the evidence he had brought forward had been invented by himself, but that he had been led by suppositions, by surmises, to invent it all; for up to the time of the second inquest, when Yefimov’s innocence was formally proved, he had been fully convinced that Yefimov had caused the death of the luckless Italian, though he had perhaps not poisoned him, but murdered him in some other way. But the informer’s sentence was not carried out, he was suddenly taken ill with inflammation of the brain, went out of his mind, and died in the prison hospital.
During the whole of this affair, the landowner behaved in the most generous way. He defended my stepfather as though he had been his own son. Several times he went to the prison, to comfort him, to give him money, and learning that Yefimov was fond of smoking, took him the best cigars, and when he was acquitted gave a fete to the orchestra. The landowner looked upon the Yefimov affair as a matter concerning the whole orchestra, because he prized good behaviour in his musicians, if not more than, at least as much as their talents. A whole year passed, and suddenly a rumour went round the province, that a famous violinist, a Frenchman, had arrived in the chief town of the province and was going to give a few concerts there. The landowner began at once trying to get him to pay him a visit. Everything seemed favourable; the Frenchman promised to come. All the preparations were made, almost the whole district had been invited to meet him, but all at once things took quite a different turn.
One morning it was announced that Yefimov had disappeared, no one knew where. A search was made, but there was no trace of him. The orchestra was in a desperate plight, there was no one to play the clarinet; when, three days after Yefimov’s disappearance, the landowner received a letter from the French violinist in which the latter haughtily refused the invitation, adding, in a roundabout way of course, that he would for the future be extremely careful in his relations with gentlemen who keep their own orchestras of musicians, that it was an offence against good taste to see real talent under the control of a man who did not know its value, and that the example of Yefimov, a true artist and the best violinist he had met in Russia, was a proof of the justice of his words.
The landowner was thrown into the utmost amazement by reading this letter. He was mortified to the depths of his soul. What! Yefimov, the Yefimov for whom he had done so much, on whom he had heaped such kindness, had so mercilessly and shamelessly slandered him to a European artist, the sort of man whose opinion he most valued! And the letter was inexplicable in another way: he was informed that Yefimov was an artist of real talent, that he was a violinist, but that his talent had not been recognised and he had been forced to play another instrument. All this so much astounded the landowner that he immediately prepared to go to the town for a personal interview with the Frenchman, when he received a letter from the count in which the latter invited him to come to his house at once, and told him that he knew all about the affair, that the famous Frenchman was now in his house with Yefimov, that, being astonished at the latter’s impudence and slander, he, the count, had ordered him to be detained, and that the presence of the landowner was essential, since he, the count, was also implicated in Yefimov’s accusation. He added that the affair was very important, and must be cleared up as soon as possible.
The landowner, promptly setting off to the count’s, at” once made the acquaintance of the Frenchman there and told him all my stepfather’s story, adding that he had never suspected so great a talent in Yefimov, that the latter had been on the contrary a very poor clarinet player, and that he heard now for the first time that his runaway musician was a violinist. He added further that Yefimov was a free man, that he enjoyed complete liberty, and could leave him at any moment if he really were oppressed. The Frenchman was surprised. They sent for Yefimov, and he was almost unrecognisable: he behaved conceitedly, answered with derision and persisted in the truth of all he had told the Frenchman. All this intensely exasperated the count, who told my stepfather in so many words that he was a scoundrel and a slanderer, and that he deserved an ignominious punishment.
“Don’t excite yourself, your Excellency. I know you well enough already, and understand you thoroughly,” my stepfather answered. “Thanks to you, I was within an inch of being sentenced for murder. I know at whose instigation Alexey Nikiforitch, your late musician, trumped up a false charge against me.”
The count was beside himself with rage on hearing this horrible accusation. He could hardly control himself; but a government official who had come to the count’s on business and happened to be in the room, declared that he could not let this pass without investigation, that Yefimov’s insulting rudeness was equivalent to malice, wilful slander and libel, and he respectfully asked to be allowed to arrest him on the spot in the count’s house. The Frenchman showed great indignation, and said that he could not understand such black ingratitude. Then my stepfather replied emphatically that to be punished, to be tried, even though it were again on a charge of murder, was better than such an existence as he had hitherto endured, belonging to the landowner’s orchestra, and being unable to leave it owing to his extreme poverty. And with these words he went out of the room, accompanied by the man who arrested him. They shut him up in a room apart, and threatened to take him to the town next day.
About midnight the prisoner’s door was opened. The landowner walked in. He was in his dressing-gown and slippers and was carrying a lighted lantern. It appeared that he could not sleep, and that he was so terribly worried that he had been driven to leave his bed at such an hour. Yefimov was not asleep and he looked with amazement at his visitor, who put down the lantern and in great agitation sat down in a chair facing him.
“Yegor,” he said to him, “why have you done me this wrong?’’
Yefimov did not answer. The landowner repeated his question, and there was a note of deep feeling, of strange misery in his words.
“God knows why I have, sir!” my stepfather answered at last, with a despairing gesture. “I suppose that the devil confounded me! I don’t know myself who drove me to do it! But I can’t go on living with you, I can’t bear it… The devil himself has got hold of me!”
“Yegor,” the landowner began again, “come back to me. I will forget everything, I will forgive everything. Listen: you shall be my leading musician, I offer you a salary above all the others…
“No, sir, no, and don’t speak of it; your house is not for me to live in! I tell you that the devil has got hold of me. I shall set fire to the house if I stay with you. Such misery comes over me at times that it would have been better if I had never been born. I cannot answer for myself now; you had better leave me alone, sir. It has been like this with me ever since that devil made a friend of me….”
“Who?” asked the landowner.
“Why, who died like a forsaken dog, the Italian.”
“It was he who taught you to play, Yegorushka.”
“Yes! Many things he taught me to my ruin. It would have been better for me not to have seen him.”
“Was he a first-rate violinist too, Yegorushka?”
“No, he couldn’t do much himself, but he taught well. I learned by myself, he only showed me, and better for me if my hand had been withered than what I have learned. I don’t myself know now what I want. Here, sir, if you were to ask me: ‘What do you want, Yegorka? I can give you anything,’ I shouldn’t say a word in answer, because I don’t know myself what I want. No, sir, I tell you again you had better leave me alone. I shall do myself some mischief, so as to be sent far away, and that will be the end of it!”
“Yegor,” said the landowner after a minute’s silence, “I cannot leave you like this. Since you don’t want to be in my service, go your own way, you are a free man, I cannot keep you; but I cannot part from you like this. Play me something, Yegor, play on your violin. For God’s sake play something. I am not ordering you, understand me, I am not compelling you, I beg you with tears: play me,
