The Chorus Girl and Other Stories. Anton Pavlovich Chekhov

It has taken root and become our local style.

      This same style my father had brought into my sister's life also, beginning with christening her Kleopatra (just as he had named me Misail). When she was a little girl he scared her by references to the stars, to the sages of ancient times, to our ancestors, and discoursed at length on the nature of life and duty; and now, when she was twenty-six, he kept up the same habits, allowing her to walk arm in arm with no one but himself, and imagining for some reason that sooner or later a suitable young man would be sure to appear, and to desire to enter into matrimony with her from respect for his personal qualities. She adored my father, feared him, and believed in his exceptional intelligence.

      It was quite dark, and gradually the street grew empty. The music had ceased in the house opposite; the gate was thrown wide open, and a team with three horses trotted frolicking along our street with a soft tinkle of little bells. That was the engineer going for a drive with his daughter. It was bedtime.

      I had my own room in the house, but I lived in a shed in the yard, under the same roof as a brick barn which had been built some time or other, probably to keep harness in; great hooks were driven into the wall. Now it was not wanted, and for the last thirty years my father had stowed away in it his newspapers, which for some reason he had bound in half-yearly volumes and allowed nobody to touch. Living here, I was less liable to be seen by my father and his visitors, and I fancied that if I did not live in a real room, and did not go into the house every day to dinner, my father's words that I was a burden upon him did not sound so offensive.

      My sister was waiting for me. Unseen by my father, she had brought me some supper: not a very large slice of cold veal and a piece of bread. In our house such sayings as: "A penny saved is a penny gained," and "Take care of the pence and the pounds will take care of themselves," and so on, were frequently repeated, and my sister, weighed down by these vulgar maxims, did her utmost to cut down the expenses, and so we fared badly. Putting the plate on the table, she sat down on my bed and began to cry.

      "Misail," she said, "what a way to treat us!"

      She did not cover her face; her tears dropped on her bosom and hands, and there was a look of distress on her face. She fell back on the pillow, and abandoned herself to her tears, sobbing and quivering all over.

      "You have left the service again." she articulated. "Oh, how awful it is!"

      "But do understand, sister, do understand.." I said, and I was overcome with despair because she was crying.

      As ill-luck would have it, the kerosene in my little lamp was exhausted; it began to smoke, and was on the point of going out, and the old hooks on the walls looked down sullenly, and their shadows flickered.

      "Have mercy on us," said my sister, sitting up. "Father is in terrible distress and I am ill; I shall go out of my mind. What will become of you?" she said, sobbing and stretching out her arms to me. "I beg you, I implore you, for our dear mother's sake, I beg you to go back to the office!"

      "I can't, Kleopatra!" I said, feeling that a little more and I should give way. "I cannot!"

      "Why not?" my sister went on. "Why not? Well, if you can't get on with the Head, look out for another post. Why shouldn't you get a situation on the railway, for instance? I have just been talking to Anyuta Blagovo; she declares they would take you on the railway-line, and even promised to try and get a post for you. For God's sake, Misail, think a little! Think a little, I implore you."

      We talked a little longer and I gave way. I said that the thought of a job on the railway that was being constructed had never occurred to me, and that if she liked I was ready to try it.

      She smiled joyfully through her tears and squeezed my hand, and then went on crying because she could not stop, while I went to the kitchen for some kerosene.

      II

      Among the devoted supporters of amateur theatricals, concerts and tableaux vivants for charitable objects the Azhogins, who lived in their own house in Great Dvoryansky Street, took a foremost place; they always provided the room, and took upon themselves all the troublesome arrangements and the expenses. They were a family of wealthy landowners who had an estate of some nine thousand acres in the district and a capital house, but they did not care for the country, and lived winter and summer alike in the town. The family consisted of the mother, a tall, spare, refined lady, with short hair, a short jacket, and a flat-looking skirt in the English fashion, and three daughters who, when they were spoken of, were called not by their names but simply: the eldest, the middle, and the youngest. They all had ugly sharp chins, and were short-sighted and round-shouldered. They were dressed like their mother, they lisped disagreeably, and yet, in spite of that, infallibly took part in every performance and were continually doing something with a charitable object – acting, reciting, singing. They were very serious and never smiled, and even in a musical comedy they played without the faintest trace of gaiety, with a businesslike air, as though they were engaged in bookkeeping.

      I loved our theatricals, especially the numerous, noisy, and rather incoherent rehearsals, after which they always gave a supper. In the choice of the plays and the distribution of the parts I had no hand at all. The post assigned to me lay behind the scenes. I painted the scenes, copied out the parts, prompted, made up the actors' faces; and I was entrusted, too, with various stage effects such as thunder, the singing of nightingales, and so on. Since I had no proper social position and no decent clothes, at the rehearsals I held aloof from the rest in the shadows of the wings and maintained a shy silence.

      I painted the scenes at the Azhogins' either in the barn or in the yard. I was assisted by Andrey Ivanov, a house painter, or, as he called himself, a contractor for all kinds of house decorations, a tall, very thin, pale man of fifty, with a hollow chest, with sunken temples, with blue rings round his eyes, rather terrible to look at in fact. He was afflicted with some internal malady, and every autumn and spring people said that he wouldn't recover, but after being laid up for a while he would get up and say afterwards with surprise: "I have escaped dying again."

      In the town he was called Radish, and they declared that this was his real name. He was as fond of the theatre as I was, and as soon as rumours reached him that a performance was being got up he threw aside all his work and went to the Azhogins' to paint scenes.

      The day after my talk with my sister, I was working at the Azhogins' from morning till night. The rehearsal was fixed for seven o'clock in the evening, and an hour before it began all the amateurs were gathered together in the hall, and the eldest, the middle, and the youngest Azhogins were pacing about the stage, reading from manuscript books. Radish, in a long rusty-red overcoat and a scarf muffled round his neck, already stood leaning with his head against the wall, gazing with a devout expression at the stage. Madame Azhogin went up first to one and then to another guest, saying something agreeable to each. She had a way of gazing into one's face, and speaking softly as though telling a secret.

      "It must be difficult to paint scenery," she said softly, coming up to me. "I was just talking to Madame Mufke about superstitions when I saw you come in. My goodness, my whole life I have been waging war against superstitions! To convince the servants what nonsense all their terrors are, I always light three candles, and begin all my important undertakings on the thirteenth of the month."

      Dolzhikov's daughter came in, a plump, fair beauty, dressed, as people said, in everything from Paris. She did not act, but a chair was set for her on the stage at the rehearsals, and the performances never began till she had appeared in the front row, dazzling and astounding everyone with her fine clothes. As a product of the capital she was allowed to make remarks during the rehearsals; and she did so with a sweet indulgent smile, and one could see that she looked upon our performance as a childish amusement. It was said she had studied singing at the Petersburg Conservatoire, and even sang for a whole winter in a private opera. I thought her very charming, and I usually watched her through the rehearsals and performances without taking my eyes off her.

      I had just picked up the manuscript book to begin prompting when my sister suddenly made her appearance. Without taking off her cloak or hat, she came up to me and said:

      "Come along, I beg you."

      I went with her. Anyuta Blagovo, also in her hat and wearing a dark veil, was standing behind the