Shubin again turned his eyes up to the ceiling; Zoe responded with a half-smile. This Zoe, or, to speak more precisely2, Zoya Nikitishna Mueller, was a pretty, fair-haired, half-Russian German girl, with a little nose rather wide at the end, and tiny red lips. She sang Russian ballads3 fairly well and could play various pieces, both lively and sentimental4, very correctly on the piano. She dressed with taste, but in a rather childish style, and even over-precisely. Anna Vassilyevna had taken her as a companion for her daughter, and she kept her almost constantly at her side. Elena did not complain of that; she was absolutely at a loss what to say to Zoya when she happened to be left alone with her.
The dinner lasted rather a long time; Bersenyev talked with Elena about university life, and his own plans and hopes; Shubin listened without speaking, ate with an exaggerated show of greediness, and now and then threw comic glances of despair at Zoya, who responded always with the same phlegmatic5 smile. After dinner, Elena with Bersenyev and Shubin went into the garden; Zoya looked after them, and, with a slight shrug6 of her shoulders, sat down to the piano. Anna Vassilyevna began: ‘Why don’t you go for a walk, too?’ but, without waiting for a reply, she added: ‘Play me something melancholy7.’
‘La derniere pensee de Weber?’ suggested Zoya.
‘Ah, yes, Weber,’ replied Anna Vassilyevna. She sank into an easy chair, and the tears started on to her eyelashes.
Meanwhile, Elena led the two friends to an arbour of acacias, with a little wooden table in the middle, and seats round. Shubin looked round, and, whispering ‘Wait a minute!’ he ran off, skipping and hopping8 to his own room, brought back a piece of clay, and began modelling a bust9 of Zoya, shaking his head and muttering and laughing to himself.
‘At his old tricks again,’ observed Elena, glancing at his work. She turned to Bersenyev, with whom she was continuing the conversation begun at dinner.
‘My old tricks!’ repeated Shubin. ‘It’s a subject that’s simply inexhaustible! To-day, particularly, she drove me out of all patience.’
‘Why so?’ inquired Elena. ‘One would think you were speaking of some spiteful, disagreeable old woman. She is a pretty young girl.’
‘Of course,’ Shubin broke in, ‘she is pretty, very pretty; I am sure that no one who meets her could fail to think: that’s some one I should like to — dance a polka with; I’m sure, too, that she knows that, and is pleased. . . . Else, what’s the meaning of those modest simpers, that discreet10 air? There, you know what I mean,’ he muttered between his teeth. ‘But now you’re absorbed in something else.’
And breaking up the bust of Zoya, Shubin set hastily to modelling and kneading the clay again with an air of vexation.
‘So it is your wish to be a professor?’ said Elena to Bersenyev.
‘Yes,’ he answered, squeezing his red hands between his knees. ‘That’s my cherished dream. Of course I know very well how far I fall short of being — to be worthy11 of such a high — I mean that I am too little prepared, but I hope to get permission for a course of travel abroad; I shall pass three or four years in that way, if necessary, and then ——’
He stopped, dropped his eyes, then quickly raising them again, he gave an embarrassed smile and smoothed his hair. When Bersenyev was talking to a woman, his words came out more slowly, and he lisped more than ever.
‘You want to be a professor of history?’ inquired Elena.
‘Yes, or of philosophy,’ he added, in a lower voice —‘if that is possible.’
‘He’s a perfect devil at philosophy already,’ observed Shubin, making deep lines in the clay with his nail. ‘What does he want to go abroad for?’
‘And will you be perfectly12 contented13 with such a position?’ asked Elena, leaning on her elbow and looking him straight in the face.
‘Perfectly, Elena Nikolaevna, perfectly. What could be a finer vocation14? To follow, perhaps, in the steps of Timofay Nikolaevitch . . . The very thought of such work fills me with delight and confusion . . . yes, confusion . . . which comes from a sense of my own deficiency. My dear father consecrated15 me to this work . . . I shall never forget his last words.’ . . .
‘Your father died last winter?’
‘Yes, Elena Nikolaevna, in February.’
‘They say,’ Elena went on, ‘that he left a remarkable16 work in manuscript; is it true?’
‘Yes. He was a wonderful man. You would have loved him, Elena Nikolaevna.’
‘I am sure I should. And what was the subject of the work?’
‘To give you an idea of the subject of the work in few words, Elena Nikolaevna, would be somewhat difficult. My father was a learned man, a Schellingist; he used terms which were not always very clear ——’
‘Andrei Petrovitch,’ interrupted Elena, ‘excuse my ignorance, what does that mean, a Schellingist?’
Bersenyev smiled slightly.
‘A Schellingist means a follower17 of Schelling, a German philosopher; and what the philosophy of Schelling consists in ——’
‘Andrei Petrovitch!’ cried Shubin suddenly, ‘for mercy’s sake! Surely you don’t mean to give Elena Nikolaevna a lecture on Schelling? Have pity on her!’
‘Not a lecture at all,’ murmured Bersenyev, turning crimson18. ‘I meant ——’
‘And why not a lecture?’ put in Elena. ‘You and I are in need of lectures, Pavel Yakovlitch.’
Shubin stared at her, and suddenly burst out laughing.
‘What are you laughing at?’ she said coldly, and almost sharply.
Shubin did not answer.
‘Come, don’t be angry,’ he said, after a short pause. ‘I am sorry. But really it’s a strange taste, upon my word, to discuss philosophy in weather like this under these trees. Let us rather talk of nightingales and roses, youthful eyes and smiles.’
‘Yes; and of French novels, and of feminine frills and fal-lals,’ Elena went on.
‘Fal-lals, too, of course,’ rejoined Shubin, ‘if they’re pretty.’
‘Of course. But suppose we don’t want to talk of frills? You are always boasting of being a free artist; why do you encroach on the freedom of others? And allow me to inquire, if that’s your bent19 of mind, why do you attack Zoya? With her it would be peculiarly suitable to talk of frills and roses?’
Shubin suddenly fired up, and rose from the garden seat. ‘So that’s it?’ he began in a nervous voice. ‘I understand your hint; you want to send me away to her, Elena Nikolaevna. In other words, I’m not wanted here.’
‘I never thought of sending you away from here.’
‘Do you mean to say,’ Shubin continued passionately20, ‘that I am not worthy of other society, that I am her equal; that I am as vain, and silly and petty as that mawkish21 German girl? Is that it?’
Elena frowned. ‘You did not always speak like that of her, Pavel Yakovlitch,’ she remarked.
‘Ah! reproaches! reproaches now!’ cried Shubin. ‘Well, then I don’t deny there was a moment — one moment precisely, when those fresh, vulgar cheeks of hers . . . But if I wanted to repay you with reproaches and remind you . . . Good-bye,’ he added suddenly, ‘I feel I shall say something silly.’
And with a blow on the clay moulded into the shape of a head, he ran out of the arbour and went off to his room.
‘What a baby,’ said Elena, looking after him.
‘He’s an artist,’ observed Bersenyev with a quiet smile. ‘All artists are like that. One must forgive them their caprices. That is their privilege.’
‘Yes,’ replied Elena; ‘but Pavel has not so far justified22 his claim to that privilege in any way. What has he done so far? Give me your arm, and let us go along the avenue. He was in our way. We were talking of your father’s works.’
Bersenyev took Elena’s arm in his, and walked beside her through the garden; but the conversation prematurely23 broken off was not renewed. Bersenyev began again unfolding his views on the vocation of a professor, and on his own future career. He walked slowly beside Elena, moving awkwardly, awkwardly holding her arm, sometimes jostling his shoulder against her, and not once looking at her; but his talk flowed more easily, even if not perfectly freely; he spoke24 simply and genuinely, and his eyes, as they strayed slowly over the trunks of the trees, the sand of the path and the grass, were bright with the quiet ardour of generous emotions, while in his soothed25 voice there was heard the delight of a man who feels that he is succeeding in expressing himself to one very dear to him. Elena listened to him very attentively26, and turning half towards him, did not take her eyes off his face, which had grown a little paler — off his eyes, which were soft and affectionate, though they avoided meeting her eyes. Her soul expanded; and something tender, holy, and good seemed half sinking into her heart, half springing up within it.
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1
plaintive
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| adj.可怜的，伤心的 | |
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2
precisely
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| adv.恰好，正好，精确地，细致地 | |
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3
ballads
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| 民歌，民谣，特别指叙述故事的歌( ballad的名词复数 )； 讴 | |
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4
sentimental
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| adj.多愁善感的，感伤的 | |
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5
phlegmatic
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| adj.冷静的，冷淡的，冷漠的，无活力的 | |
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6
shrug
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| v.耸肩(表示怀疑、冷漠、不知等) | |
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7
melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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8
hopping
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| n. 跳跃 动词hop的现在分词形式 | |
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9
bust
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| vt.打破；vi.爆裂；n.半身像；胸部 | |
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10
discreet
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| adj.(言行)谨慎的；慎重的；有判断力的 | |
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11
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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12
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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13
contented
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| adj.满意的，安心的，知足的 | |
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14
vocation
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| n.职业，行业 | |
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15
consecrated
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| adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献 | |
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16
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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17
follower
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| n.跟随者；随员；门徒；信徒 | |
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18
crimson
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| n./adj.深(绯)红色(的)；vi.脸变绯红色 | |
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19
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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20
passionately
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| ad.热烈地，激烈地 | |
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21
mawkish
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| adj.多愁善感的的；无味的 | |
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22
justified
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| a.正当的，有理的 | |
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prematurely
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| adv.过早地，贸然地 | |
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24
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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25
soothed
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| v.安慰( soothe的过去式和过去分词 )；抚慰；使舒服；减轻痛苦 | |
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26
attentively
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| adv.聚精会神地；周到地；谛；凝神 | |
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