“And the years pass by and the best of our years!

“I am awfully afraid that he will hang himself. He’ll go and do it without telling anyone. He’s like that. They are all hanging themselves nowadays; why, I don’t know — perhaps there are a great many people like us. I, for instance, can’t exist without money to spend. Luxuries matter a great deal more to me than necessities.

“I say, are you fond of music? I’m awfully fond of it. I’ll play you something when I come and see you. I play very well on the piano and I studied music a very long time. I’ve studied seriously. If I were to compose an opera, do you know I should take the subject from Faust. I am very fond of that subject. I am always making up a scene in the cathedral, just imagining it in my head, I mean. The Gothic cathedral, the interior, the choirs, the hymns; Gretchen enters, and mediaeval singing, you know, so that you can hear the fifteenth century in it. Gretchen overwhelmed with grief; to begin with a recitative, subdued but terrible, full of anguish; the choirs thunder on, gloomily, sternly, callously,

“Dies irae, dies illa!

“And all of a sudden — the voice of the devil, the song of the devil. He is unseen, there is only his song, side by side with the hymns, mingling with the hymns, almost melting into them, but at the same time quite different from them — that must be managed somehow. The song is prolonged, persistent, it must be a tenor, it must be a tenor. It begins softly, tenderly: ‘Do you remember, Gretchen, when you were innocent, when you were a child, you came with your mother to this cathedral and lisped your prayers from an old prayer-book?’ But the song gets louder and louder, more intense; on higher notes: there’s a sound of tears in them, misery unceasing, and hopeless, and finally despair. ‘There’s no forgiveness, Gretchen, there’s no forgiveness for you here!’ Gretchen tries to pray, but only cries of misery rise up from her soul — you know when the breast is convulsed with tears — but Satan’s song never ceases, and pierces deeper and deeper into the soul like a spear; it gets higher and higher, and suddenly breaks off almost in a shriek: ‘The end to all, accursed one!’ Gretchen falls on her knees, clasps her hands before her — and then comes her prayer, something very short, semi-recitative, but naïve, entirely without ornament, something mediaeval in the extreme, four lines, only four lines altogether — Stradella has some such notes — and at the last note she swoons! General confusion. She is picked up, carried out, and then the choir thunders forth. It is, as it were, a storm of voices, a hymn of inspiration, of victory, overwhelming, something in the style of our

‘Borne on high by angels’

— so that everything is shaken to its foundations, and it all passes into the triumphant cry of exaltation ‘Hosanna!’— as though it were the cry of the whole universe and it rises and rises, and then the curtain falls! Yes, you know if only I could, I should have done something; only I can never do anything now, I do nothing but dream. I am always dreaming; my whole life has turned into a dream. I dream at night too. Ah, Dolgoruky, have you read Dickens’ ‘Old Curiosity Shop’?”

“Yes, why?”

“Do you remember — wait, I will have another glass — do you remember, there’s one passage at the end, when they — that mad old man and that charming girl of thirteen, his grandchild, take refuge after their fantastic flight and wandering in some remote place in England, near a Gothic mediaeval church, and the little girl has received some post there, and shows the church to visitors . . . then the sun is setting, and the child in the church porch, bathed in the last rays of light, stands and gazes at the sunset, with gentle pensive contemplation in her child soul, a soul full of wonder as though before some mystery, for both alike are mysteries, the sun, the thought of God, and the church, the thought of man, aren’t they? Oh, I don’t know how to express it, only God loves such first thoughts in children. . . . While near her, on the step, the crazy old grandfather gazes at her with a fixed look . . . you know there’s nothing special in it, in that picture of Dickens, there’s absolutely nothing in it, but yet one will remember it all one’s life, and it has survived for all Europe — why? It’s splendid! It’s the innocence in it! And I don’t know what there is in it, but it’s fine. I used always to be reading novels when I was at school. Do you know I had a sister in the country only a year older than me. . . . Oh, now it’s all sold, and we have no country-place! I was sitting with her on the terrace under our old lime trees, we were reading that novel, and the sun was setting too, and suddenly we left off reading, and said to one another that we would be kind too, that we would be good — I was then preparing for the university and . . . Ach, Dolgoruky, you know, every man has his memories! . . .”

And he suddenly let his pretty little head fall on my shoulder and burst out crying. I felt very very sorry for him. It is true that he had drunk a great deal of wine, but he had talked to me so sincerely, so like a brother, with such feeling. . . . Suddenly, at that instant, we heard a shout from the street, and there was a violent tapping at the window (there was a large plate-glass window on the ground floor, so that anyone could tap on the window with his fingers from the street). This was the ejected Andreyev.

“Ohé Lambert! Où est Lambert? As-tu vu Lambert?” we heard his wild shout in the street.

“Ah! yes, here he is! So he’s not gone away?” cried the boy, jumping up from his place.

“Our account!” Lambert cried through his clenched teeth to the waiter. His hands shook with anger as he paid the bill, but the pock-marked man did not allow Lambert to pay for him.

“Why not? Why, I invited you, you accepted my invitation.”

“No, excuse me,” the pock-marked man pulled out his purse, and reckoning out his share he paid separately.

“You’ll offend me, Semyon Sidorovitch.”

“That’s what I wish,” Semyon Sidorovitch snapped out, taking his hat, and without saying good-bye to anybody, he walked alone out of the room. Lambert tossed the money to the waiter and hurriedly ran after him, even forgetting my existence in his confusion. Trishatov and I walked out last of all. Andreyev was standing like a post at the door, waiting for Trishatov.

“You scoundrel!” cried Lambert, unable to restrain himself.

“There, there!” Andreyev grunted at him, and with one swing of his arm he knocked off his round hat, which went spinning along the pavement. Lambert flew abjectly to pick it up.

“Vinq-cinq roubles!” Andreyev showed Trishatov the note, which he had just got from Lambert.

“That’s enough,” Trishatov shouted to him. “Why must you always make an uproar? . . . And why have you wrung twenty-five roubles out of him? You only ought to have had seven.”

“Why did I wring it out of him? He promised us a private dinner with Athenian women, and instead of women he regaled us with the pock-marked man, and what’s more, I did not finish my dinner and I’ve been freezing here in the cold, it’s certainly worth eighteen roubles. He owed me seven, so that makes twenty-five.”

“Go to the devil both of you!” yelled Lambert. “I’ll send you both packing, I’ll pay you out . . .”

“Lambert, I’ll send you packing. I’ll pay you out!” cried Andreyev. “Adieu, mon prince, don’t drink any more wine! Petya, marche! Ohé Lambert! Où est Lambert? As-tu vu Lambert?” he roared for the last time as he strode away.

“So I shall come and see you, may I?” Trishatov murmured hurriedly, and hastened after his friend.

I was left alone with Lambert.

“Well . . . come along!” he brought out, seeming stupefied and breathing with difficulty.

“Where shall I come along? I’m not coming anywhere with you!” I made haste to reply defiantly.