And the man, who had just been mercilessly belaboring Chekhov with his store of clever words, suddenly, ominously wagging his hooked nose, began to speak simple, weighty, clear-cut words, which illuminated, like a fire, the terrible, accursed truth about the life of the Russian village.
When he said good-bye to his host, the teacher took Chekhov's small, dry hand with its thin fingers in both his own, and, shaking it, said:—
“I came to you as though I were going to the authorities, in fear and trembling … I puffed myself out like a turkey-cock … I wanted to show you that I was no ordinary mortal…. And now I'm leaving you as a nice, close friend who understands everything…. It's a great thing—to understand everything! Thank you! I'm taking away with me a pleasant thought: big men are simpler and more understandable … and nearer in soul to us fellow men than all those wretches among whom we live…. Good-bye; I will never forget you.”
His nose quivered, his lips twisted into a good-natured smile, and he added suddenly:
“To tell the truth, scoundrels too are unhappy—the devil take them.”
When he went out, Chekhov followed him with a glance, smiled, and said:
“He's a nice fellow…. He won't be a teacher long.”
“Why?”
“They will run him down—whip him off.”
He thought for a bit, and added quietly:
“In Russia an honest man is rather like the chimney-sweep with whom nurses frighten children.”
I think that in Anton Chekhov's presence every one involuntarily felt in himself a desire to be simpler, more truthful, more one's self; I often saw how people cast off the motley finery of bookish phrases, smart words, and all the other cheap tricks with which a Russian, wishing to figure as a European, adorns himself, like a savage with shells and fish's teeth. Anton Chekhov disliked fish's teeth and cock's feathers; anything “brilliant” or foreign, assumed by a man to make himself look bigger, disturbed him; I noticed that, whenever he saw any one dressed up in this way, he had a desire to free him from all that oppressive, useless tinsel and to find underneath the genuine face and living soul of the person. All his life Chekhov lived on his own soul; he was always himself, inwardly free, and he never troubled about what some people expected and others—coarser people—demanded of Anton Chekhov. He did not like conversations about deep questions, conversations with which our dear Russians so assiduously comfort themselves, forgetting that it is ridiculous, and not at all amusing, to argue about velvet costumes in the future when in the present one has not even a decent pair of trousers.
Beautifully simple himself, he loved everything simple, genuine, sincere, and he had a peculiar way of making other people simple.
Once, I remember, three luxuriously dressed ladies came to see him; they filled his room with the rustle of silk skirts and the smell of strong scent; they sat down politely opposite their host, pretended that they were interested in politics, and began “putting questions”:—
“Anton Pavlovitch, what do you think? How will the war end?”
Anton Pavlovitch coughed, thought for a while, and then gently, in a serious and kindly voice, replied:
“Probably in peace.”
“Well, yes … certainly. But who will win? The Greeks or the Turks?”
“It seems to me that those will win who are the stronger.”
“And who, do you think, are the stronger?” all the ladies asked together.
“Those who are the better fed and the better educated.”
“Ah, how clever,” one of them exclaimed.
“And whom do you like best?” another asked.
Anton Pavlovitch looked at her kindly, and answered with a meek smile:
“I love candied fruits … don't you?”
“Very much,” the lady exclaimed gayly.
“Especially Abrikossov's,” the second agreed solidly. And the third, half closing her eyes, added with relish:
“It smells so good.”
And all three began to talk with vivacity, revealing, on the subject of candied fruit, great erudition and subtle knowledge. It was obvious that they were happy at not having to strain their minds and pretend to be seriously interested in Turks and Greeks, to whom up to that moment they had not given a thought.
When they left, they merrily promised Anton Pavlovitch:
“We will send you some candied fruit.”
“You managed that nicely,” I observed when they had gone.
Anton Pavlovitch laughed quietly and said:
“Every one should speak his own language.”
On another occasion I found at his house a young and prettyish crown prosecutor. He was standing in front of Chekhov, shaking his curly head, and speaking briskly:
“In your story, ‘The Conspirator,’ you, Anton Pavlovitch, put before me a very complex case. If I admit in Denis Grigoriev a criminal and conscious intention, then I must, without any reservation, bundle him into prison, in the interests of the community. But he is a savage; he did not realize the criminality of his act…. I feel pity for him. But suppose I regard him as a man who acted without understanding, and suppose I yield to my feeling of pity, how can I guarantee the community that Denis will not again unscrew the nut in the sleepers and wreck a train? That's the question. What's to be done?”
He stopped, threw himself back, and fixed an inquiring look on Anton Pavlovitch's face. His uniform was quite new, and the buttons shone as self-confidently and dully on his chest as did the little eyes in the pretty, clean, little face of the youthful enthusiast for justice.
“If I were judge,” said Anton Pavlovitch gravely, “I would acquit Denis.”
“On what grounds?”
“I would say to him: you, Denis, have not yet ripened into the type of the deliberate criminal; go—and ripen.”
The lawyer began to laugh, but instantly again became pompously serious and said:
“No, sir, the question put by you must be answered only in the interests of the community whose life and property I am called upon to protect. Denis is a savage, but he is also a criminal—that is the truth.”
“Do you like gramophones?” suddenly asked Anton Pavlovitch in his soft voice.
“O yes, very much. An amazing invention!” the youth answered gayly.
“And I can't stand gramophones,” Anton Pavlovitch confessed sadly.
“Why?”
“They speak and sing without feeling. Everything seems like a caricature … dead. Do you like photography?”
It appeared that the lawyer was a passionate lover of photography; he began at once to speak of it with enthusiasm, completely uninterested, as Chekhov had subtly and truly noticed, in the gramophone, despite his admiration for that “amazing invention.” And again I observed how there looked out of that uniform a living and rather amusing little man, whose feelings towards life were still those of a puppy hunting.
When Anton Pavlovitch had seen him out, he said sternly:
“They are like pimples on the seat of justice—disposing of the fate of people.”
And after a short silence:
“Crown prosecutors must be very fond of fishing … especially for little fish.”
He had the art of revealing everywhere and driving away banality, an art which is only possible to a man who demands much from life and which comes from a keen desire to see men simple, beautiful, harmonious. Banality always found in him a discerning and merciless judge.
Some one told in his presence how the editor of a popular magazine, who was always talking of the necessity of love and pity, had, for no reason at all, insulted a railway guard, and how he usually acted with extreme rudeness towards his inferiors.
“Well,” said Anton Pavlovitch with a gloomy smile, “but isn't he an aristocrat, an educated gentleman? He studied at the seminary. His father wore bast shoes, and he wears patent-leather boots.”