Complete Works of Fyodor Dostoyevsky (44 page)
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Authors: Fyodor Dostoyevsky
AN INCOMPLETE NOVEL
Translated by Constance Garnett
Netochka Nezvanova
is Dostoyevsky’s first - although unfinished - attempt at writing a novel. The first completed section of the book was published in 1849. According to translator Jane Kentish, this first publication was intended as “no more than a prologue to the novel”. Further work on the novel was hindered by Dostoyevsky’s arrest and exile to Siberia for alleged revolutionary activities. Dostoyevsky never resumed work on
Netochka Nezvanova
, leaving it incomplete. The fragment tells the story of Netochka and her childhood, which dominated by her stepfather, Efimov, a failed musician that believes he is a neglected genius. The young girl is strangely drawn to this drunken ruin of a man, who exploits her and drives the family to poverty. But when she is rescued by an aristocratic family, the abuse against Netochka’s delicate psyche continues in a more subtle way, condemning her to remain an outsider - a solitary spectator of an otherwise glittering society. With its depiction of the suffering, loneliness, madness and sin that affect both rich and poor in St Petersburg,
Netochka Nezvanova
begins to explore the many great themes that were to dominate Dostoyevsky’s later novels.
A sketch of the Petrashevsky Circle mock execution, which the author suffered, prior to his exile in Siberia.
NETOCHKA NEZVANOVA
CONTENTS
CHAPTER I
I DON’T remember my father. He died when I was two years old. My mother married a second time. This second marriage brought her a great deal of sorrow, though it was a marriage of love. My stepfather was a musician. His history was a remarkable one: he was the strangest, the most extraordinary man I have ever known’. His image is very vivid among the earliest impressions of my childhood, so vivid that those impressions have had an influence on the whole of my life. First of all, to make my story intelligible, I will give a sketch of his biography. Everything which I am now going to tell you I learned later on from the celebrated violinist B., who was a comrade and an intimate friend of my stepfather’s in his youth.
My stepfather’s surname was Yefimov. He was born on the estate of a very rich landowner and was the son of a poor musician, who after years of wandering had settled on the estate of this landowner and played in the latter’s orchestra. The landowner lived in luxurious style, and loved music passionately, above everything. The story was told of him that, though he never left home even to go to Moscow, yet on one occasion he took it into his head to go to some watering- place abroad, and that he went there for no longer than a few weeks with the sole object of hearing a famous violinist who, as the newspapers announced, was going to give three concerts at the watering-place. He had himself a fairly good orchestra of musicians, on which he spent almost the whole of his income. This orchestra my stepfather entered as clarinet player. He was twenty-two years old when he made the acquaintance of a strange man. In the same district there was living a wealthy count, who ruined himself over keeping up a private theatre in his house. This count had dismissed the conductor of his orchestra, an Italian, for bad conduct. This Italian certainly was a bad man. After he had been turned off he sank into complete degradation. He took to going from one village tavern to another, got drunk, sometimes begged, and there was no one in the whole province who would employ him. It was with this fellow that my stepfather made friends. This connection was strange and inexplicable, for no one noticed that he changed for the worse in his behaviour through imitation of his friend; and even his patron himself, who had at first forbidden him to associate with the Italian, afterwards winked at their friendship. At last the Italian met with a sudden death. One morning he was found by some peasants in a ditch by the dam. An inquest was held, and it appeared that he had died of an apoplectic fit. His belongings were in the keeping of my stepfather, who promptly produced evidence that he was entitled to take possession of them: the Italian had left a note in his own handwriting bequeathing everything he had to my stepfather in case of his death. The property consisted of a black frock-coat which had been carefully preserved by its late owner, as he never gave up hope of getting a situation, and of a rather ordinary-looking violin. Nobody disputed the inheritance. But a short time afterwards, the first violin of the count’s orchestra came to the landowner with a letter from the count, in which the latter begged him to persuade Yefimov in sell the violin left him by the Italian, as he greatly desired to obtain it for his orchestra. He offered three thousand roubles, and added that he had several times already sent for Yegor Yefimov in order that he might arrange the sale with him personally, but had always met with an obstinate refusal from the latter. The count concluded by saying that the price he offered was what the violin was worth, that he was not trying to get it for less than its value, and that in Yefimov’s refusal he saw an insulting suspicion that he, the count, was trying to take advantage of the musician’s simplicity and ignorance, and he therefore begged Yefimov’s patron to bring him to reason.
The landowner promptly sent for my stepfather.
“Why won’t you sell the violin?” he asked him. “It’s no use to you. You’ll be given three thousand roubles, that’s what it is worth, and you are making a mistake if you think you will get more. The count isn’t going to cheat you.”
Yefimov answered that he would not go to the count of his own accord, but that if he were sent, he must do his master’s bidding; he would not sell the fiddle to the count, but if they should take it from him by force, then again he must submit to his master’s will.
It was clear that by this answer he had touched a very sensitive spot in his patron’s character. The fact was that the latter had always said with pride that he knew how to treat his musicians, for they were all genuine artists, every one of them, and that thanks to them his orchestra was not only better than the count’s, but equal to any in Petersburg or Moscow.
“Very well,” answered the landowner. “I will inform the count that you won’t sell the violin because you won’t, for you have a perfect right to sell it or not to sell it, you understand? But I ask you myself, what use is the violin to you? The clarinet is your instrument, though you are a poor player. Let me have it. I’ll give you three thousand” (who could have told it was such a valuable instrument?).
Yefimov gave a laugh.
“No, sir, I won’t sell it you,” he answered. “Of course you are the master...”
“Why, I am not forcing you, am I? I am not compelling you, am I?” cried the landowner, losing his temper, the more readily as the conversation took place before the count’s musician, who might from this scene draw very disadvantageous conclusions as to the position of the musicians in the landowner’s orchestra. “Be off, you ungrateful fellow! Don’t let me see you again. But for me what would have become of you with your clarinet, which you can’t play? With me you are fed and clothed and get a salary; you live like a gentleman, but you don’t care to understand that, and you don’t feel it. Be off, and do not exasperate me with your presence here!”
The landowner used to drive everyone with whom he got angry out of his presence, because he was afraid of himself and his own hastiness. And on no account would he have behaved too severely with “artists”, as he called his musicians.
The bargain did not come off, and it seemed as though that was the end of the matter, when a month later the count’s violinist got up a horrible plot. On his own initiative, he made a statement to the police, in which he charged my stepfather with being responsible for the Italian’s death, and with having murdered him with the mercenary object of acquiring a rich inheritance. He asserted that the will had been extorted by force, and swore that he could produce witnesses in support of his accusation. Neither the warnings nor the entreaties of the count and the landowner on behalf of my stepfather could move the informer from his purpose. They pointed out to him that the inquest on the Italian had been properly conducted, that he was flying in the face of facts, possibly through personal spite and disappointment at not getting the valuable instrument which was to have been bought for him. The musician stuck to his point, swore that he was right, asserted that the apoplectic fit had been due not to drunkenness but to poison, and demanded a second inquest. At the first glance there seemed to be something in his story. The case was followed up, of course. Yefimov was taken and sent to prison in town. The trial, in which the whole province took an interest, began. It was soon over, and ended in the musician being convicted of false witness. He was sentenced to a fitting punishment, but he stuck to the story to the end, and maintained that he was right. Finally he acknowledged that he had no proofs, that the evidence he had brought forward had been invented by himself, but that he had been led by suppositions, by surmises, to invent it all; for up to the time of the second inquest, when Yefimov’s innocence was formally proved, he had been fully convinced that Yefimov had caused the death of the luckless Italian, though he had perhaps not poisoned him, but murdered him in some other way. But the informer’s sentence was not carried out, he was suddenly taken ill with inflammation of the brain, went out of his mind, and died in the prison hospital.
During the whole of this affair, the landowner behaved in the most generous way. He defended my stepfather as though he had been his own son. Several times he went to the prison, to comfort him, to give him money, and learning that Yefimov was fond of smoking, took him the best cigars, and when he was acquitted gave a fete to the orchestra. The landowner looked upon the Yefimov affair as a matter concerning the whole orchestra, because he prized good behaviour in his musicians, if not more than, at least as much as their talents. A whole year passed, and suddenly a rumour went round the province, that a famous violinist, a Frenchman, had arrived in the chief town of the province and was going to give a few concerts there. The landowner began at once trying to get him to pay him a visit. Everything seemed favourable; the Frenchman promised to come. All the preparations were made, almost the whole district had been invited to meet him, but all at once things took quite a different turn.
One morning it was announced that Yefimov had disappeared, no one knew where. A search was made, but there was no trace of him. The orchestra was in a desperate plight, there was no one to play the clarinet; when, three days after Yefimov’s disappearance, the landowner received a letter from the French violinist in which the latter haughtily refused the invitation, adding, in a roundabout way of course, that he would for the future be extremely careful in his relations with gentlemen who keep their own orchestras of musicians, that it was an offence against good taste to see real talent under the control of a man who did not know its value, and that the example of Yefimov, a true artist and the best violinist he had met in Russia, was a proof of the justice of his words.
The landowner was thrown into the utmost amazement by reading this letter. He was mortified to the depths of his soul. What! Yefimov, the Yefimov for whom he had done so much, on whom he had heaped such kindness, had so mercilessly and shamelessly slandered him to a European artist, the sort of man whose opinion he most valued! And the letter was inexplicable in another way: he was informed that Yefimov was an artist of real talent, that he was a violinist, but that his talent had not been recognised and he had been forced to play another instrument. All this so much astounded the landowner that he immediately prepared to go to the town for a personal interview with the Frenchman, when he received a letter from the count in which the latter invited him to come to his house at once, and told him that he knew all about the affair, that the famous Frenchman was now in his house with Yefimov, that, being astonished at the latter’s impudence and slander, he, the count, had ordered him to be detained, and that the presence of the landowner was essential, since he, the count, was also implicated in Yefimov’s accusation. He added that the affair was very important, and must be cleared up as soon as possible.
The landowner, promptly setting off to the count’s, at” once made the acquaintance of the Frenchman there and told him all my stepfather’s story, adding that he had never suspected so great a talent in Yefimov, that the latter had been on the contrary a very poor clarinet player, and that he heard now for the first time that his runaway musician was a violinist. He added further that Yefimov was a free man, that he enjoyed complete liberty, and could leave him at any moment if he really were oppressed. The Frenchman was surprised. They sent for Yefimov, and he was almost unrecognisable: he behaved conceitedly, answered with derision and persisted in the truth of all he had told the Frenchman. All this intensely exasperated the count, who told my stepfather in so many words that he was a scoundrel and a slanderer, and that he deserved an ignominious punishment.
