“In spite of that, I was not at ease with the musician or with her during dinner-time and the time that elapsed before the beginning of the music. Involuntarily I followed each of their gestures and looks. The dinner, like all dinners, was tiresome5 and conventional. Not long afterward6 the music began. He went to get his violin; my wife advanced to the piano, and rummaged7 among the scores. Oh, how well I remember all the details of that evening! I remember how he brought the violin, how he opened the box, took off the serge embroidered8 by a lady’s hand, and began to tune9 the instrument. I can still see my wife sit down, with a false air of indifference10, under which it was plain that she hid a great timidity, a timidity that was especially due to her comparative lack of musical knowledge. She sat down with that false air in front of the piano, and then began the usual preliminaries,— the pizzicati of the violin and the arrangement of the scores. I remember then how they looked at each other, and cast a glance at their auditors11 who were taking their seats. They said a few words to each other, and the music began. They played Beethoven’s ‘Kreutzer Sonata12.’ Do you know the first presto13? Do you know it? Ah!” . . .
Posdnicheff heaved a sigh, and was silent for a long time.
“A terrible thing is that sonata, especially the presto! And a terrible thing is music in general. What is it? Why does it do what it does? They say that music stirs the soul. Stupidity! A lie! It acts, it acts frightfully (I speak for myself), but not in an ennobling way. It acts neither in an ennobling nor a debasing way, but in an irritating way. How shall I say it? Music makes me forget my real situation. It transports me into a state which is not my own. Under the influence of music I really seem to feel what I do not feel, to understand what I do not understand, to have powers which I cannot have. Music seems to me to act like yawning or laughter; I have no desire to sleep, but I yawn when I see others yawn; with no reason to laugh, I laugh when I hear others laugh. And music transports me immediately into the condition of soul in which he who wrote the music found himself at that time. I become confounded with his soul, and with him I pass from one condition to another. But why that? I know nothing about it? But he who wrote Beethoven’s ‘Kreutzer Sonata’ knew well why he found himself in a certain condition. That condition led him to certain actions, and for that reason to him had a meaning, but to me none, none whatever. And that is why music provokes an excitement which it does not bring to a conclusion. For instance, a military march is played; the soldier passes to the sound of this march, and the music is finished. A dance is played; I have finished dancing, and the music is finished. A mass is sung; I receive the sacrament, and again the music is finished. But any other music provokes an excitement, and this excitement is not accompanied by the thing that needs properly to be done, and that is why music is so dangerous, and sometimes acts so frightfully.
“In China music is under the control of the State, and that is the way it ought to be. Is it admissible that the first comer should hypnotize one or more persons, and then do with them as he likes? And especially that the hypnotizer should be the first immoral15 individual who happens to come along? It is a frightful14 power in the hands of any one, no matter whom. For instance, should they be allowed to play this ‘Kreutzer Sonata,’ the first presto,— and there are many like it,— in parlors16, among ladies wearing low necked dresses, or in concerts, then finish the piece, receive the applause, and then begin another piece? These things should be played under certain circumstances, only in cases where it is necessary to incite17 certain actions corresponding to the music. But to incite an energy of feeling which corresponds to neither the time nor the place, and is expended18 in nothing, cannot fail to act dangerously. On me in particular this piece acted in a frightful manner. One would have said that new sentiments, new virtualities, of which I was formerly19 ignorant, had developed in me. ‘Ah, yes, that’s it! Not at all as I lived and thought before! This is the right way to live!’
“Thus I spoke20 to my soul as I listened to that music. What was this new thing that I thus learned? That I did not realize, but the consciousness of this indefinite state filled me with joy. In that state there was no room for jealousy. The same faces, and among them HE and my wife, I saw in a different light. This music transported me into an unknown world, where there was no room for jealousy. Jealousy and the feelings that provoke it seemed to me trivialities, nor worth thinking of.
“After the presto followed the andante, not very new, with commonplace variations, and the feeble finale. Then they played more, at the request of the guests,— first an elegy21 by Ernst, and then various other pieces. They were all very well, but did not produce upon me a tenth part of the impression that the opening piece did. I felt light and gay throughout the evening. As for my wife, never had I seen her as she was that night. Those brilliant eyes, that severity and majestic22 expression while she was playing, and then that utter languor23, that weak, pitiable, and happy smile after she had finished,— I saw them all and attached no importance to them, believing that she felt as I did, that to her, as to me, new sentiments had been revealed, as through a fog. During almost the whole evening I was not jealous.
“Two days later I was to start for the assembly of the Zemstvo, and for that reason, on taking leave of me and carrying all his scores with him, Troukhatchevsky asked me when I should return. I inferred from that that he believed it impossible to come to my house during my absence, and that was agreeable to me. Now I was not to return before his departure from the city. So we bade each other a definite farewell. For the first time I shook his hand with pleasure, and thanked him for the satisfaction that he had given me. He likewise took leave of my wife, and their parting seemed to me very natural and proper. All went marvellously. My wife and I retired24, well satisfied with the evening. We talked of our impressions in a general way, and we were nearer together and more friendly than we had been for a long time.
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1
superfluous
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| adj.过多的，过剩的，多余的 | |
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2
promptly
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| adv.及时地，敏捷地 | |
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3
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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4
jealousy
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| n.妒忌，嫉妒，猜忌 | |
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5
tiresome
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| adj.令人疲劳的，令人厌倦的 | |
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6
afterward
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| adv.后来；以后 | |
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7
rummaged
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| 翻找，搜寻( rummage的过去式和过去分词 )； 已经海关检查 | |
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8
embroidered
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| adj．绣花的 | |
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9
tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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10
indifference
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| n.不感兴趣，不关心，冷淡，不在乎 | |
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11
auditors
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| n.审计员，稽核员( auditor的名词复数 )；（大学课程的）旁听生 | |
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12
sonata
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| n.奏鸣曲 | |
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13
presto
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| adv.急速地；n.急板乐段；adj.急板的 | |
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14
frightful
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| adj.可怕的；讨厌的 | |
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15
immoral
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| adj.不道德的，淫荡的，荒淫的，有伤风化的 | |
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16
parlors
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| 客厅( parlor的名词复数 )； 起居室； （旅馆中的）休息室； （通常用来构成合成词）店 | |
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17
incite
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| v.引起，激动，煽动 | |
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18
expended
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| v.花费( expend的过去式和过去分词 )；使用（钱等）做某事；用光；耗尽 | |
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19
formerly
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| adv.从前，以前 | |
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20
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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21
elegy
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| n.哀歌，挽歌 | |
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22
majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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23
languor
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| n.无精力，倦怠 | |
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24
retired
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| adj.隐退的，退休的，退役的 | |
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