Youth, Leo Nikoleyevich Tolstoy [e book reader pc TXT] 📗

saying, “Phew! how it bores me to have no one to speak to!” The first thing in the morning he would go out shooting, or sit reading a book in his room, and not dress until luncheon time. Indeed, if Papa was not at home, he would take his book into that meal, and go on reading it without addressing so much as a single word to any one of us, who felt, somehow, guilty in his presence. In the evening, too, he would stretch himself on a settee in the drawing-room, and either go to sleep, propped on his elbow, or tell us farcical stories—sometimes stories so improper as to make Mimi grow angry and blush, and ourselves die with laughter. At other times he would not condescend to address a single serious word to any member of the family except Papa or (occasionally) myself. Involuntarily I offended against his view of girls, seeing that I was not so afraid of seeming affectionate as he, and, moreover, had not such a profound and confirmed contempt for young women. Yet several times that summer, when driven by lack of amusement to try and engage Lubotshka and Katenka in conversation, I always encountered in them such an absence of any capacity for logical thinking, and such an ignorance of the simplest, most ordinary matters (as, for instance, the nature of money, the subjects studied at universities, the effect of war, and so forth), as well as such indifference to my explanations of such matters, that these attempts of mine only ended in confirming my unfavourable opinion of feminine ability.

I remember one evening when Lubotshka kept repeating some unbearably tedious passage on the piano about a hundred times in succession, while Woloda, who was dozing on a settee in the drawing-room, kept addressing no one in particular as he muttered, “Lord! how she murders it! WHAT a musician! WHAT a Beethoven!” (he always pronounced the composer’s name with especial irony). “Wrong again! Now—a second time! That’s it!”

and so on. Meanwhile Katenka and I were sitting by the tea-table, and somehow she began to talk about her favourite subject—love.

I was in the right frame of mind to philosophise, and began by loftily defining love as the wish to acquire in another what one does not possess in oneself. To this Katenka retorted that, on the contrary, love is not love at all if a girl desires to marry a man for his money alone, but that, in her opinion, riches were a vain thing, and true love only the affection which can stand the test of separation (this I took to be a hint concerning her love for Dubkoff). At this point Woloda, who must have been listening all the time, raised himself on his elbow, and cried out some rubbish or another; and I felt that he was right.

Apart from the general faculties (more or less developed in different persons) of intellect, sensibility, and artistic feeling, there also exists (more or less developed in different circles of society, and especially in families) a private or individual faculty which I may call APPREHENSION. The essence of this faculty lies in sympathetic appreciation of proportion, and in identical understanding of things. Two individuals who possess this faculty and belong to the same social circle or the same family apprehend an expression of feeling precisely to the same point, namely, the point beyond which such expression becomes mere phrasing. Thus they apprehend precisely where commendation ends and irony begins, where attraction ends and pretence begins, in a manner which would be impossible for persons possessed of a different order of apprehension. Persons possessed of identical apprehension view objects in an identically ludicrous, beautiful, or repellent light; and in order to facilitate such identical apprehension between members of the same social circle or family, they usually establish a language, turns of speech, or terms to define such shades of apprehension as exist for them alone. In our particular family such apprehension was common to Papa, Woloda, and myself, and was developed to the highest pitch, Dubkoff also approximated to our coterie in apprehension, but Dimitri, though infinitely more intellectual than Dubkoff, was grosser in this respect. With no one, however, did I bring this faculty to such a point as with Woloda, who had grown up with me under identical conditions. Papa stood a long way from us, and much that was to us as clear as “two and two make four” was to him incomprehensible. For instance, I and Woloda managed to establish between ourselves the following terms, with meanings to correspond. Izium [Raisins.] meant a desire to boast of one’s money; shishka [Bump or swelling.] (on pronouncing which one had to join one’s fingers together, and to put a particular emphasis upon the two sh’s in the word) meant anything fresh, healthy, and comely, but not elegant; a substantive used in the plural meant an undue partiality for the object which it denoted; and so forth, and so forth. At the same time, the meaning depended considerably upon the expression of the face and the context of the conversation; so that, no matter what new expression one of us might invent to define a shade of feeling the other could immediately understand it by a hint alone. The girls did not share this faculty of apprehension, and herein lay the chief cause of our moral estrangement, and of the contempt which we felt for them.

It may be that they too had their “apprehension,” but it so little ran with ours that, where we already perceived the “phrasing,” they still saw only the feeling—our irony was for them truth, and so on. At that time I had not yet learnt to understand that they were in no way to blame for this, and that absence of such apprehension in no way prevented them from being good and clever girls. Accordingly I looked down upon them.

Moreover, having once lit upon my precious idea of “frankness,”

and being bent upon applying it to the full in myself, I thought the quiet, confiding nature of Lubotshka guilty of secretiveness and dissimulation simply because she saw no necessity for digging up and examining all her thoughts and instincts. For instance, the fact that she always signed the sign of the cross over Papa before going to bed, that she and Katenka invariably wept in church when attending requiem masses for Mamma, and that Katenka sighed and rolled her eyes about when playing the piano—all these things seemed to me sheer make-believe, and I asked myself: “At what period did they learn to pretend like grownup people, and how can they bring themselves to do it?”

XXX HOW I EMPLOYED MY TIME

Nevertheless, the fact that that summer I developed a passion for music caused me to become better friends with the ladies of our household than I had been for years. In the spring, a young fellow came to see us, armed with a letter of introduction, who, as soon as ever he entered the drawing-room, fixed his eyes upon the piano, and kept gradually edging his chair closer to it as he talked to Mimi and Katenka. After discoursing awhile of the weather and the amenities of country life, he skilfully directed the conversation to piano-tuners, music, and pianos generally, and ended by saying that he himself played—and in truth he did sit down and perform three waltzes, with Mimi, Lubotshka, and Katenka grouped about the instrument, and watching him as he did so. He never came to see us again, but his playing, and his attitude when at the piano, and the way in which he kept shaking his long hair, and, most of all, the manner in which he was able to execute octaves with his left hand as he first of all played them rapidly with his thumb and little finger, and then slowly closed those members, and then played the octaves afresh, made a great impression upon me. This graceful gesture of his, together with his easy pose and his shaking of hair and successful winning of the ladies’ applause by his talent, ended by firing me to take up the piano. Convinced that I possessed both talent and a passion for music, I set myself to learn, and, in doing so, acted just as millions of the male—still more, of the female—sex have done who try to teach themselves without a skilled instructor, without any real turn for the art, or without the smallest understanding either of what the art can give or of what ought to be done to obtain that gift. For me music (or rather, piano-playing) was simply a means of winning the ladies’ good graces through their sensibility. With the help of Katenka I first learnt the notes (incidentally breaking several of them with my clumsy fingers), and then—that is to say, after two months of hard work, supplemented by ceaseless twiddling of my rebellious fingers on my knees after luncheon, and on the pillow when in bed—went on to “pieces,” which I played (so Katenka assured me) with “soul” (“avec ame”), but altogether regardless of time.

My range of pieces was the usual one—waltzes, galops, “romances,” “arrangements,” etcetera; all of them of the class of delightful compositions of which any one with a little healthy taste could point out a selection among the better class works contained in any volume of music and say, “These are what you ought NOT to play, seeing that anything worse, less tasteful, and more silly has never yet been included in any collection of music,”—but which (probably for that very reason) are to be found on the piano of every Russian lady. True, we also possessed an unfortunate volume which contained Beethoven’s “Sonate Pathetique” and the C minor Sonata (a volume lamed for life by the ladies—more especially by Lubotshka, who used to discourse music from it in memory of Mamma), as well as certain other good pieces which her teacher in Moscow had given her; but among that collection there were likewise compositions of the teacher’s own, in the shape of clumsy marches and galops—and these too Lubotshka used to play! Katenka and I cared nothing for serious works, but preferred, above all things, “Le Fou” and “The Nightingale”—the latter of which Katenka would play until her fingers almost became invisible, and which I too was beginning to execute with much vigour and some continuity. I had adopted the gestures of the young man of whom I have spoken, and frequently regretted that there were no strangers present to see me play.

Soon, however, I began to realise that Liszt and Kalkbrenner were beyond me, and that I should never overtake Katenka.

Accordingly, imagining that classical music was easier (as well as, partly, for the sake of originality), I suddenly came to the conclusion that I loved abstruse German music. I began to go into raptures whenever Lubotshka played the “Sonate Pathetique,” and although (if the truth be told) that work had for years driven me to the verge of distraction, I set myself to play Beethoven, and to talk of him as “Beethoven.” Yet through all this chopping and changing and pretence (as I now conceive) there may have run in me a certain vein of talent, since music sometimes affected me even to tears, and things which particularly pleased me I could strum on the piano afterwards (in a certain fashion) without the score; so that, had any one taught me at that period to look upon music as an end, a grace, in itself, and not merely as a means for pleasing womenfolk with the velocity and pseudo-sentiment of one’s playing, I might possibly have become a passable musician.

The reading of French novels (of which Woloda had brought a large store with him from Moscow) was another of my amusements that summer. At that