LITMIR.BIZ

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struggle against conceit, against premature selfsatisfaction, and the indolence that is the natural consequence of that selfsatisfaction.”

      B. in his turn tried to give good advice to the friend by whom he was at first so dominated, but only succeeded in irritating him to no purpose. A coolness between them followed. B. soon observed that his friend was beginning to be more and more a prey to apathy, misery and boredom, that his bouts of enthusiasm were becoming less and less frequent, and that all this was followed by a gloomy, savage despondency. Finally Yefimov took to abandoning his violin and sometimes would not touch it for a whole week. Complete moral collapse was not far off, and before long the wretched man had sunk into every vice. What his former patron had foretold came true. He gave way to excessive drinking. B. looked on at him with horror; his advice had no effect, and indeed he was afraid to say a word. Little by little Yefimov became utterly shameless; he did not scruple to live at B.’s expense, and even behaved as though he had a complete right to do so. Meanwhile B.’s resources were being exhausted, he lived from hand to mouth by giving lessons, or by playing at evening parties for merchants, for Germans, and for petty officials who, though they paid little, paid him something. Yefimov seemed unwilling to notice his friend’s straits: he behaved sullenly with him, and for weeks together did not deign to say a word to him. One day B. observed to him in the mildest way that it would not be amiss for him to take up his violin occasionally, that he might not lose his skill with the instrument altogether; then Yefimov flew into a rage and declared that he would never touch his violin again, as though he imagined that someone would implore him on his knees to do so. On another occasion B. needed someone to play with him at an evening party, and he asked Yefimov. This invitation moved Yefimov to fury. He declared that he was not a street musician, and would not demean himself like B. to degrade his noble art by playing to low tradesmen who would not understand his talent and his playing. B. did not say one word in answer; but Yefimov, brooding over this suggestion in the absence of his friend, who had gone to play, imagined that all this was only a hint at the fact that he was living at B.’s expense, and a desire to make him feel that he, too, ought to try to earn some money. When B.

      came back, Yefimov began to reproach him for the meanness of his conduct, and declared that he would not remain with him another minute. He actually did disappear for two days, but on the third turned up again as though nothing had happened, and went on living as before.

      Only their former intimacy and affection, and the compassion which B. felt for the ruined man, restrained him from making up his mind to put an end to this disorderly existence and to part with Yefimov for ever. At last they did part. Fortune smiled on B., he obtained powerful patronage and succeeded in giving a brilliant concert. By that time he was a first-rate performer, and his rapidly growing reputation soon afterwards gained him a place in the orchestra of an opera-house where he quickly won well-deserved success. At parting he gave Yefimov money, and begged him with tears in his eyes to return to the right path. B. cannot to this day remember him without marked feeling. His friendship with Yefimov was one of the strongest impressions of his youth. They had begun their career together, had become warmly attached to one another, and even Yefimov’s strangeness, his coarse and glaring defects, drew B. more warmly to him. B. understood him; he saw through him, and knew beforehand how it would end. They embraced, and both shed tears at parting. Then Yefimov said through tears and sobs that he was a ruined and most unhappy man, that he had known it a long time, and that only now he saw his ruin clearly.

      “I have no talent!” he said, turning as pale as death.

      B. was deeply moved.

      “Listen, Yegor Petrovitch,” he said to him. “What are you doing to yourself? You will only ruin yourself with your despair; you have no patience, no courage. Now you are saying in a fit of despondency that you have no talent. It’s not true. You have talent, I assure you you have. You have it. I can tell that merely from the way you feel and understand music. I will prove you that by the whole of your life. You have told me about the way you lived in the past; then, too, you were haunted by the same despair. Then your first teacher, that strange man of whom you have told me so much, first roused in you a love for music and divined your talent. You felt it then as intensely and painfully as you feel it now, but you did not understand what was happening to you. You could not bear living in your patron’s house, and you did not know yourself what you wanted. Your teacher died too early. He left you with nothing but vague yearnings and, worst of all, did not explain you to yourself. You felt that you needed some other wider path, that you were destined for other aims, but you did not understand how this could come about, and in your misery you came to hate everything that surrounded you. Your six years of poverty and hardship have not been lost; you have studied, you have thought, you have become conscious of yourself and your powers, you understand music and your vocation now. My friend, you must have patience and courage. A lot far more to be envied than mine awaits you; you are a hundred times more of an artist than I; but God gave you but the tenth part of my patience. Study and do not drink, as your kind old patron told you; and above all, begin from the beginning again, from the ABC. What worries you? Is it poverty, privation? But poverty and privation form the artist. They are inevitable at first. No one wants you now, no one cares to know you; that is the way of the world. Wait a bit, it will be different presently when they find out that you have a gift. Envy, petty meanness, and, worst of all, stupidity will weigh upon you more heavily than privation. Talent wants sympathy, it wants to be understood, and you will see what people will press round you when you attain ever so little of your aim. They will set at nought and despise what you have gained by bitter toil, privations, hunger, sleepless nights. They will not encourage you, they will not comfort you, your future comrades, they will not point out to you what is good and true in you; but with spiteful glee will catch up every mistake you make, will urge you to what is bad in you, to what you are mistaken about, and under an outward show of coolness and contempt will rejoice as though it were a festivity over every mistake you make. (As though anyone were free from mistakes!) You are conceited, you are often proud when there is no need to be, and may offend the amour-propre of some nonentity, and then there will be trouble — you will be one and they will be many. They will torment you with pin-pricks. Even I am beginning to have experience of that. Cheer up! You are not so poor, you can live. Don’t look down on humble work, slave away as I have done at poor artisans’ entertainments. But you are impatient, you are sick with your impatience, you are not simple enough, you are too subtle, you think too much, you give your brain too much work. You are audacious in words, and fainthearted when you take up your bow. You are vain, and yet not bold enough.

      Courage! wait a bit, study; and if you do not rely on your own powers, then trust to luck: you have fervour, you have feeling. You may reach your goal, and if not, anyway try your luck, you will not lose in any case, for the stake is too great. Trusting to luck, brother, is a great tiling.”

      Yefimov listened to his comrade with deep feeling. But as the latter talked, the pallor left his cheeks; they flushed red; his eyes flashed with unaccustomed fire, courage and hope. This courage soon passed into self-confidence, and then into his habitual arrogance; and at last, when B. was finishing his exhortation, Yefimov listened to him absentmindedly and impatiently. He warmly pressed his hand, however, thanked him, and always rapid in his transitions from the lowest self-abasement and despondency to extreme arrogance and insolence, declared conceitedly that his friend need not trouble himself about his future, that he knew how to manage his own affairs, that he hoped very shortly to get powerful support, that he would give a concert and so at once obtain fame and money. B. shrugged his shoulders but did not contradict him; and they parted, though of course not for long. Yefimov at once spent the money that had been given to him and came to borrow more; then a second time, and a fourth, and a tenth, till at last B. lost patience and said he was not at home. From that time he lost sight of him completely.

      Several years passed. One day, as B. was coming home from a rehearsal, at the entrance of a dirty tavern in a back street he jostled against a badly dressed drunken man who called him by his name. It was Yefimov. He was greatly changed, his face looked yellow and bloated. It could be seen that his reckless life was putting a stamp upon him that could never be effaced. B. was overjoyed, and before he had time to say a couple of words to him, had followed him into the tavern into which Yefimov dragged him. There in a little grimy room apart B. scrutinised his companion more closely. The latter was

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