And the husband and wife began to discuss their arrangements for the day. As the husband had to drive to meet someone on official business, while the wife had to go to the concert and some public meeting of a committee on the Eastern Question, there was a great deal to consider and settle. Levin had to take part in their plans as one of themselves. It was settled that Levin should go with Natalia to the concert and the meeting, and that from there they should send the carriage to the office for Arseny, and he should call for her and take her to Kitty’s; or that, if he had not finished his work, he should send the carriage back and Levin would go with her.
“He’s spoiling me,” Lvov said to his wife; “he assures me that our children are splendid, when I know how much that’s bad there is in them.”
“Arseny goes to extremes, I always say,” said his wife. “If you look for perfection, you will never be satisfied. And it’s true, as papa says,—that when we were brought up there was one extreme—we were kept in the basement, while our parents lived in the best rooms; now it’s just the other way—the parents are in the wash house, while the children are in the best rooms. Parents now are not expected to live at all, but to exist altogether for their children.”
“Well, what if they like it better?” Lvov said, with his beautiful smile, touching her hand. “Anyone who didn’t know you would think you were a stepmother, not a true mother.”
“No, extremes are not good in anything,” Natalia said serenely, putting his paper knife straight in its proper place on the table.
“Well, come here, you perfect children,” Lvov said to the two handsome boys who came in, and after bowing to Levin, went up to their father, obviously wishing to ask him about something.
Levin would have liked to talk to them, to hear what they would say to their father, but Natalia began talking to him, and then Lvov’s colleague in the service, Mahotin, walked in, wearing his court uniform, to go with him to meet someone, and a conversation was kept up without a break upon Herzegovina, Princess Korzinskaya, the town council, and the sudden death of Madame Apraksina.
Levin even forgot the commission intrusted to him. He recollected it as he was going into the hall.
“Oh, Kitty told me to talk to you about Oblonsky,” he said, as Lvov was standing on the stairs, seeing his wife and Levin off.
“Yes, yes, maman wants us, les beaux-frères, to attack him,” he said, blushing. “But why should I?”
“Well, then, I will attack him,” said Madame Lvova, with a smile, standing in her white sheepskin cape, waiting till they had finished speaking. “Come, let us go.”
Chapter 5
At the concert in the afternoon two very interesting things were performed. One was a fantasia, King Lear; the other was a quartette dedicated to the memory of Bach. Both were new and in the new style, and Levin was eager to form an opinion of them. After escorting his sister-in-law to her stall, he stood against a column and tried to listen as attentively and conscientiously as possible. He tried not to let his attention be distracted, and not to spoil his impression by looking at the conductor in a white tie, waving his arms, which always disturbed his enjoyment of music so much, or the ladies in bonnets, with strings carefully tied over their ears, and all these people either thinking of nothing at all or thinking of all sorts of things except the music. He tried to avoid meeting musical connoisseurs or talkative acquaintances, and stood looking at the floor straight before him, listening.
But the more he listened to the fantasia of King Lear the further he felt from forming any definite opinion of it. There was, as it were, a continual beginning, a preparation of the musical expression of some feeling, but it fell to pieces again directly, breaking into new musical motives, or simply nothing but the whims of the composer, exceedingly complex but disconnected sounds. And these fragmentary musical expressions, though sometimes beautiful, were disagreeable, because they were utterly unexpected and not led up to by anything. Gaiety and grief and despair and tenderness and triumph followed one another without any connection, like the emotions of a madman. And those emotions, like a madman’s, sprang up quite unexpectedly.
During the whole of the performance Levin felt like a deaf man watching people dancing, and was in a state of complete bewilderment when the fantasia was over, and felt a great weariness from the fruitless strain on his attention. Loud applause resounded on all sides. Everyone got up, moved about, and began talking. Anxious to throw some light on his own perplexity from the impressions of others, Levin began to walk about, looking for connoisseurs, and was glad to see a well-known musical amateur in conversation with Pestsov, whom he knew.
“Marvelous!” Pestsov was saying in his mellow bass. “How are you, Konstantin Dmitrievitch? Particularly sculpturesque and plastic, so to say, and richly colored is that passage where you feel Cordelia’s approach, where woman, das ewig Weibliche, enters into conflict with fate. Isn’t it?”
“You mean…what has Cordelia to do with it?” Levin asked timidly, forgetting that the fantasia was supposed to represent King Lear.
“Cordelia comes in…see here!” said Pestsov, tapping his finger on the satiny surface of the program he held in his hand and passing it to Levin.
Only then Levin recollected the title of the fantasia, and made haste to read in the Russian translation the lines from Shakespeare that were printed on the back of the program.
“You can’t follow it without that,” said Pestsov, addressing Levin, as the person he had been speaking to had gone away, and he had no one to talk to.
In the entr’acte Levin and Pestsov fell into an argument upon the merits and defects of music of the Wagner school. Levin maintained that the mistake of Wagner and all his followers lay in their trying to take music into the sphere of another art, just as poetry goes wrong when it tries to paint a face as the art of painting ought to do, and as an instance of this mistake he cited the sculptor who carved in marble certain poetic phantasms flitting round the figure of the poet on the pedestal. “These phantoms were so far from being phantoms that they were positively clinging on the ladder,” said Levin. The comparison pleased him, but he could not remember whether he had not used the same phrase before, and to Pestsov, too, and as he said it he felt confused.
Pestsov maintained that art is one, and that it can attain its highest manifestations only by conjunction with all kinds of art.
The second piece that was performed Levin could not hear. Pestsov, who was standing beside him, was talking to him almost all the time, condemning the music for its excessive affected assumption of simplicity, and comparing it with the simplicity of the Pre-Raphaelites in painting. As he went out Levin met many more acquaintances, with whom he talked of politics, of music, and of common acquaintances. Among others he met Count Bol, whom he had utterly forgotten to call upon.
“Well, go at once then,” Madame Lvova said, when he told her; “perhaps they’ll not be at home, and then you can come to the meeting to fetch me. You’ll find me still there.”
Chapter 6
“Perhaps they’re not at home?” said Levin, as he went into the hall of Countess Bola’s house.
“At home; please walk in,” said the porter, resolutely removing his overcoat.
“How annoying!” thought Levin with a sigh, taking off one glove and stroking his hat. “What did I come for? What have I to say to them?”
As he passed through the first drawing room Levin met in the doorway Countess Bola, giving some order to a servant with a care-worn and severe face. On seeing Levin she smiled, and asked him to come into the little drawing room, where he heard voices. In this room there were sitting in armchairs the two daughters of the countess, and a Moscow colonel, whom Levin knew. Levin went up, greeted them, and sat down beside the sofa with his hat on his knees.
“How is your wife? Have you been at the concert? We couldn’t go. Mamma had to be at the funeral service.”
“Yes, I heard…. What a sudden death!” said Levin.
The countess came in, sat down on the sofa, and she too asked after his wife and inquired about the concert.
Levin answered, and repeated an inquiry about Madame Apraksina’s sudden death.
“But she was always in weak health.”
“Were you at the opera yesterday?”
“Yes, I was.”
“Lucca was very good.”
“Yes, very good,” he said, and as it was utterly of no consequence to him what they thought of him, he began repeating what they had heard a hundred times about the characteristics of the singer’s talent. Countess Bola pretended to be listening. Then, when he had said enough and paused, the colonel, who had been silent till then, began to talk. The colonel too talked of the opera, and about culture. At last, after speaking of the proposed folle journée at Turin’s, the colonel laughed, got up
