Chương Chương 28 · 第28章

Since that time six months have passed, and there has fallen upon the

country a "white" winter--a winter of clear, keen, motionless frosts,

of deep, crackling snow, of pink-rimed trees, of pale-emerald heavens,

of smoke-capped chimneys, of puffs of vapour from momentarily opened

doors, of faces fresh and hard-bitten, of horses galloping headlong

to thaw their frozen limbs. It is now the close of a January day,

and the increasing chill of evening is nipping the still air in an

ever-tightening vice as the sun sinks downward into a sea of red.

But in the windows of Marino there are lights burning, and Prokofitch,

vested in a black tail-coat, a pair of white gloves, and a peculiar

atmosphere of solemnity, is laying the table with seven covers. This

is because a week ago there were solemnised in the tiny church of

the parish--solemnised quietly, almost without a witness--two sets

of nuptials: the nuptials of Arkady and Katia and those of Nikolai

Petrovitch and Thenichka. And to-day Nikolai Petrovitch is offering his

brother a farewell dinner, for the reason that Paul is on the point of

departing for Moscow, whither Anna Sergievna has already removed after

bestowing upon the younger of the two couples a handsome dowry.

At three o'clock precisely the company gathers around the board.

Mitia too is present with his _niania_ (in nurse's cap), while Paul

Petrovitch is seated between Katia and Thenichka, and the bridegrooms

are ranged one on either side of their newly-wedded spouses. A change

has taken place in our old acquaintances since last we saw them--they

have improved, as regards the younger ones, both in appearance and in

sedateness of demeanour. Only Paul Petrovitch looks thinner; though

the circumstance imparts, if anything, an added touch of refinement and

"grand-seignorishness" to his always expressive features. Thenichka,

in particular, is a different person from what she was. Clad in a

brand-new silken gown, and wearing a broad velvet band over her hair

and a necklace around her throat, she holds herself with an immovable

dignity, yet also with an immovable deference towards her surroundings.

And meanwhile she smiles, as much as to say: "Pardon me, but _I_ am not

responsible for this"; while the others respond with similar smiles,

as though they too would be glad to excuse themselves for their share

in the proceedings. Yet the fact that on every one present sits a

touch of gravity and embarrassment becomes the company no less than

do their other characteristics. Everywhere, too, there is to be seen

such an anxious solicitude for mutual wants that the company could seem

unanimously to be playing some simple-minded comedy; and though, of

the guests, the quietest is Katia, it is plain, from her confidence of

bearing, that, as a daughter-in-law, she has found favour in the eyes

of Nikaiai Petrovitch.

At length the meal comes to an end, and Nikolai, rising and grasping a

wine-glass, addresses Paul Petrovitch:

"Dearest brother, you are about to leave us. Yes, you are about to

leave us. But not for long must you be absent, since I, for one, could

never express to you how much I, how much I--that is to say, how much

we But, to tell you the truth, I am not good at making a speech.

Arkady, to you I depute the task."

"But I am not ready, Papa."

"Neither am I. However, Paul, I embrace you, and wish you every joy,

and beg of you to return to us soon."

Whereupon Paul Petrovitch exchanges greetings all round (not excluding

little Mitia), and, in particular, kisses Thenichka's hand (which she

has not learnt to offer in the right way), drinks a twice-filled glass

to the company at large, and says with a profound sigh: "May you all

be happy, my friends! Farewell![1]" And though the English terminal

flourish passes unnoticed, every one is touched with the benediction

which has preceded it.

"Yes, and I drink to the memory of Bazarov," whispers Katia to her

husband as she clinks glasses with him: but though, in response, he

squeezes her hand, he decides not to propose the toast in public.

* * * * *

And here, apparently, there ought to follow the word _Finis_; but since

some of my readers may care to know how each of the characters in the

book is faring at the present day, I will satisfy that curiosity.

To take Anna Sergievna first, she has married--not for love, nor yet

out of a sense of duty--a rising young statesman who is an intelligent

legislator, a severely practical thinker, a man of strong will and

eloquence, and a lover with a temperament as cold as ice. Nevertheless

the pair reside on amicable terms, and may, in time, attain to

happiness--nay, even to love.

As for the Princess, she is dead, and her memory perished with her.

The Kirsanovs, father and son, are settled at Marino, and appear to be

righting their industrial affairs, in that Arkady has developed into a

capable manager, and the estate now brings in a fair income. Nikolai

Petrovitch, too, is constant in his endeavours to make peace on the

property, and, riding systematically round it, delivers long speeches

in the belief that only need the peasantry be "reasoned with"--that is

to say, plied with the same words over and over again--for the _muzhik_

gradually to become a tractable animal. Yet Nikolai earns the approval

neither of the educated gentry, who speak with affected jauntiness of

the coming "'mancipation"[2] (they invariably give the syllable "an" a

nasal inflection), nor of those uneducated landowners who roundly curse

what they term "that ----'_mun_cipation." In other words, for both

classes Nikolai Petrovitch is too "mild."

Katerina Sergievna has had a son born to her, and named him Kolia;

Mitia is now a big, active, volubly lisping boy; and Thenichka (rather,

Theodosia Nikolaievna) adores her daughter-in-law only less than her

husband and Mitia. In fact, that adoration reaches the point that,

should Katia sit down to the piano, Thenichka cannot leave her though

the playing continue all day.

Then a word concerning Peter the valet. As much a lump of mingled

stupidity and conceit as ever, he still pronounces his e's as u's, but

has taken unto himself a wife, and, with her, a respectable dowry. The

daughter of a market gardener of the neighbouring town, she had already

refused two eligible _partis_ solely on the ground that they did not

possess watches! But Peter possesses not only a watch, but also a pair

of patent leather pumps.

Again, any day on the Brühl Terrace, in Dresden, you may meet, between

two and four o'clock in the afternoon (the fashionable hour for a

promenade), a man of about fifty. Grey-headed, and afflicted with gout,

yet still handsome, he is elegantly dressed, and stamped with that air

of good breeding which comes only of long association with elevated

strata of society. That man is Paul Petrovitch. Having left Moscow for

foreign parts for his health's sake, he has settled in Dresden for

the reason that there he possesses the largest number of English and

nomad-Russian acquaintances. Towards the former he bears himself with

simplicity, and almost with modesty, but with a touch of _hauteur_;

and, in return, the English look upon him as a trifle tedious, but

respect him on the score of his being "quite a gentleman." In the

presence of the Russian element, however, Paul Petrovitch is more

free and easy--he gives rein unstintedly to his sarcasm, and rallies

both his compatriots and himself. Yet from _him_ such things come

pleasantly, and with a gay _insouciance,_ and in a becoming manner;

while, in addition, he holds Slavophil views--views which (as we all

know) invariably induce the great world to rate their holder a person

_très distingué_. True, never by any chance does Paul read a Russian

book; yet by way of compensation, there stands on his writing-table

a silver ash-tray shaped like a _muzhik's_ clog. Moreover, from some

of our Russian tourists he receives considerable attention when they

happen to be passing through the town; and even our old friend Matvei

Ilyitch Koliazin, on finding himself "in temporary opposition," has

paid him a visit while _en route_ to Bohemia for a course of the

waters. In fact, the only persons who show Paul no deference at all are

the native Germans, whose society he does not greatly cultivate. Yet

even they agree that, in the matter of obtaining tickets for the Court

Chapel or the theatre and so forth, none is so clever, so dexterous, as

"der Herr Baron von Kirsanov." In fact, always does he do "the right

thing" so far as he is able; and even yet he can create some stir,

owing to the fact that he has once, and to good purpose, been a social

lion. Yet life presses upon him not a little heavily--more heavily

than he himself is aware. Merely need one look at him as, huddled

against the aisle wall of the Russian church, he sits plunged in

thought, with his lips bitterly compressed, and continues sitting there

until, remembering his surroundings, he makes, almost imperceptibly,

the sign of the cross. In similar fashion, Madame Kukshin has gone

abroad--in her case, to Heidelberg, where she is engaged in studying,

not natural science, but architecture--a branch wherein she has,

according to herself, "discovered several new laws." Also, still she

is hail-fellow-well-met with students, more especially with some of

those Russian physicists and chemists who swarm in Heidelberg, and who,

though at first flabbergasting the simple-minded German professors with

the moderation of their views, subsequently proceed to flabbergast

those professors with the wholeheartedness of their sloth. In fact, it

is of two or three of those chemistry students who, though unable to

distinguish even oxygen from azote, are yet charged to the brim with

conceit and the spirit of "denial," that Madame Kukshin's circle is

chiefly composed.

Similarly, friend Sitnikov is preparing to become a great man. For

which purpose he is flaunting it in St. Petersburg, and (to quote

his own expression) "carrying on the work of the late Bazarov."

True, rumour declares that some one has recently given him a second

thrashing; as also that he (Sitnikov) has declined to face the

music--rather, that he has preferred to hint in an obscure article in

an equally obscure newspaper that his assailant is the coward; but to

this report Sitnikov merely attaches the epithet "ironical." For the

rest, his father continues to send him remittances, while his wife

accounts him equally a _littérateur_ and a fool.

Lastly, in a remote corner of Russia there lies a little country

cemetery. Like most cemeteries of the kind, it is depressing of aspect.

Over its fences dense masses of weed have grown, its drab wooden

crosses are rickety and turning mouldy under their blistered, painted

canopies, its stone paths have lost their alignment, and look as though

some one has displaced them from below, its two or three ragged trees

diffuse only the scantiest of shade, and sheep wander unhindered over

its tombs. But among those tombs there lies a grave which no man

molests and no animal tramples upon: only the birds perch upon it and

sing as evening falls. For around that grave stands an iron railing,

and at its head and foot are planted two young fir trees. It is the

grave of Evgenii Vasilitch Bazarov. Occasionally from the neighbouring

manor-house there come two aged and decrepit folk, a man and his wife.

Supporting one another with a step which ever grows heavier, they

approach the railing, sink upon their knees, and weep long, bitter

tears as they gaze at the dumb headstone where their son lies sleeping.

Then they exchange a word or two, dust the stone with assiduous care,

lay upon it a sprig of fir, and offer a last petition. Yet even then

they can scarce bear to tear themselves from the spot where they can

draw nearest to their son, and to their memories of him.

But are those tears, those prayers, all fruitless? Is that love, that

hallowed, selfless love, of theirs to be wholly unavailing? No, no,

and a thousand times no! For, though the heart which lies within that

tomb may have been passionate and wild and erring, the flowers which

bloom in that spot contemplate us with eyes of naught but peace and

innocence, and speak to us of naught but the eternal, mighty calm of

"unheeding" nature, as an image of the Eternal Reconciliation, and of

the Life which shall have no End.

[1] In the text this word is given in English.

[2] _i.e._ the emancipation of the serfs, which was carried out in 1861.

End of Project Gutenberg's Fathers and Sons, by Ivan Sergeevich Turgenev