Jewish fiction; Jews -- Fiction; Peretz, Isaac Leib, 1851 or 1852-1915 -- Translations into English; Short stories
He talked on like this for some time, but I had already ceased to
understand him. Only his voice was so sadly-sweet that I sucked it up
like a sponge. The day was breaking when he ceased--they had opened the
gates and were letting down the bridge.
Since the night spent outside the fortress, the life within it had grown
more unbearable still. The old walls, the rasping iron drawbridge, the
iron doors, the sentinels and patrols, the hoarsely-angry "_Wer da?_"
the falsely-servile: "A citizen, an inhabitant!" the eternal quivering
of the putty-colored faces, the startled, half-extinguished eyes, the
market with its cowering, aimlessly restless shadows of men--the whole
thing weighed on me like lead--not to be able to breathe, not to feel
free! And my heart grew sick with a great longing. And I resolved to go
to meet the Messiah.
* * * * *
I got into the first conveyance that presented itself. The driver turned
round and asked:
"Where to?"
"Wherever you please," I answered, "only a great way--a great way off
from here!"
"For how long?"
"For as long as the horse can go!"
The driver gathered up the reins, and we set off.
We drove on and on. Other fields, other woods, other villages, other
towns, everything different; but the difference was only on the surface,
below that everything was the same. When I looked into things, I saw
everywhere the same melancholy, every face wore a look of frightened
cunning, speech was everywhere broken and halting--the world seemed
overspread with a mournful mist that hid every gleam of light and
extinguished every joy. Everything shrank together and stifled. And I
kept shouting: "Go on!" But I depended on the driver, and the driver, on
the horse--the horse wants to eat, and we are obliged to stop.
I step into the inn. A large room, divided into two by means of an old
curtain, reaching from one wall to the other. On my side of the curtain,
three men sit round a large table. They do not remark me, and I have
time to look them over. They represent three generations. The oldest is
gray as a pigeon, but he sits erect and gazes with sharp eyes and
without spectacles into a large book, lying before him on the table. The
old face is grave, the old eyes unerring in their glance, and the old
man and the book are blent into one by the white beard, whose silver
points rest on the pages. At his right hand sits a younger man, who must
be his son; it is the same face, only younger, less unmoved, more
nervous, at times more drawn and weary. He also gazes into a book, but
through glasses. The book is smaller, and he holds it nearer to his
eyes, resting it against the edge of the table. He is of middle age;
beard and ear-locks just silvered over. He rocks himself to and fro. It
seems every time as if his body wished to tear itself away from the
book, only the book draws it back. He rocks himself, and the lips move
inaudibly. Every now and then he glances at the old man, who does not
notice it.
Public-domain text, read in full here on John Shaqi.
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