The Kreutzer Sonata, and Other Stories - Leo Nikoleyevich Tolstoy (best e ink reader for manga TXT) 📗

"'What does this mean? One comes to talk with you, and you go to smoking.'

"And she sat down beside me on the sofa, resting against my shoulder. I recoiled, that I might not touch her.

"'I see that you are displeased with what I wish to play on Sunday,' said she.

"'I am not at all displeased,' said I.

"'Can I not see?'

"'Well, I congratulate you on your clairvoyance. Only to you every baseness is agreeable, and I abhor it.'

"'If you are going to swear like a trooper, I am going away.'

"'Then go away. Only know that, if the honor of the family is nothing to you, to me it is dear. As for you, the devil take you!'

"'What! What is the matter?'

"'Go away, in the name of God.'

"But she did not go away. Was she pretending not to understand, or did she really not understand what I meant? But she was offended and became angry.

"'You have become absolutely impossible,' she began, or some such phrase as that regarding my character, trying, as usual, to give me as much pain as possible. 'After what you have done to my sister (she referred to an incident with her sister, in which, beside myself, I had uttered brutalities; she knew that that tortured me, and tried to touch me in that tender spot) nothing will astonish me.'

"'Yes, offended, humiliated, and dishonored, and after that to hold me still responsible,' thought I, and suddenly a rage, such a hatred invaded me as I do not remember to have ever felt before. For the first time I desired to express this hatred physically. I leaped upon her, but at the same moment I understood my condition, and I asked myself whether it would be well for me to abandon myself to my fury. And I answered myself that it would be well, that it would frighten her, and, instead of resisting, I lashed and spurred myself on, and was glad to feel my anger boiling more and more fiercely.

"'Go away, or I will kill you!' I cried, purposely, with a frightful voice, and I grasped her by the arm. She did not go away. Then I twisted her arm, and pushed her away violently.

"'What is the matter with you? Come to your senses!' she shrieked.

"'Go away,' roared I, louder than ever, rolling my eyes wildly. 'It takes you to put me in such a fury. I do not answer for myself! Go away!'

"In abandoning myself to my anger, I became steeped in it, and I wanted to commit some violent act to show the force of my fury. I felt a terrible desire to beat her, to kill her, but I realized that that could not be, and I restrained myself. I drew back from her, rushed to the table, grasped the paper-weight, and threw it on the floor by her side. I took care to aim a little to one side, and, before she disappeared (I did it so that she could see it), I grasped a candlestick, which I also hurled, and then took down the barometer, continuing to shout:

"'Go away! I do not answer for myself!'

"She disappeared, and I immediately ceased my demonstrations. An hour later the old servant came to me and said that my wife was in a fit of hysterics. I went to see her. She sobbed and laughed, incapable of expressing anything, her whole body in a tremble. She was not shamming, she was really sick. We sent for the doctor, and all night long I cared for her. Toward daylight she grew calmer, and we became reconciled under the influence of that feeling which we called 'love.' The next morning, when, after the reconciliation, I confessed to her that I was jealous of Troukhatchevsky, she was not at all embarrassed, and began to laugh in the most natural way, so strange did the possibility of being led astray by such a man appear to her.

"'With such a man can an honest woman entertain any feeling beyond the pleasure of enjoying music with him? But if you like, I am ready to never see him again, even on Sunday, although everybody has been invited. Write him that I am indisposed, and that will end the matter. Only one thing annoys me,--that any one could have thought him dangerous. I am too proud not to detest such thoughts.'

"And she did not lie. She believed what she said. She hoped by her words to provoke in herself a contempt for him, and thereby to defend herself. But she did not succeed. Everything was directed against her, especially that abominable music. So ended the quarrel, and on Sunday our guests came, and Troukhatchevsky and my wife again played together.

CHAPTER XXIII.

"I think that it is superfluous to say that I was very vain. If one has no vanity in this life of ours, there is no sufficient reason for living. So for that Sunday I had busied myself in tastefully arranging things for the dinner and the musical soiree. I had purchased myself numerous things for the dinner, and had chosen the guests. Toward six o'clock they arrived, and after them Troukhatchevsky, in his dress-coat, with diamond shirt-studs, in bad taste. He bore himself with ease. To all questions he responded promptly, with a smile of contentment and understanding, and that peculiar expression which was intended to mean: 'All that you may do and say will be exactly what I expected.' Everything about him that was not correct I now noticed with especial pleasure, for it all tended to tranquillize me, and prove to me that to my wife he stood in such a degree of inferiority that, as she had told me, she could not stoop to his level. Less because of my wife's assurances than because of the atrocious sufferings which I felt in jealousy, I no longer allowed myself to be jealous.

"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 tiresome and conventional. Not long afterward the music began. He went to get his violin; my wife advanced to the piano, and rummaged 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 embroidered by a lady's hand, and began to tune the instrument. I can still see my wife sit down, with a false air of indifference, 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 auditors who were taking their seats. They said a few words to each other, and the music began. They played Beethoven's 'Kreutzer Sonata.' Do you know the first presto? 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 immoral individual who happens to come along? It is a frightful 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 parlors, 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 incite certain actions corresponding to the music. But to incite an energy of feeling which corresponds to neither the time nor the place, and is expended 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 formerly 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 spoke 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