Lizotchka shudders and opens her eyes.
"Vassya, are you here?" she asks. "I have such gloomy thoughts. Goodness, why am I so unlucky as not to sleep. Vassya, have pity, do tell me something!"
"What shall I tell you ?"
"Something about love," Lizotchka says languidly. "Or some anecdote about Jews. . . ."
Vassily Stepanovitch, ready for anything if only his wife will be cheerful and not talk about death, combs locks of hair over his ears, makes an absurd face, and goes up to Lizotchka.
"Does your vatch vant mending?" he asks.
"It does, it does," giggles Lizotchka, and hands him her gold watch from the little table. "Mend it."
Vassya takes the watch, examines the mechanism for a long time, and wriggling and shrugging, says: "She can not be mended . . . in vun veel two cogs are vanting. . . ."
This is the whole performance. Lizotchka laughs and claps her hands.
"Capital," she exclaims. "Wonderful. Do you know, Vassya, it's awfully stupid of you not to take part in amateur theatricals! You have a remarkable talent! You are much better than Sysunov. There was an amateur called Sysunov who played with us in It's My Birthday. A first-class comic talent, only fancy: a nose as thick as a parsnip, green eyes, and he walks like a crane. . . . We all roared; stay, I will show you how he walks."
Lizotchka springs out of bed and begins pacing about the floor, barefooted and without her cap.
"A very good day to you!" she says in a bass, imitating a man's voice. "Anything pretty? Anything new under the moon? Ha, ha, ha!" she laughs.
"Ha, ha, ha!" Vassya seconds her. And the young pair, roaring with laughter, forgetting the illness, chase one another about the room. The race ends in Vassya's catching his wife by her nightgown and eagerly showering kisses upon her. After one particularly passionate embrace Lizotchka suddenly remembers that she is seriously ill. . . .
"What silliness!" she says, making a serious face and covering herself with the quilt. "I suppose you have forgotten that I am ill! Clever, I must say!"
"Sorry . . ." falters her husband in confusion.
"If my illness takes a bad turn it will be your fault. Not kind! not good!"
Lizotchka closes her eyes and is silent. Her former languor and expression of martyrdom return again, there is a sound of gentle moans. Vassya changes the compress, and glad that his wife is at home and not gadding off to her aunt's, sits meekly at her feet. He does not sleep all night. At ten o'clock the doctor comes.
"Well, how are we feeling?" he asks as he takes her pulse. "Have you slept?"
"Badly," Lizotchka's husband answers for her, "very badly."
The doctor walks away to the window and stares at a passing chimney-sweep.
"Doctor, may I have coffee to-day?" asks Lizotchka.
"You may."
"And may I get up?"
"You might, perhaps, but . . . you had better lie in bed another day."
"She is awfully depressed," Vassya whispers in his ear, "such gloomy thoughts, such pessimism. I am dreadfully uneasy about her."
The doctor sits down to the little table, and rubbing his forehead, prescribes bromide of potassium for Lizotchka, then makes his bow, and promising to look in again in the evening, departs. Vassya does not go to the office, but sits all day at his wife's feet.
At midday the admirers of her talent arrive in a crowd. They are agitated and alarmed, they bring masses of flowers and French novels. Lizotchka, in a snow-white cap and a light dressing jacket, lies in bed with an enigmatic look, as though she did not believe in her own recovery. The admirers of her talent see her husband, but readily forgive his presence: they and he are united by one calamity at that bedside!
At six o'clock in the evening Lizotchka falls asleep, and again sleeps till two o'clock in the morning. Vassya as before sits at her feet, struggles with drowsiness, changes her compress, plays at being a Jew, and in the morning after a second night of suffering, Liza is prinking before the looking-glass and putting on her hat.
"Wherever are you going, my dear?" asks Vassya, with an imploring look at her.
"What?" says Lizotchka in wonder, assuming a scared expression, "don't you know that there is a rehearsal to-day at Marya Lvovna's?"
After escorting her there, Vassya having nothing to do to while away his boredom, takes his portfolio and goes to the office. His head aches so violently from his sleepless nights that his left eye shuts of itself and refuses to open. . . .
"What's the matter with you, my good sir?" his chief asks him. "What is it?"
Vassy a waves his hand and sits down.
"Don't ask me, your Excellency," he says with a sigh. "What I have suffered in these two days, what I have suffered! Liza has been ill!"
"Good heavens," cried his chief in alarm. "Lizaveta Pavlovna, what is wrong with her?"
Vassily Stepanovitch merely throws up his hands and raises his eyes to the ceiling, as though he would say: "It's the will of Providence."
"Ah, my boy, I can sympathise with you with all my heart!" sighs his chief, rolling his eyes. "I've lost my wife, my dear, I understand. That is a loss, it is a loss! It's awful, awful! I hope Lizaveta Pavlovna is better now! What doctor is attending her ?"
"Von Schterk."
"Von Schterk! But you would have been better to have called in Magnus or Semandritsky. But how very pale your face is. You are ill yourself! This is awful!"
"Yes, your Excellency, I haven't slept. What I have suffered, what I have been through!"
"And yet you came! Why you came I can't understand? One can't force oneself like that! One mustn't do oneself harm like that. Go home and stay there till you are well again! Go home, I command you! Zeal is a very fine thing in a young official, but you mustn't forget as the Romans used to say: 'mens sana in corpore sano,' that is, a healthy brain in a healthy body."
Vassya agrees, puts his papers back in his portfolio, and, taking leave of his chief, goes home to bed.
NOTES
bromide of potassium: a salt used in the 19th century as an anticonvulsant and sedative
mens sana in corpore sano: Juvenal in his Satires suggests that we should pray for this; the phrase is usually translated as "a sound mind in a sound body"
* * *
THE FIRST-CLASS PASSENGER
by Anton Chekhov
A FIRST-CLASS passenger who had just dined at the station and drunk a little too much lay down on the velvet-covered seat, stretched himself out luxuriously, and sank into a doze. After a nap of no more than five minutes, he looked with oily eyes at his vis-à-vis, gave a smirk, and said:
"My father of blessed memory used to like to have his heels tickled by peasant women after dinner. I am just like him, with this difference, that after dinner I always like my tongue and my brains gently stimulated. Sinful man as I am, I like empty talk on a full stomach. Will you allow me to have a chat with you?"
"I shall be delighted," answered the vis-à-vis.
"After a good dinner the most trifling subject is sufficient to arouse devilishly great thoughts in my brain. For instance, we saw just now near the refreshment bar two young men, and you heard one congratulate the other on being celebrated. 'I congratulate you,' he said; 'you are already a celebrity and are beginning to win fame.' Evidently actors or journalists of microscopic dimensions. But they are not the point. The question that is occupying my mind at the moment, sir, is exactly what is to be understood by the word fame or celebrity. What do you think? Pushkin called fame a bright patch on a ragged garment; we all understand it as Pushkin does -- that is, more or less subjectively -- but no one has yet given a clear, logical definition of the word. . . . I would give a good deal for such a definition!"