"Tell me, doctor, can you from the dimensions of the wound form any theory as to . . . as to the mental condition of the criminal? That is, I mean, does the extent of the injury justify the supposition that the accused was suffering from temporary aberration?"
The president raised his drowsy indifferent eyes to the counsel for the defence. The assistant prosecutor tore himself from "Cain," and looked at the president. They merely looked, but there was no smile, no surprise, no perplexity-their faces expressed nothing.
"Perhaps," the doctor hesitated, "if one considers the force with which . . . er--er--er . . . the criminal strikes the blow. . . . However, excuse me, I don't quite understand your question. . . ."
The counsel for the defence did not get an answer to his question, and indeed he did not feel the necessity of one. It was clear even to himself that that question had strayed into his mind and found utterance simply through the effect of the stillness, the boredom, the whirring ventilator wheels.
When they had got rid of the doctor the court rose to examine the "material evidences." The first thing examined was the full-skirted coat, upon the sleeve of which there was a dark brownish stain of blood. Harlamov on being questioned as to the origin of the stain stated:
"Three days before my old woman's death Penkov bled his horse. I was there; I was helping to be sure, and . . . and got smeared with it. . . ."
"But Penkov has just given evidence that he does not remember that you were present at the bleeding. . . ."
"I can't tell about that."
"Sit down."
They proceeded to examine the axe with which the old woman had been murdered.
"That's not my axe," the prisoner declared.
"Whose is it, then?"
"I can't tell . . . I hadn't an axe. . . ."
"A peasant can't get on for a day without an axe. And your neighbour Ivan Timofeyitch, with whom you mended a sledge, has given evidence that it is your axe. . . ."
"I can't say about that, but I swear before God (Harlamov held out his hand before him and spread out the fingers), before the living God. And I don't remember how long it is since I did have an axe of my own. I did have one like that only a bit smaller, but my son Prohor lost it. Two years before he went into the army, he drove off to fetch wood, got drinking with the fellows, and lost it. . . ."
"Good, sit down."
This systematic distrust and disinclination to hear him probably irritated and offended Harlamov. He blinked and red patches came out on his cheekbones.
"I swear in the sight of God," he went on, craning his neck forward. "If you don't believe me, be pleased to ask my son Prohor. Proshka, what did you do with the axe?" he suddenly asked in a rough voice, turning abruptly to the soldier escorting him. "Where is it?"
It was a painful moment! Everyone seemed to wince and as it were shrink together. The same fearful, incredible thought flashed like lightning through every head in the court, the thought of possibly fatal coincidence, and not one person in the court dared to look at the soldier's face. Everyone refused to trust his thought and believed that he had heard wrong.
"Prisoner, conversation with the guards is forbidden . . ." the president made haste to say.
No one saw the escort's face, and horror passed over the hall unseen as in a mask. The usher of the court got up quietly from his place and tiptoeing with his hand held out to balance himself went out of the court. Half a minute later there came the muffled sounds and footsteps that accompany the change of guard.
All raised their heads and, trying to look as though nothing had happened, went on with their work. . . .
NOTES
Zemstvo: a district council with locally elected members
Byron's "Cain": dramatic poem (1821) by English poet George Gordon, Lord Byron (1788-1824)
pothouses: low-class pubs
Croesus: a king of Lydia famous for his wealth
* * *
A PECULIAR MAN
by Anton Chekhov
BETWEEN twelve and one at night a tall gentleman, wearing a top-hat and a coat with a hood, stops before the door of Marya Petrovna Koshkin, a midwife and an old maid. Neither face nor hand can be distinguished in the autumn darkness, but in the very manner of his coughing and the ringing of the bell a certain solidity, positiveness, and even impressiveness can be discerned. After the third ring the door opens and Marya Petrovna herself appears. She has a man's overcoat flung on over her white petticoat. The little lamp with the green shade which she holds in her hand throws a greenish light over her sleepy, freckled face, her scraggy neck, and the lank, reddish hair that strays from under her cap.
"Can I see the midwife?" asks the gentleman.
"I am the midwife. What do you want?"
The gentleman walks into the entry and Marya Petrovna sees facing her a tall, well-made man, no longer young, but with a handsome, severe face and bushy whiskers.
"I am a collegiate assessor, my name is Kiryakov," he says. "I came to fetch you to my wife. Only please make haste."
"Very good . . ." the midwife assents. I'll dress at once, and I must trouble you to wait for me in the parlour."
Kiryakov takes off his overcoat and goes into the parlour. The greenish light of the lamp lies sparsely on the cheap furniture in patched white covers, on the pitiful flowers and the posts on which ivy is trained. . . . There is a smell of geranium and carbolic. The little clock on the wall ticks timidly, as though abashed at the presence of a strange man.
"I am ready," says Marya Petrovna, coming into the room five minutes later, dressed, washed, and ready for action. "Let us go."
"Yes, you must make haste," says Kiryakov. "And, by the way, it is not out of place to enquire -- what do you ask for your services?"
"I really don't know . . ." says Marya Petrovna with an embarrassed smile. "As much as you will give."
"No, I don't like that," says Kiryakov, looking coldly and steadily at the midwife. "An arrangement beforehand is best. I don't want to take advantage of you and you don't want to take advantage of me. To avoid misunderstandings it is more sensible for us to make an arrangement beforehand."
"I really don't know -- there is no fixed price."
"I work myself and am accustomed to respect the work of others. I don't like injustice. It will be equally unpleasant to me if I pay you too little, or if you demand from me too much, and so I insist on your naming your charge."
"Well, there are such different charges."
"H'm. In view of your hesitation, which I fail to understand, I am constrained to fix the sum myself. I can give you two roubles."
"Good gracious! . . . Upon my word! . . ." says Marya Petrovna, turning crimson and stepping back. "I am really ashamed. Rather than take two roubles I will come for nothing . . . . Five roubles, if you like."
"Two roubles, not a kopeck more. I don't want to take advantage of you, but I do not intend to be overcharged."
"As you please, but I am not coming for two roubles. . . ."
"But by law you have not the right to refuse."
"Very well, I will come for nothing."
"I won't have you for nothing. All work ought to receive remuneration. I work myself and I understand that. . . ."
"I won't come for two roubles," Marya Petrovna answers mildly. "I'll come for nothing if you like."
"In that case I regret that I have troubled you for nothing. . . . I have the honour to wish you good-bye."
"Well, you are a man!" says Marya Petrovna, seeing him into the entry. "I will come for three roubles if that will satisfy you."
Kiryakov frowns and ponders for two full minutes, looking with concentration on the floor, then he says resolutely, "No," and goes out into the street. The astonished and disconcerted midwife fastens the door after him and goes back into her bedroom.