However, the administrator is perhaps prejudiced. Aloisy has not been known for any shady business, or for any business at all, unless of course we count his appointing someone else to replace the barman Sokov. For Andrei Fokich died of liver cancer in the clinic of the First MSU some ten months after Woland’s appearance in Moscow.
Yes, several years have passed, and the events truthfully described in this book have healed over and faded from memory. But not for everyone, not for everyone.
Each year, with the festal spring full moon,[176] a man of about thirty or thirty-odd appears towards evening under the lindens at the Patriarch’s Ponds. A reddish-haired, green-eyed, modestly dressed man. He is a researcher at the Institute of History and Philosophy, Professor Ivan Nikolaevich Ponyrev.
Coming under the lindens, he always sits down on the same bench on which he sat that evening when Berlioz, long forgotten by all, saw the moon breaking to pieces for the last time in his life. Whole now, white at the start of the evening, then gold with a dark horse-dragon, it floats over the former poet Ivan Nikolaevich and at the same time stays in place at its height.
Ivan Nikolaevich is aware of everything, he knows and understands everything. He knows that as a young man he fell victim to criminal hypnotists and was afterwards treated and cured. But he also knows that there are things he cannot manage. He cannot manage this spring full moon. As soon as it begins to approach, as soon as the luminary that once hung higher than the two five-branched candlesticks begins to swell and fill with gold, Ivan Nikolaevich becomes anxious, nervous, he loses appetite and sleep, waiting till the moon ripens. And when the full moon comes, nothing can keep Ivan Nikolaevich at home. Towards evening he goes out and walks to the Patriarch’s Ponds.
Sitting on the bench, Ivan Nikolaevich openly talks to himself, smokes, squints now at the moon, now at the memorable turnstile.
Ivan Nikolaevich spends an hour or two like this. Then he leaves his place and, always following the same itinerary, goes with empty and unseeing eyes through Spiridonovka to the lanes of the Arbat.
He passes the kerosene shop, turns by a lopsided old gaslight, and steals up to a fence, behind which he sees a luxuriant, though as yet unclothed, garden, and in it a Gothic mansion, moon-washed on the side with the triple bay window and dark on the other.
The professor does not know what draws him to the fence or who lives in the mansion, but he does know that there is no fighting with himself on the night of the full moon. Besides, he knows that he will inevitably see one and the same thing in the garden behind the fence.
He will see an elderly and respectable man with a little beard, wearing a pince-nez, and with slightly piggish features, sitting on a bench. Ivan Nikolaevich always finds this resident of the mansion in one and the same dreamy pose, his eyes turned towards the moon. It is known to Ivan Nikolaevich that, after admiring the moon, the seated man will unfailingly turn his gaze to the bay windows and fix it on them, as if expecting that they would presently be flung open and something extraordinary would appear on the window-sill. The whole sequel Ivan Nikolaevich knows by heart. Here he must bury himself deeper behind the fence, for presently the seated man will begin to turn his head restlessly, to snatch at something in the air with a wandering gaze, to smile rapturously, and then he will suddenly clasp his hands in a sort of sweet anguish, and then he will murmur simply and rather loudly:
‘Venus! Venus! ... Ah, fool that I am! ...’
‘Gods, gods!’ Ivan Nikolaevich will begin to whisper, hiding behind the fence and never taking his kindling eyes off the mysterious stranger. ‘Here is one more of the moon’s victims ... Yes, one more victim, like me ...’
And the seated man will go on talking:
‘Ah, fool that I am! Why, why didn’t I fly off with her? What were you afraid of, old ass? Got yourself a certificate! Ah, suffer now, you old cretin! ...’
It will go on like this until a window in the dark part of the mansion bangs, something whitish appears in it, and an unpleasant female voice rings out:
‘Nikolai Ivanovich, where are you? What is this fantasy? Want to catch malaria? Come and have tea!’
Here, of course, the seated man will recover his senses and reply in a lying voice:
‘I wanted a breath of air, a breath of air, dearest! The air is so nice! ...’
And here he will get up from the bench, shake his fist on the sly at the closing ground-floor window, and trudge back to the house.
‘Lying, he’s lying! Oh, gods, how he’s lying!’ Ivan Nikolaevich mutters as he leaves the fence. ‘It’s not the air that draws him to the garden, he sees something at the time of this spring full moon, in the garden, up there! Ah, I’d pay dearly to penetrate his mystery, to know who this Venus is that he’s lost and now fruitlessly feels for in the air, trying to catch her! ...’
And the professor returns home completely ill. His wife pretends not to notice his condition and urges him to go to bed. But she herself does not go to bed and sits by the lamp with a book, looking with grieving eyes at the sleeper. She knows that Ivan Nikolaevich will wake up at dawn with a painful cry, will begin to weep and thrash. Therefore there lies before her, prepared ahead of time, on the tablecloth, under the lamp, a syringe in alcohol and an ampoule of liquid the colour of dark tea.
The poor woman, tied to a gravely ill man, is now free and can sleep without apprehensions. After the injection, Ivan Nikolaevich will sleep till morning with a blissful face, having sublime and blissful dreams unknown to her.
It is always one and the same thing that awakens the scholar and draws pitiful cries from him on the night of the full moon. He sees some unnatural, noseless executioner who, leaping up and hooting somehow with his voice, sticks his spear into the heart of Gestas, who is tied to a post and has gone insane. But it is not the executioner who is frightening so much as the unnatural lighting in this dream, caused by some dark cloud boiling and heaving itself upon the earth, as happens only during world catastrophes.
After the injection, everything changes before the sleeping man. A broad path of moonlight stretches from his bed to the window, and a man in a white cloak with blood-red lining gets on to this path and begins to walk towards the moon. Beside him walks a young man in a torn chiton and with a disfigured face. The walkers talk heatedly about something, they argue, they want to reach some understanding.
‘Gods, gods!’ says that man in the cloak, turning his haughty face to his companion. ‘Such a banal execution! But, please,’ here the face turns from haughty to imploring, ‘tell me it never happened! I implore you, tell me, it never happened?’
‘Well, of course it never happened,’ his companion replies in a hoarse voice, ‘you imagined it.’
‘And you can swear it to me?’ the man in the cloak asks ingratiatingly.
176