Fathers and Children Ivan Turgenev (brene brown rising strong .txt) 📖

Six months had passed by. White winter had come with the cruel stillness of unclouded frosts, the thick-lying, crunching snow, the rosy rime on the trees, the pale emerald sky, the wreaths of smoke above the chimneys, the clouds of steam rushing out of the doors when they are opened for an instant, with the fresh faces, that look stung by the cold, and the hurrying trot of the chilled horses. A January day was drawing to its close; the cold evening was more keen than ever in the motionless air, and a lurid sunset was rapidly dying away. There were lights burning in the windows of the house at Maryino; Prokofitch in a black frockcoat and white gloves, with a special solemnity, laid the table for seven. A week before in the small parish church two weddings had taken place quietly, and almost without witnesses⁠—Arkady and Katya’s, and Nikolai Petrovitch and Fenitchka’s; and on this day Nikolai Petrovitch was giving a farewell dinner to his brother, who was going away to Moscow on business. Anna Sergyevna had gone there also directly after the ceremony was over, after making very handsome presents to the young people.

Precisely at three o’clock they all gathered about the table. Mitya was placed there too; with him appeared a nurse in a cap of glazed brocade. Pavel Petrovitch took his seat between Katya and Fenitchka; the “husbands” took their places beside their wives. Our friends had changed of late; they all seemed to have grown stronger and better looking; only Pavel Petrovitch was thinner, which gave even more of an elegant and “grand seigneur” air to his expressive features.⁠ ⁠… And Fenitchka too was different. In a fresh silk gown, with a wide velvet headdress on her hair, with a gold chain round her neck, she sat with deprecating immobility, respectful towards herself and everything surrounding her, and smiled as though she would say, “I beg your pardon; I’m not to blame.” And not she alone⁠—all the others smiled, and also seemed apologetic; they were all a little awkward, a little sorry, and in reality very happy. They all helped one another with humorous attentiveness, as though they had all agreed to rehearse a sort of artless farce. Katya was the most composed of all; she looked confidently about her, and it could be seen that Nikolai Petrovitch was already devotedly fond of her. At the end of dinner he got up, and, his glass in his hand, turned to Pavel Petrovitch.

“You are leaving us⁠ ⁠… you are leaving us, dear brother,” he began; “not for long, to be sure; but still, I cannot help expressing what I⁠ ⁠… what we⁠ ⁠… how much I⁠ ⁠… how much we.⁠ ⁠… There, the worst of it is, we don’t know how to make speeches. Arkady, you speak.”

“No, daddy, I’ve not prepared anything.”

“As though I were so well prepared! Well, brother, I will simply say, let us embrace you, wish you all good luck, and come back to us as quickly as you can!”

Pavel Petrovitch exchanged kisses with everyone, of course not excluding Mitya; in Fenitchka’s case, he kissed also her hand, which she had not yet learned to offer properly, and drinking off the glass which had been filled again, he said with a deep sigh, “May you be happy, my friends! Farewell!” This English finale passed unnoticed; but all were touched.

“To the memory of Bazarov,” Katya whispered in her husband’s ear, as she clinked glasses with him. Arkady pressed her hand warmly in response, but he did not venture to propose this toast aloud.

The end, would it seem? But perhaps someone of our readers would care to know what each of the characters we have introduced is doing in the present, the actual present. We are ready to satisfy him.

Anna Sergyevna has recently made a marriage, not of love but of good sense, with one of the future leaders of Russia, a very clever man, a lawyer, possessed of vigorous practical sense, a strong will, and remarkable fluency⁠—still young, good-natured, and cold as ice. They live in the greatest harmony together, and will live perhaps to attain complete happiness⁠ ⁠… perhaps love. The Princess K⁠⸺ is dead, forgotten the day of her death. The Kirsanovs, father and son, live at Maryino; their fortunes are beginning to mend. Arkady has become zealous in the management of the estate, and the “farm” now yields a fairly good income. Nikolai Petrovitch has been made one of the mediators appointed to carry out the emancipation reforms, and works with all his energies; he is forever driving about over his district; delivers long speeches (he maintains the opinion that the peasants ought to be “brought to comprehend things,” that is to say, they ought to be reduced to a state of quiescence by the constant repetition of the same words); and yet, to tell the truth, he does not give complete satisfaction either to the refined gentry, who talk with chic, or depression of the emancipation (pronouncing it as though it were French), nor of the uncultivated gentry, who unceremoniously curse “the damned ’mancipation.” He is too softhearted for both sets. Katerina Sergyevna has a son, little Nikolai, while Mitya runs about merrily and talks fluently. Fenitchka, Fedosya Nikolaevna, after her husband and Mitya, adores no one so much as her daughter-in-law, and when the latter is at the piano, she would gladly spend the whole day at her side.

A passing word of Piotr. He has grown perfectly rigid with stupidity and dignity, but he too is married, and received a respectable dowry with his bride, the daughter of a market-gardener of the town, who had refused two excellent suitors, only because they had no watch; while Piotr had not only a watch⁠—he had a pair of kid shoes.

In the Brühl Terrace in Dresden, between two and four o’clock⁠—the most fashionable time for walking⁠—you may meet a man about fifty, quite grey, and looking as though he suffered from gout, but still handsome,