Notes from the Underground & Other Tales – 7 Titles in One Edition. Федор Достоевский
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I answered, with the gravest face.
“Well, since there is no doubt about it, go on,” said Nastenka, “because I want very much to know how it will end.”
“You want to know, Nastenka, what our hero, that is I—for the hero of the whole business was my humble self—did in his corner? You want to know why I lost my head and was upset for the whole day by the unexpected visit of a friend? You want to know why I was so startled, why I blushed when the door of my room was opened, why I was not able to entertain my visitor, and why I was crushed under the weight of my own hospitality?”
“Why, yes, yes,” answered Nastenka, “that’s the point. Listen. You describe it all splendidly, but couldn’t you perhaps describe it a little less splendidly? You talk as though you were reading it out of a book.”
“Nastenka,” I answered in a stern and dignified voice, hardly able to keep from laughing, “dear Nastenka, I know I describe splendidly, but, excuse me, I don’t know how else to do it. At this moment, dear Nastenka, at this moment I am like the spirit of King Solomon when, after lying a thousand years under seven seals in his urn, those seven seals were at last taken off. At this moment, Nastenka, when we have met at last after such a long separation—for I have known you for ages, Nastenka, because I have been looking for some one for ages, and that is a sign that it was you I was looking for, and it was ordained that we should meet now—at this moment a thousand valves have opened in my head, and I must let myself flow in a river of words, or I shall choke. And so I beg you not to interrupt me, Nastenka, but listen humbly and obediently, or I will be silent.”
“No, no, no! Not at all. Go on! I won’t say a word!”
“I will continue. There is, my friend Nastenka, one hour in my day which I like extremely. That is the hour when almost all business, work and duties are over, and every one is hurrying home to dinner, to lie down, to rest, and on the way all are cogitating on other more cheerful subjects relating to their evenings, their nights, and all the rest of their free time. At that hour our hero—for allow me, Nastenka, to tell my story in the third person, for one feels awfully ashamed to tell it in the first person—and so at that hour our hero, who had his work too, was pacing along after the others. But a strange feeling of pleasure set his pale, rather crumpled-looking face working. He looked not with indifference on the evening glow which was slowly fading on the cold Petersburg sky. When I say he looked, I am lying: he did not look at it, but saw it as it were without realizing, as though tired or preoccupied with some other more interesting subject, so that he could scarcely spare a glance for anything about him. He was pleased because till next day he was released from business irksome to him, and happy as a schoolboy let out from the class-room to his games and mischief. Take a look at him, Nastenka; you will see at once that joyful emotion has already had an effect on his weak nerves and morbidly excited fancy. You see he is thinking of something…. Of dinner, do you imagine? Of the evening? What is he looking at like that? Is it at that gentleman of dignified appearance who is bowing so picturesquely to the lady who rolls by in a carriage drawn by prancing horses? No, Nastenka; what are all those trivialities to him now! He is rich now with his own individual life; he has suddenly become rich, and it is not for nothing that the fading sunset sheds its farewell gleams so gaily before him, and calls forth a swarm of impressions from his warmed heart. Now he hardly notices the road, on which the tiniest details at other times would strike him. Now ‘the Goddess of Fancy’ (if you have read Zhukovsky, dear Nastenka) has already with fantastic hand spun her golden warp and begun weaving upon it patterns of marvellous magic life—and who knows, maybe, her fantastic hand has borne him to the seventh crystal heaven far from the excellent granite pavement on which he was walking his way? Try stopping him now, ask him suddenly where he is standing now, through what streets he is going—he will, probably remember nothing, neither where he is going nor where he is standing now, and flushing with vexation he will certainly tell some lie to save appearances. That is why he starts, almost cries out, and looks round with horror when a respectable old lady stops him politely in the middle of the pavement and asks her way. Frowning with vexation he strides on, scarcely noticing that more than one passer-by smiles and turns round to look after him, and that a little girl, moving out of his way in alarm, laughs aloud, gazing open-eyed at his broad meditative smile and gesticulations. But fancy catches up in its playful flight the old woman, the curious passers-by, and the laughing child, and the peasants spending their nights in their barges on Fontanka (our hero, let us suppose, is walking along the canal-side at that moment), and capriciously weaves every one and everything into the canvas like a fly in a spider’s web. And it is only after the queer fellow has returned to his comfortable den with fresh stores for his mind to work on, has sat down and finished his dinner, that he comes to himself, when Matrona who waits upon him—always thoughtful and depressed—clears the table and gives him his pipe; he comes to himself then and recalls with surprise that he has dined, though he has absolutely no notion how it has happened. It has grown dark in the room; his soul is sad and empty; the whole kingdom of fancies drops to pieces about him, drops to pieces without a trace, without a sound, floats away like a dream, and he cannot himself remember what he was dreaming. But a vague sensation faintly stirs his heart and sets it aching, some new desire temptingly tickles and excites his fancy, and imperceptibly evokes a swarm of fresh phantoms. Stillness reigns in the little room; imagination is fostered by solitude and idleness; it is faintly smouldering, faintly simmering, like the water with which old Matrona is making her coffee as she moves quietly about in the kitchen close by. Now it breaks out spasmodically; and the book, picked up aimlessly and at random, drops from my dreamer’s hand before he has reached the third page. His imagination is again stirred and at work, and again a new world, a new fascinating life opens vistas before him. A fresh dream—fresh happiness! A fresh rush of delicate, voluptuous poison! What is real life to him! To his corrupted eyes we live, you and I, Nastenka, so torpidly, slowly, insipidly; in his eyes we are all so dissatisfied with our fate, so exhausted by our life! And, truly, see how at first sight everything is cold, morose, as though ill-humoured among us…. Poor things! thinks our dreamer. And it is no wonder that he thinks it! Look at these magic phantasms, which so enchantingly, so whimsically, so carelessly and freely group before him in such a magic, animated picture, in which the most prominent figure in the foreground is of course himself, our dreamer, in his precious person. See what varied adventures, what an endless swarm of ecstatic dreams. You ask, perhaps, what he is dreaming of. Why ask that?—why, of everything … of the lot of the poet, first unrecognized, then crowned with laurels; of friendship with Hoffmann, St. Bartholomew’s Night, of Diana Vernon, of playing the hero at the taking of Kazan by Ivan Vassilyevitch, of Clara Mowbray, of Effie Deans, of the council of the prelates and Huss before them, of the rising of the dead in ‘Robert the Devil’ (do you remember the music, it smells of the churchyard!), of Minna and Brenda, of the battle of Berezina, of the reading of a poem at Countess V. D.‘s, of Danton, of Cleopatra ei suoi amanti, of a little house in Kolomna, of a little home of one’s own and beside one a dear creature who listens to one on a winter’s evening, opening her little mouth and eyes as you are listening to me now, my angel…. No, Nastenka, what is there, what is there for him, voluptuous sluggard, in this life, for which you and I have such a longing? He thinks that this is a poor pitiful life, not foreseeing that for him too, maybe, sometime the mournful hour may strike, when for one day of that pitiful life he would give all his years of phantasy, and would give them not only for joy and for happiness, but without caring to make distinctions in that hour of sadness, remorse and unchecked grief. But so far that threatening has not arrived—he desires nothing, because he is superior to all desire, because he has everything, because he is satiated, because he is the artist of his own life, and creates it for himself every hour to suit his latest whim. And you know this fantastic world of fairyland is so easily, so naturally created! As though it were not a delusion! Indeed, he is ready to believe at some moments that all this life is not suggested by feeling, is not mirage, not a delusion of the imagination, but that it is concrete, real, substantial! Why is it, Nastenka, why is it at such moments one holds one’s breath? Why, by what sorcery, through what incomprehensible caprice, is the pulse quickened, does a tear start from the dreamer’s eye, while his pale moist cheeks glow, while his whole being is suffused with an inexpressible sense of consolation? Why is it that whole sleepless nights pass like a flash in inexhaustible gladness and happiness,