Letters of Anton Chekhov to His Family and Friends Part 9

"Climb up and look."

A dark figure appears on the bridge and leisurely climbs up. In a minute we hear:

"Yes, sir."

I look to the left where the lights of the lighthouse are supposed to be, borrow the captain's gla.s.ses, but see nothing.... Half an hour pa.s.ses, then an hour. The mast sways regularly, the devils creak, the wind makes dashes at my cap.... It is not pitch dark, but one feels uneasy.

Suddenly the captain dashes off somewhere to the rear of the s.h.i.+p, crying, "You devil's doll!"

"To the left," he shouts anxiously at the top of his voice. "To the left!

... To the right! A-va-va-a!"

Incomprehensible words of command are heard. The steamer starts, the devils give a creak.... "A-va-va!" shouts the captain; at the bows a bell is rung, on the black deck there are sounds of running, knocking, cries of anxiety.... The _Dir_ starts once more, puffs painfully, and apparently tries to move backwards.

"What is it?" I ask, and feel something like a faint terror. There is no answer.

"He'd like a collision, the devil's doll!" I hear the captain's harsh shout. "To the left!"

Red lights appear in front, and suddenly among the uproar is heard the whistling, not of the _Dir_, but of some other steamer.... Now I understand it: there is going to be a collision! The _Dir_ puffs, trembles, and does not move, as though waiting for a signal to go down.... But just when I think all is lost, the red lights appear on the left of us, and the dark silhouette of a steamer can be discerned.... A long black body sails past us, guiltily blinks its red eyes, and gives a guilty whistle....

"Oof! What steamer is it?" I ask the captain.

The captain looks at the silhouette through his gla.s.ses and replies:

"It is the _Tweedie_."

After a pause we begin to talk of the _Vesta_, which collided with two steamers and went down. Under the influence of this conversation the sea, the night and the wind begin to seem hideous, created on purpose for man's undoing, and I feel sorry as I look at the fat little captain.... Something whispers to me that this poor man, too, will sooner or later sink to the bottom and be choked with salt water. [Footnote: Chekhov's presentiment about the captain was partly fulfilled: that very autumn the _Dir_ was wrecked on the sh.o.r.es of Alupka.]

I go back to my cabin.... It is stuffy, and there is a smell of cooking. My travelling companion, Suvorin-_fils_, is asleep already.... I take off all my clothes and go to bed.... The darkness sways to and fro, the bed seems to breathe.... Boom-boom-boom! Bathed in perspiration, breathless, and feeling an oppression all over with the rocking, I ask myself, "What am I here for?"

I wake up. It is no longer dark. Wet all over, with a nasty taste in my mouth, I dress and go out. Everything is covered with dew.... The wild goats look with human eyes through the grating of their cage and seem to be asking "Why are we here?" The captain stands still as before and looks intently into the distance....

A mountainous sh.o.r.e stretches on the left.... Elborus is seen from behind the mountains.

A blurred sun rises in the sky.... One can see the green valley of Rion and the Bay of Poti by the side of it.

TO N. A. LEIKIN.

SUMY, August 12.

... I have been to the Crimea. I spent twelve days at Suvorin's in Feodosia, bathed, idled about; I have been to Aivazovsky's estate. From Feodosia I went by steamer to Batum. On the way I spent half a day at Suhum--a charming little town buried in luxuriant, un-Russian greenery, and one day at the Monastery, at New Athos. It is so lovely there at New Athos that there is no describing it: waterfalls, eucalyptuses, tea-plants, cypresses, olive-trees, and, above all, sea and mountains, mountains, mountains. From Athos and Suhum I went to Poti; the River Rion, renowned for its valley and its sturgeons, is close by. The vegetation is luxuriant.

All the streets are planted with poplars. Batum is a big commercial and military, foreign-looking, _cafe'-chantant_ sort of town; you feel in it at every step that we have conquered the Turks. There is nothing special about it (except a great number of brothels), but the surrounding country is charming. Particularly fine is the road to Kars and the swift river Tchoraksu.

The road from Batum to Tiflis is poetical and original; you look all the time out of window and exclaim: there are mountains, tunnels, rocks, rivers, waterfalls, big and little. But the road from Tiflis to Baku is the abomination of desolation, a bald plain, covered with sand and created for Persians, tarantulas, and phalangas to live in. There is not a single tree, there is no gra.s.s ... dreary as h.e.l.l.... Baku and the Caspian Sea are such rotten places that I would not agree to live there for a million. There are no roofs, there are no trees either; Persian faces everywhere, fifty degrees Reaumur of heat, a smell of kerosine, the naphtha-soaked mud squelches under one's feet, the drinking water is salt.

... You have seen the Caucasus. I believe you have seen the Georgian Military Road, too. If you have not been there yet, p.a.w.n your wives and children and the _Oskolki_ [Translator's Note: _Oskolki_, (i.e., "Chips,"

"Bits") the paper of which Leikin was editor.] and go. I have never in my life seen anything like it. It is not a road, but unbroken poetry, a wonderful, fantastic story written by the Demon in love with Tamara.

TO A. S. SUVORIN.

SUMY, August 29, 1888.

... When as a boy I used to stay at my grandfather's on Count Platov's estate, I had to sit from sunrise to sunset by the thras.h.i.+ng machine and write down the number of _poods_ and pounds of corn that had been thrashed; the whistling, the hissing, and the ba.s.s note, like the sound of a whirling top, that the machine makes at full speed, the creaking of the wheels, the lazy tread of the oxen, the clouds of dust, the grimy, perspiring faces of some three score of men--all this has stamped itself upon my memory like the Lord's Prayer. And now, too, I have been spending hours at the thras.h.i.+ng and felt intensely happy. When the thras.h.i.+ng engine is at work it looks as though alive; it has a cunning, playful expression, while the men and oxen look like machines. In the district of Mirgorod few have thras.h.i.+ng machines of their own, but everyone can hire one. The engine goes about the whole province drawn by six oxen and offers itself to all who can pay for it.

MOSCOW, September 11.

... You advise me not to hunt after two hares, and not to think of medical work. I do not know why one should not hunt two hares even in the literal sense.... I feel more confident and more satisfied with myself when I reflect that I have two professions and not one. Medicine is my lawful wife and literature is my mistress. When I get tired of one I spend the night with the other. Though it's disorderly, it's not so dull, and besides neither of them loses anything from my infidelity. If I did not have my medical work I doubt if I could have given my leisure and my spare thoughts to literature. There is no discipline in me.

MOSCOW, October 27, 1888.

... In conversation with my literary colleagues I always insist that it is not the artist's business to solve problems that require a specialist's knowledge. It is a bad thing if a writer tackles a subject he does not understand. We have specialists for dealing with special questions: it is their business to judge of the commune, of the future of capitalism, of the evils of drunkenness, of boots, of the diseases of women. An artist must only judge of what he understands, his field is just as limited as that of any other specialist--I repeat this and insist on it always. That in his sphere there are no questions, but only answers, can only be maintained by those who have never written and have had no experience of thinking in images. An artist observes, selects, guesses, combines--and this in itself presupposes a problem: unless he had set himself a problem from the very first there would be nothing to conjecture and nothing to select. To put it briefly, I will end by using the language of psychiatry: if one denies that creative work involves problems and purposes, one must admit that an artist creates without premeditation or intention, in a state of aberration; therefore, if an author boasted to me of having written a novel without a preconceived design, under a sudden inspiration, I should call him mad.

You are right in demanding that an artist should take an intelligent att.i.tude to his work, but you confuse two things: _solving a problem_ and _stating a problem correctly_. It is only the second that is obligatory for the artist. In "Anna Karenin" and "Evgeny Onyegin" not a single problem is solved, but they satisfy you completely because all the problems are correctly stated in them. It is the business of the judge to put the right questions, but the answers must be given by the jury according to their own lights.

... You say that the hero of my "Party" is a character worth developing.

Good Lord! I am not a senseless brute, you know, I understand that. I understand that I cut the throats of my characters and spoil them, and that I waste good material.... To tell you the truth, I would gladly have spent six months over the "Party"; I like taking things easy, and see no attraction in publis.h.i.+ng at headlong speed. I would willingly, with pleasure, with feeling, in a leisurely way, describe the _whole_ of my hero, describe the state of his mind while his wife was in labour, his trial, the horrid feeling he has after he is acquitted; I would describe the midwife and the doctors having tea in the middle of the night, I would describe the rain.... It would give me nothing but pleasure because I like to rummage about and dawdle. But what am I to do? I begin a story on September 10th with the thought that I must finish it by October 5th at the latest; if I don't I shall fail the editor and be left without money. I let myself go at the beginning and write with an easy mind; but by the time I get to the middle I begin to grow timid and to fear that my story will be too long: I have to remember that the _Syeverny Vyestnik_ has not much money, and that I am one of their expensive contributors. This is why the beginning of my stories is always very promising and looks as though I were starting on a novel, the middle is huddled and timid, and the end is, as in a short sketch, like fireworks. And so in planning a story one is bound to think first about its framework: from a crowd of leading or subordinate characters one selects one person only--wife or husband; one puts him on the canvas and paints him alone, making him prominent, while the others one scatters over the canvas like small coin, and the result is something like the vault of heaven: one big moon and a number of very small stars around it. But the moon is not a success because it can only be understood if the stars too are intelligible, and the stars are not worked out. And so what I produce is not literature, but something like the patching of Trishka's coat. What am I to do? I don't know, I don't know. I must trust to time which heals all things.

To tell the truth again, I have not yet begun my literary work, though I have received a literary prize. Subjects for five stories and two novels are languis.h.i.+ng in my head. One of the novels was thought of long ago, and some of the characters have grown old without managing to be written. In my head there is a whole army of people asking to be let out and waiting for the word of command. All that I have written so far is rubbish in comparison with what I should like to write and should write with rapture.

It is all the same to me whether I write "The Party" or "The Lights," or a vaudeville or a letter to a friend--it is all dull, spiritless, mechanical, and I get annoyed with critics who attach any importance to "The Lights,"

for instance. I fancy that I deceive him with my work just as I deceive many people with my face, which looks serious or over-cheerful. I don't like being successful; the subjects which sit in my head are annoyed and jealous of what has already been written. I am vexed that the rubbish has been done and the good things lie about in the lumber-room like old books.

Of course, in thus lamenting I rather exaggerate, and much of what I say is only my fancy, but there is a part of the truth in it, a good big part of it. What do I call good? The images which seem best to me, which I love and jealously guard lest I spend and spoil them for the sake of some "Party"

written against time.... If my love is mistaken, I am wrong, but then it may not be mistaken! I am either a fool and a conceited fellow or I really am an organism capable of being a good writer. All that I now write displeases and bores me, but what sits in my head interests, excites and moves me--from which I conclude that everybody does the wrong thing and I alone know the secret of doing the right one. Most likely all writers think that. But the devil himself would break his neck in these problems.

_Money will not help me_ to decide what I am to do and how I am to act. An extra thousand roubles will not settle matters, and a hundred thousand is a castle in the air. Besides, when I have money--it may be from lack of habit, I don't know--I become extremely careless and idle; the sea seems only knee-deep to me then.... I need time and solitude.