A Reckless Character, and Other StoriesTurgenev, Ivan Sergeevich
General
A Reckless Character, and Other Stories
Turgenev, Ivan Sergeevich
Russia -- Social life and customs -- Fiction; Turgenev, Ivan Sergeevich, 1818-1883 -- Translations into English
withdrew, again without waiting for the pianist, who had sprung to his
feet with still greater alacrity than before to escort her, and who,
being thus left in the lurch, shook his hair as Liszt himself, in all
probability, never shook his!
During the whole time she was singing Aratoff had been scanning Clara's
face. It seemed to him that her eyes, athwart her contracted lashes,
were again turned on him. But he was particularly struck by the
impassiveness of that face, that forehead, those brows, and only when
she uttered her passionate cry did he notice a row of white, closely-set
teeth gleaming warmly from between her barely parted lips. Kupfer
stepped up to him.
"Well, brother, what dost thou think of her?" he asked, all beaming with
satisfaction.
"She has a fine voice," replied Aratoff, "but she does not know how to
sing yet, she has had no real school." (Why he said this and what he
meant by "school" the Lord only knows!)
Kupfer was surprised.--"She has no school," he repeated slowly....
"Well, now.... She can still study. But on the other hand, what soul!
But just wait until thou hast heard her recite Tatyana's letter."
He ran away from Aratoff, and the latter thought: "Soul! With that
impassive face!"--He thought that she bore herself and moved like a
hypnotised person, like a somnambulist.... And, at the same time, she
was indubitably.... Yes! she was indubitably staring at him.
Meanwhile the "morning" went on. The fat man in spectacles presented
himself again; despite his serious appearance he imagined that he was a
comic artist and read a scene from Gogol, this time without evoking a
single token of approbation. The flute-player flitted past once more;
again the pianist thundered; a young fellow of twenty, pomaded and
curled, but with traces of tears on his cheeks, sawed out some
variations on his fiddle. It might have appeared strange that in the
intervals between the recitations and the music the abrupt notes of a
French horn were wafted, now and then, from the artists' room; but this
instrument was not used, nevertheless. It afterward came out that the
amateur who had offered to perform on it had been seized with a panic at
the moment when he should have made his appearance before the audience.
So at last, Clara Militch appeared again.
Public-domain text, read in full here on John Shaqi.
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