive beyond the normal. I began to see what I had not seen before. "Oysters . . ." I made out on the placard. A strange word! I had lived in the world eight years and three months, but had never come across that word. What did it mean? Surely it was not the name of the restaurant-keeper? But signboards with names on them always hang outside, not on the walls indoors! "Papa, what does 'oysters' mean?" I asked in a husky voice, making an effort to turn my face towards my father. My father did not hear. He was keeping a watch on the movements of the crowd, and following every passer-by with his eyes. . . . From his eyes I saw that he wanted to say something to the passers-by, but the fatal word hung like a heavy weight on his trembling lips and could not be flung off. He even took a step after one passer-by and touched him on the sleeve, but when he turned round, he said, "I beg your pardon," was overcome with confusion, and staggered back. "Papa, what does 'oysters' mean?" I repeated. "It is an animal . . . that lives in the sea." I instantly pictured to myself this unknown marine animal. . . . I thought it must be something midway between a fish and a crab. As it was from the sea they made of it, of course, a very nice hot fish soup with savoury pepper and laurel leaves, or broth with vinegar and fricassee of fish and cabbage, or crayfish sauce, or served it cold with horse- radish. . . . I vividly imagined it being brought from the market, quickly cleaned, quickly put in the pot, quickly, quickly, for everyone was hungry . . . awfully hungry! From the kitchen rose the smell of hot fish and crayfish soup. I felt that this smell was tickling my palate and nostrils, that it was gradually taking possession of my whole body. . . . The restaurant, my father, the white placard, my sleeves were all smelling of it, smelling so strongly that I began to chew. I moved my jaws and swallowed as though I really had a piece of this marine animal in my mouth . . . My legs gave way from the blissful sensation I was feeling, and I clutched at my father's arm to keep myself from falling, and leant against his wet summer overcoat. My father was trembling and shivering. He was cold . . . "Papa, are oysters a Lenten dish?" I asked. "They are eaten alive . . ." said my father. "They are in shells like tortoises, but . . . in two halves." The delicious smell instantly left off affecting me, and the illusion vanished. . . . Now I understood it all! "How nasty," I whispered, "how nasty!" So that's what "oysters" meant! I imagined to myself a creature like a frog. A frog sitting in a shell, peeping out from it with big, glittering eyes, and moving its revolting jaws. I imagined this creature in a shell with claws, glittering eyes, and a slimy skin, being brought from the market. . . . The children would all hide while the cook, frowning with an air of disgust, would take the creature by its claw, put it on a plate, and carry it into the dining-room. The grown-ups would take it and eat it, eat it alive with its eyes, its teeth, its legs! While it squeaked and tried to bite their lips. . . . I frowned, but . . . but why did my teeth move as though I were munching? The creature was loathsome, disgusting, terrible, but I ate it, ate it greedily, afraid of distinguishing its taste or smell. As soon as I had eaten one, I saw the glittering eyes of a second, a third . . . I ate them too. . . . At last I ate the table-napkin, the plate, my father's goloshes, the white placard . . . I ate everything that caught my eye, because I felt that nothing but eating would take away my illness. The oysters had a terrible look in their eyes and were loathsome. I shuddered at the thought of them, but I wanted to eat! To eat! "Oysters! Give me some oysters!" was the cry that broke from me and I stretched out my hand. "Help us, gentlemen!" I heard at that moment my father say, in a hollow and shaking voice. "I am ashamed to ask but--my God!--I can bear no more!" "Oysters!" I cried, pulling my father by the skirts of his coat. "Do you mean to say you eat oysters? A little chap like you!" I heard laughter close to me. Two gentlemen in top hats were standing before us, looking into my face and laughing. "Do you really eat oysters, youngster? That's interesting! How do you eat them?" I remember that a strong hand dragged me into the lighted restaurant. A