at once gave full rein to my fertile fancy, and mixed up reality with fiction. The house with the red curtains, too, at once rose before my imagination; then, I don’t know in what way, my father who told me the story appeared as a character acting in it, as well as my mother who seemed to be preventing us going, I don’t know where, and last, or rather first, I myself, with my marvellous daydreams, with my fantastic brain full of wild impossible phantoms, took a part in it, too. All this was so muddled together in my head that it soon turned into a formless chaos, and for a time I lost all touch, all feeling of the present, of the actual, and lived in an unreal world. At that time I was dying with impatience to speak to my father of what was awaiting us in the future, what he was himself expecting, and where he would take me with him when at last we should leave our garret. For my part I was convinced that all this would soon come to pass, but how and in what form all this would be I could not tell, and worried myself racking my brains over it. At times — and it would happen particularly in the evenings — it seemed to me that in another minute father would beckon me on the sly, and call me out into the passage; unseen by my mother I would snatch up my reading-book as I went, and also our picture, a wretched lithograph which had been hanging unframed on the wall from time immemorial, and which I was quite determined to take with us, and we should run away in secret and never come back home to mother again. One day when mother was not at home I chose a moment when father was in a particularly good humour — that happened to him when he had just drunk wine — went up to him and began speaking about something with the intention of immediately turning the conversation to my treasured secret; and hugging him tight with a throbbing heart, frightened as though I were going to speak of something mysterious and terrible, I began, speaking disconnectedly and faltering over every word, to ask him: where we were going, whether it would be soon, what we should take with us, how we should live, and finally whether we were going to live in the house with the red curtains?
“House? Red curtains? What do you mean? What nonsense are you talking, silly?”
Then, more frightened than ever, I began explaining to him that when mother died we should not go on living in the garret, that he would take me away somewhere, that we should both be rich and happy, and assured him at last that he had promised me all this. And as I did so I was fully persuaded that my father really had spoken of it before, anyway I fancied it was so.
“Your mother? Dead? When your mother is dead?” he repeated, looking at me in amazement, changing his countenance somewhat, and knitting his thick grizzled eyebrows. “What are you saying, poor, foolish child?”
Then he began scolding me, and told me over and over again that I was a silly child, that I did not understand anything… and I don’t remember what else, but he was very much upset.
I did not understand a word of his reproaches, I did not understand how it wounded him that I had listened to what he had said to my mother in anger and intense misery, had remembered his words and had brooded over them by myself. Whatever he was at that time, however far his own madness had gone, yet all this must naturally have been a shock to him. Yet though I did not understand why he was angry, it made me horribly sad and miserable; I began to cry; it seemed to me that all that was awaiting us was so important that a silly child like me must not dare to talk of it. Moreover, although I did not understand this at the first word, yet I felt in an obscure way that I had wronged my mother. I was overcome by dread and horror, and doubt crept into my heart. Then, seeing that I was crying and miserable, he began comforting me, wiped away my tears with his sleeve, and told me not to cry. We sat for a little time in silence, however; he frowned and seemed to be pondering something, then began speaking to me again; but however much I tried to attend, everything he said seemed to me extremely obscure. From some words of that conversation which I have remembered to this day, I conclude that he explained to me that he was a great artist, that nobody understood him, and that he was a man of great talent. I remember, too, that, asking whether I understood, and receiving, of course, a satisfactory answer, he made me repeat “of talent”, at which he laughed a little, for perhaps in the end it struck him as funny that he should have talked with me of a matter so important to him.
Our conversation was interrupted by the arrival of Karl Fyodoritch, and I laughed and grew cheerful again when father, pointing to him, said to me:
“Now Karl Fyodoritch, here, hasn’t a ha’p’orth of talent!”
This Karl Fyodoritch was a very interesting person. I had seen so few people at that period of my life that I could not possibly forget him. I can picture him now: he was a German whose surname was Meyer, he was born in Germany and had come to Russia, set upon getting into a ballet. But he was a very poor dancer, so he could not get taken on for any part in which dancing was necessary, and was only employed as a super in the theatres. He played various dumb parts such as one of the suite of Fortinbras, or one of those knights of Verona who to the number of twenty flourish cardboard daggers and shout all at once, “We will die for our king!” But certainly no actor in the world was more passionately devoted to his parts than Karl Fyodoritch. The most dreadful misfortune and sorrow of his life was that he could not get into a ballet. He put the art of the ballet above every other, and was in his way as devoted to it as my father was to the violin. He had made friends with my father when they were both employed at the theatre, and the unsuccessful dancer had never given him up since. They saw each other very often, and together bewailed their hard lot and that their talents were not recognised.
The German was the most sentimental, soft-hearted man in the world, and he cherished for my stepfather the most ardent and disinterested affection; but father, I fancy, was not particularly attached to him, and only put up with his company for lack of any other. Moreover, father was so exclusive that he could not see that the art of the ballet was an art at all, and this wounded the poor German to tears. Knowing his weak spot, he always touched upon it, and laughed at the luckless Karl Fyodoritch when the latter grew hot and excited trying to refute him. I heard a great deal about Karl Fyodoritch later on from B., who always called him the Nuremberg skipjack. B. told me a great deal about this friendship with my father; more than once they met, and after drinking a little, shed tears over their fate, over the fact that they were not recognised. I remember such interviews, I remember also that, looking at the two eccentric creatures, I began whimpering too, though I did not know why. This always happened when mother was not at home; the German was dreadfully frightened of her, and would always stand outside in the passage waiting till someone went out to him, and if he heard that mother was at home he ran downstairs again at once. He always brought some German poetry with him, and became intensely excited reading it aloud to us; and then recited it, translated into broken Russian for our benefit. This greatly amused father, and I laughed till I cried. But once they got hold of something in Russian over which they were both very enthusiastic, so that they almost always read it over when they met. I remember that it was a drama in verse by some celebrated Russian writer. I knew the first few lines of this drama so well that when I came across it many years afterwards I recognised it without difficulty. This drama treated of the troubles of a great artist, Gennaro or Giacobi, who cried on one page: “I am not recognised!” and on another, “I am famous!” or, “I have no talent!” and a few lines farther on, “I have talent!” All ended very pathetically. The play was, of course, a very poor one; but strange to say, it affected in the most naive and tragic way the two readers, who found in the leading character a great resemblance to themselves. I remember that sometimes Karl Fyodoritch was so ecstatic that he would leap up from his seat, run into the opposite corner of the room, and urgently, insistently, with tears in his eyes, beg father and me, whom he always called “Mademoiselle”, at once upon the spot to judge between him and his fate and the public. Thereupon he would fall to dancing and executing various steps, crying out to us to tell him at once whether he was an artist or not, and whether anything could be said to the contrary — that is, that he had no talent. Father would at once grow merry, and wink at me on the sly as though to let me know that he would make fun of the German in a most amusing way. I was immensely diverted, but father would hold up his hand and I would control myself, choking with laughter. I cannot help laughing even now at the mere memory of it. I can see that poor Karl Fyodoritch now. He was a very little,
