The gentleman in raccoon got into the carriage, the carriage set off, the young man remained standing looking after it in astonishment.
II
The following evening there was a performance of some sort at the Italian opera. Ivan Andreyitch burst into the theatre like a bomb. Such furore, such a passion for music had never been observed in him before. It was known for a positive fact, anyway, that Ivan Andreyitch used to be exceeding fond of a nap for an hour or two at the Italian opera; he even declared on several occasions how sweet and pleasant it was. “Why, the prima donna,” he used to say to his friends, “mews a lullaby to you like a little white kitten.” But it was a long time ago, last season, that he used to say this; now, alas! even at home Ivan Andreyitch did not sleep at nights. Nevertheless he burst into the crowded opera-house like a bomb. Even the conductor started suspiciously at the sight of him, and glanced out of the corner of his eye at his side-pocket in the full expectation of seeing the hilt of a dagger hidden there in readiness. It must be observed that there were at that time two parties, each supporting the superior claims of its favourite prima donna. They were called the —— sists and the —— nists. Both parties were so devoted to music, that the conductors actually began to be apprehensive of some startling manifestation of the passion for the good and the beautiful embodied in the two prima donnas. This was how it was that, looking at this youthful dash into the parterre of a grey-haired senior (though, indeed, he was not actually grey-haired, but a man about fifty, rather bald, and altogether of respectable appearance), the conductor could not help recalling the lofty judgment of Hamlet Prince of Denmark upon the evil example set by age to youth, and, as we have mentioned above, looking out of the corner of his eye at the gentleman’s side-pocket in the expectation of seeing a dagger. But there was a pocketbook and nothing else there.
Darting into the theatre, Ivan Andreyitch instantly scanned all the boxes of the second tier, and, oh — horror! His heart stood still, she was here! She was sitting in the box! General Polovitsyn, with his wife and sister-in-law, was there too. The general’s adjutant — an extremely alert young man, was there too; there was a civilian too…. Ivan Andreyitch strained his attention and his eyesight, but — oh, horror! The civilian treacherously concealed himself behind the adjutant and remained in the darkness of obscurity.
She was here, and yet she had said she would not be here!
It was this duplicity for some time displayed in every step Glafira Petrovna took which crushed Ivan Andreyitch. This civilian youth reduced him at last to utter despair. He sank down in his stall utterly overwhelmed. Why? one may ask. It was a very simple matter….
It must be observed that Ivan Andreyitch’s stall was close to the baignoire, and to make matters worse the treacherous box in the second tier was exactly above his stall, so that to his intense annoyance he was utterly unable to see what was going on over his head. At which he raged, and got as hot as a samovar. The whole of the first act passed unnoticed by him, that is, he did not hear a single note of it. It is maintained that what is good in music is that musical impressions can be made to fit any mood. The man who rejoices finds joy in its strains, while he who grieves finds sorrow in it; a regular tempest was howling in Ivan Andreyitch’s ears. To add to his vexation, such terrible voices were shouting behind him, before him and on both sides of him, that Ivan Andreyitch’s heart was torn. At last the act was over. But at the instant when the curtain was falling, our hero had an adventure such as no pen can describe.
It sometimes happens that a playbill flies down from the upper boxes. When the play is dull and the audience is yawning this is quite an event for them. They watch with particular interest the flight of the extremely soft paper from the upper gallery, and take pleasure in watching its zigzagging journey down to the very stalls, where it infallibly settles on some head which is quite unprepared to receive it. It is certainly very interesting to watch the embarrassment of the head (for the head is invariably embarrassed). I am indeed always in terror over the ladies’ opera-glasses which usually lie on the edge of the boxes; I am constantly fancying that they will fly down on some unsuspecting head. But I perceive that this tragic observation is out of place here, and so I shall send it to the columns of those newspapers which are filled with advice, warnings against swindling tricks, against unconscientiousness, hints for getting rid of beetles if you have them in the house, recommendations of the celebrated Mr. Princhipi, sworn foe of all beetles in the world, not only Russian but even foreign, such as Prussian cockroaches, and so on.
But Ivan Andreyitch had an adventure, which has never hitherto been described. There flew down on his — as already stated, somewhat bald — head, not a playbill; I confess I am actually ashamed to say what did fly down upon his head, because I am really loath to remark that on the respectable and bare — that is, partly hairless — head of the jealous and irritated Ivan Andreyitch there settled such an immoral object as a scented love-letter. Poor Ivan Andreyitch, utterly unprepared for this unforeseen and hideous occurrence, started as though he had caught upon his head a mouse or some other wild beast.
That the note was a love-letter of that there could be no mistake. It was written on scented paper, just as love-letters are written in novels, and folded up so as to be treacherously small so that it might be slipped into a lady’s glove. It had probably fallen by accident at the moment it had been handed to her. The playbill might have been asked for, for instance, and the note, deftly folded in the playbill, was being put into her hands; but an instant, perhaps an accidental, nudge from the adjutant, extremely adroit in his apologies for his awkwardness, and the note had slipped from a little hand that trembled with confusion, and the civilian youth, stretching out his impatient hand, received instead of the note, the empty playbill, and did not know what to do with it. A strange and unpleasant incident for him, no doubt, but you must admit that for Ivan Andreyitch it was still more unpleasant.
“Prédestiné,” he murmured, breaking into a cold sweat and squeezing the note in his hands, “prédestiné! The bullet finds the guilty man,” the thought flashed through his mind. “No, that’s not right! In what way am I guilty? But there is another proverb, ‘Once out of luck, never out of trouble.’…”
But it was not enough that there was a ringing in his ears and a dizziness in his head at this sudden incident. Ivan Andreyitch sat petrified in his chair, as the saying is, more dead than alive. He was persuaded that his adventure had been observed on all sides, although at that moment the whole theatre began to be filled with uproar and calls of encore. He sat overwhelmed with confusion, flushing crimson and not daring to raise his eyes, as though some unpleasant surprise, something out of keeping with the brilliant assembly had happened to him. At last he ventured to lift his eyes.
“Charmingly sung,” he observed to a dandy sitting on his left side.
The dandy, who was in the last stage of enthusiasm, clapping his hands and still more actively stamping with his feet, gave Ivan Andreyitch a cursory and absentminded glance, and immediately putting up his hands like a trumpet to his mouth, so as to be more audible, shouted the prima donna’s name. Ivan Andreyitch, who had never heard such a roar, was delighted. “He has noticed nothing!” he thought, and turned round; but the stout gentleman who was sitting behind him had turned round too, and with his back to him was scrutinising the boxes through his opera-glass. “He is all right too!” thought Ivan Andreyitch. In front, of course, nothing had been seen. Timidly and with a joyous hope in his heart, he stole a glance at the baignoire, near which was his stall, and started with the most unpleasant sensation. A lovely lady was sitting there who, holding her handkerchief to her mouth and leaning back in her chair, was laughing as though in hysterics.
“Ugh, these women!” murmured Ivan Andreyitch, and treading on people’s feet, he made for the exit.
Now I ask my readers to decide, I beg them to judge between me and Ivan Andreyitch. Was he right at that moment? The Grand Theatre, as we all know, contains four tiers of boxes and a fifth row above the gallery. Why must he assume that the note