of the Evil One. I could have looked at him—may it not be a sin to say, I could have gazed at him for ever without being weary!'
"At these praises Anastasia's pale countenance blushed like the dawning that heralds the tempest. 'Thou hast then seen him?' asked the enamoured maiden, in a trembling, dying voice, and breaking off her work.
"'I have seen him more than once. I have not only seen him, but wonder now, my dear—I have visited him in his dwelling!'
"'The maiden shook her head, her eyes were dimmed with the shade of pensiveness; a thrill of jealousy, in spite of herself, darted to her heart. 'What! and didst thou not fear to go to him?' she said—'Is he not a heretic?'
"'If thou knewest it, Nástenka, what wouldst thou not do for love?'
"'Love?' ... exclaimed Anastasia, and her heart bounded violently in her breast.
"'Ah if I were not afraid, I would disclose to thee the secret of my soul.'
"'Speak, I pray thee, speak! Fear not; see! I call the Mother of God to witness, thy words shall die with me.'
"And the maiden, with a quivering hand, signed a large cross.
"'If so, I will confide in thee what I have never disclosed but to God. It is not over one blue sea alone that the mist lieth, and the darksome cloud: it is not over one fair land descendeth the gloomy autumn night; there was a time when my bosom was loaded with a heavy sorrow, my rebellious heart lay drowned in woe and care: I loved thy brother, Iván Vassílievitch. (The maiden's heart was relieved, she breathed more freely.) Thou knowest not, my life, my child, what kind of feeling is that of love, and God grant that thou mayest never know! The dark night cometh, thou canst not close thine eyes: the bright dawn breaketh, thou meetest it with tears, and the day is all weary—O, so weary! There are many men in the fair world, but thou see'st only one, in thy bower, in the street, in the house of God. A stone lieth ever on thy breast, and thou canst not shake it off.'
"Then Selínova wept sincere tears. Her companion listened to her with eager sympathy: the feelings just depicted were her own.
"There was a deep silence. It was broken by the young widow.
"'Nástenka, my life?' she began in a tone of such touching, such lively interest, as called for her reluctant confidence.
"The daughter of Obrazétz glanced at her with eyes full of tears, and shook her head.
"'Confide in me, as I have confided in thee,' continued Selínova, taking her hand and pressing it to her bosom. 'I have lived longer in the world than thou ... believe me, 'twill give thee ease ... 'tis clear from every symptom, my love, what thou ailest.'
"And Anastasia, sobbing, exclaimed at last—'O, my love, my dearest friend, Praskóvia Vladimírovna, take a sharp knife, open my white breast, look what is the matter there!'
"'And wherefore need we take the sharp knife, and wherefore need we open the white breast, or look upon the rebellious heart? Surely, by thy fair face all can tell, my child, how that fair face hath been darkened, how the fresh bloom hath faded, and bright eyes grown dull. After all, 'tis clear thou lovest some wandering falcon, some stranger youth.'
"Anastasia answered not a word; she could not speak for tears; and hid her face in her hands. At last, softened by Selínova's friendly sympathy, and her assurances that she would be easier if she would confide her secret to such a faithful friend, she related her love for the heretic. The episode of the crucifix was omitted in this tale, which finished, of course, with assurances that she was enchanted, bewitched.
"Poor Anastasia!
"Snowdrop! beautiful flower, thou springest up alone in the bosom of thy native valley! And the bright sun arises every day to glass himself in thy morning mirror; and the beaming moon, after a sultry day, hastens to fan thee with her breezy wing, and the angels of God, lulling thee by night, spread over thee a starry canopy, such as king never possessed. Who can tell from what quarter the tempest may bring from afar, from other lands, the seeds of the ivy, and scatter them by thy side, and the ivy arises and twines lovingly around thee, and chokes thee, lovely flower! This is not all: the worm has crawled to thy root, hath fixed its fang therein, and kills ye both, if some kind hand save ye not."
These extracts will enable our readers to judge for themselves of the merits of M. Lajétchnikoff's style as it appears in Mr Shaw's translation. A better selection might have been made, had we not been desirous to avoid any such anticipation of the development of the story as light diminish its interest; but we are inclined to believe that most of our readers will agree with us in thinking, that if M. Lajétchnikoff has succeeded in faithfully illustrating the manners of the age of Iván the Great, he has also shown that he possesses brilliancy of fancy, fervour of thought, and elevation of sentiment, as well as knowledge of the movements of the heart, revealed only to the few who have been initiated into nature's mysteries.
He does not appear to be largely gifted with the power of graphic description, of placing the scenes of nature, or the living figures that people them, vividly before us—he loves rather to indulge, even to excess, mystical or passionate thoughts that are born in his own breast, and to adorn them with garlands woven from the flowers of his fancy; but these flowers are of native growth, the indigenous productions of the Russian soil. His images often sound to our ears homely, sometimes even familiar and mean, but they may be dignified in their native dress. He has no lively perception of the beauties of external nature; his raptures are reserved for the wonders of art, for what the human mind can create or achieve; and, curiously enough, it is architecture that seems to excite in him the greatest enthusiasm. In illustration of this feeling, we must still extract an eloquent discourse on the life of the artist, which the author puts into the mouth of Fioraventi Aristotle—a passage of much feeling, and, we fear, of too much truth:—
"Thou knowest not, Antony, what a life is that of an artist! While yet a child, he is agitated by heavy incomprehensible thoughts: to him the sphynx, Genius, hath already proposed its enigmas; in his bosom the Promethean vulture is already perched, and groweth with his growth. His comrades are playing and making merry; they are preparing for their riper years recollections of childhood's days of paradise—childhood, that never can be but once: the time cometh, and he remembereth but the tormenting dreams of that age. Youth is at hand; for others 'tis the time of love, of soft ties, of revelry—the feast of life; for the artist, none of these. Solitary, flying from society, he avoideth the maiden, he avoideth joy; plunging into the loneliness of his soul, he there, with indescribable mourning, with tears of inspiration, on his knees before his Ideal, imploreth her to come down upon earth to his frail dwelling. Days and nights he waiteth, and pineth after unearthly beauty. Woe to him if she doth not visit him, and yet greater woe to him if she doth! The tender frame of youth cannot bear her bridal kiss; union with the gods is fatal to man; and the mortal is annihilated in her embrace. I speak not of the education, of the mechanic preparation. And here at every step the Material enchaineth thee, buildeth up barriers before thee: marketh a formless vein upon thy block of marble, mingling soot with thy carmine, entangling thy imagination in a net of monstrous rules and formulas, commandeth thee to be the slave of the house-painter or of the stone-cutter. And what awaiteth thee, when thou hast come forth victorious from this mechanic school—when thou hast succeeded in throwing off the heavy sum of a thousand unnecessary rules, with which pedantry hath overwhelmed thee—when thou takest as thy guide only those laws which are so plain and simple? ... What awaiteth thee then? Again the Material! Poverty, need, forced labour, appreciators, rivals, that ever-hungry flock which flieth upon thee ready to tear thee in pieces, as soon as it knoweth that thou art a pure possessor of the gift of God. Thy soul burneth to create, but thy carcass demandeth a morsel of bread; inspiration
