Lazarus, The Gentleman from San Francisco

Front matter

LAZARUS

Foreword

Foreword

Lazarus and The Gentleman from San Francisco, while fairly typical of Slavic literature, nevertheless contain few of the elements popularly associated with the work of contemporary Russian writers. They have no sex interest, no photographic descriptions of sordid conditions and no lugubrious philosophizing. These stories are not cheerful, yet their sadness is uplifting rather than depressing. They both contain what the Greek called katharsis in their tragedies,—that cleansing atmosphere which purges us of every baser feeling as we read them.

In Lazarus Andreyev has come as near as it is humanly possible to achieving the impossible. He has made concretely vivid an abstraction; he has arrested for an instant the ceaseless, unmeasurable flood of eternity; he has enclosed in a small frame the boundless void of the infinite. That which no human faculty can understand Andreyev has made almost intelligible. For a terrible moment he unveils the the secrets of the grave, and together with Augustus and the others who have come under the spell of Lazarus’ eyes, we see how the most enduring of human monuments crumble into chaos even at the instant when they are being built, how nations upon nations tower like the shadows of silent ghosts, rising out of nothingness and sinking instantaneously into nothingness again, "for Time was no more, and the beginning of all things came near their end: the building was still being built, and the builders were still hammering away, and its ruins were already seen and the void in its place; the man was still being born, but already funeral candles were burning at his head, and now they were extinguished, and there was the void in place of the man and of the funeral candles. And wrapped by void and darkness the man in despair trembled in the face of the Horror of the Infinite." Lazarus is a story which depicts the misery of knowing the Unknowable.

In The Gentleman from San Francisco—Ivan Bunin demonstrates the poverty of wealth and the impotence of power. This story has been called the best work of fiction produced in Russia during the last decade.

The petty seriousness of the life of the modern Babylon, the deference paid by all people to bald heads and patent leather shoes and well-filled pockets, and the utter disregard for human feelings, are pictured with the pen of one who pities rather than scorns the frailties of the earth. The author stands aside, letting the world rush by like a hurdy gurdy, each gentleman from San Francisco or Boston or Berlin or Hong Kong sitting on his hobby horse, while the head waiter Luigi clownishly mocks their antics and nudges Death in the ribs.

The Gentleman from San Francisco shows the wide gulf that yawns between our estimate of our own worth and our actual worth. "I need the whole wide world for my amusement!" cries the man of wealth. "Yes, and here it is," answered Death, handing him a coffin, And as a further humiliation, those who were most anxious to serve this man of wealth in life are the first to shove the coffin into the ground.

The two stories in this book will arouse thought. They will be severely criticized by those who hate thought and as an excuse for their superficial shallowness condemn all Russian literature, for Russian literature is nothing if not thought-provoking. I do hope, however, that nobody will be found quite so devoid of a sense of humor as an admirable college dean and a sweet old lady the former of whom wrote to me that Chekhov’s Nine Humorous Tales was immoral, and the latter of whom insisted that Lazarus was ungodly, inasmuch as Christ would never have raised a man from the dead for the purpose of teaching us so sad a lesson about the grave.

H. T. S.

Lazarus

Lazarus

By Leonid Andreyev

TRANSLATED BY ABRAHAM YARMOLINSKY

I

WHEN Lazarus left the grave, where, for three days and three nights he had been under the enigmatical sway of death, and returned alive to his dwelling, for a long time no one noticed in him those sinister oddities, which, as time went on, made his very name a terror. Gladdened unspeakably by the sight of him who had been returned to life, those near to him caressed him unceasingly, and satiated their burning desire to serve him, in solicitude for his food and drink and garments. And they dressed him gorgeously, in bright colors of hope and laughter, and when, like to a bridegroom in his bridal vestures, he sat again among them at the table, and again ate and drank, they wept, overwhelmed with tenderness. And they summoned the neighbors to look at him who had risen miraculously from the dead. These came and shared the serene joy of the hosts. Strangers from far-off towns and hamlets came and adored the miracle in tempestuous words. Like to a beehive was the house of Mary and Martha.

Whatever was found new in Lazarus’ face and gestures was thought to be some trace of a grave illness and of the shocks recently experienced. Evidently, the destruction wrought by death on the corpse was only arrested by the miraculous power, but its effects were still apparent; and what death had succeeded in doing with Lazarus’ face and body, was like an artist’s unfinished sketch seen under thin glass. On Lazarus’ temples, under his eyes, and in the hollows of his cheeks, lay a deep and cadaverous blueness; cadaverously blue also were his long fingers, and around his fingernails, grown long in the grave, the blue had become purple and dark. On his lips the skin, swollen in the grave, had burst in places, and thin, reddish cracks were formed, shining as though covered with transparent mica. And he had grown stout. His body, puffed up in the grave, retained its monstrous size and showed those frightful swellings, in which one sensed the presence of the rank liquid of decomposition. But the heavy corpse-like odor which penetrated Lazarus’ graveclothes and, it seemed, his very body, soon entirely disappeared, the blue spots on his face and hands grew paler, and the reddish cracks closed up, although they never disappeared altogether. That is how Lazarus looked when he appeared before people, in his second life, but his face looked natural to those who had seen him in the coffin.

In addition to the changes in his appearance, Lazarus’ temper seemed to have undergone a transformation, but this circumstance startled no one and attracted no attention. Before his death Lazarus had always been cheerful and carefree, fond of laughter and a merry joke. It was because of this brightness and cheerfulness, with not a touch of malice and darkness, that the Master had grown so fond of him. But now Lazarus had grown grave and taciturn, he never jested, himself, nor responded with laughter to other people’s jokes; and the words which he uttered, very infrequently, were the plainest, most ordinary and necessary words, as deprived of depth and significance, as those sounds with which animals express pain and pleasure, thirst and hunger. They were the words that one can say all one’s life, and yet they give no indication of what pains and gladdens the depths of the soul.

Thus, with the face of a corpse which for three days had been under the heavy sway of death, dark and taciturn, already appallingly transformed, but still unrecognized by any one in his new self, he was sitting at the feasting table, among friends and relatives, and his gorgeous nuptial garments glittered with yellow gold and bloody scarlet. Broad waves of jubilation, now soft, now tempestuously-sonorous surged around him; warm glances of love were reaching out for his face, still cold with the coldness of the grave; and a friend’s warm palm caressed his blue, heavy hand, And music played: the tympanum and the pipe, the cithara and the harp. It was as though bees hummed, grasshoppers chirped and birds warbled over the happy house of Mary and Martha.

II

One of the guests uncautiously lifted the veil. By a thoughtless word he broke the serene charm and uncovered the truth in all its naked ugliness. Ere the thought formed itself in his mind, his lips uttered with a smile:

"Why dost thou not tell us what happened yonder?"

And all grew silent, startled by the question. It was as if it occurred to them only now that for three days Lazarus had been dead, and they looked at him, anxiously awaiting his answer. But Lazarus kept silence.

"Thou dost not wish to tell us,"—wondered the man, "is it so terrible yonder?"

And again his thought came after his words, Had it been otherwise, he would not have asked this question, which at that very moment oppressed his heart with its insufferable horror. Uneasiness seized all present, and with a feeling of heavy weariness they awaited Lazarus’ words, but he was silent, sternly and coldly, and his eyes were lowered. And as if for the first time, they noticed the frightful blueness of his face and his repulsive obesity. On the table, as though forgotten by Lazarus, rested his bluish-purple wrist, and to this all eyes turned, as if it were from it that the awaited answer was to come. The musicians were still playing, but now the silence reached them too, and even as water extinguishes scattered embers, so were their merry tunes extinguished in the silence. The pipe grew silent; the voices of the sonorous tympanum and the murmuring harp died away; and as if the strings had burst, the cithara answered with a tremulous, broken note. Silence.

"Thou dost not wish to say?" repeated the guest, unable to check his chattering tongue, But the stillness remained unbroken, and the bluish-purple hand rested motionless. And then he stirred slightly and everyone felt relieved. He lifted up his eyes, and, lo! straightway embracing everything in one heavy glance, fraught with weariness and horror, he looked at them,—Lazarus who had arisen from the dead.

It was the third day since Lazarus had left the grave. Ever since then many had experienced the pernicious power of his eye, but neither those who were crushed by it forever, nor those who found the strength to resist in it the primordial sources of life,—which is as mysterious as death,—never could they explain the horror which lay motionless in the depth of his black pupils. Lazarus looked calmly and simply with no desire to conceal anything, but also with no intention to say anything; he looked coldly, as he who is infinitely indifferent to those alive. Many carefree people came close to him without noticing him, and only later did they learn with astonishment and fear who that calm stout man was, that walked slowly by, almost touching them with his gorgeous and dazzling garments. The sun did not cease shining, when he was looking, nor did the fountain hush its murmur, and the sky overhead remained cloudless and blue. But the man under the spell of his enigmatical look heard no more the fountain and saw not the sky overhead. Sometimes, he wept bitterly, sometimes he tore his hair and in frenzy called for help; but more often it came to pass that apathetically and quietly he began to die, and so he languished many years, before everybody’s very eyes, wasted away, colorless, flabby, dull, like a tree, silently drying up in a stony soil. And of those who gazed at him, the ones who wept madly, sometimes felt again the stir of life; the others never.

"So thou dost not wish to tell us what thou hast seen yonder?" repeated the man. But now his voice was impassive and dull, and deadly gray weariness showed in Lazarus’ eyes. And deadly, gray weariness covered like dust all the faces, and with dull amazement the guests stared at each other and did not understand wherefore they had gathered here and sat at the rich table. The talk ceased. They thought it was time to go home, but could not overcome the flaccid lazy weariness, which glued their muscles, and they kept on sitting there, yet apart and torn away from each other, like pale fires scattered over a dark field.

But the musicians were paid to play and again they took to their instruments, and again tunes full of studied mirth and studied sorrow began to flow and to rise. They unfolded the customary melody, but the guests hearkened in dull amazement. Already they knew not wherefore is it necessary, and why is it well, that people should pluck strings, inflate their checks, blow in thin pipes and produce a bizarre, many-voiced noise.

"What bad music,"—said someone.

The musicians took offense and left. Following them, the guests left one after another, for night was already come. And when placid darkness encircled them and they began to breathe with more ease, suddenly Lazarus’ image loomed up before each one in formidable radiance: the blue face of a corpse, grave-clothes gorgeous and resplendent, a cold look, in the depths of which lay motionless an unknown horror. As though petrified, they were standing far apart, and darkness enveloped them, but in the darkness blazed brighter and brighter the super-natural vision of him who for three days had been under the enigmatical sway of death. For three days had he been dead: thrice had the sun risen and set, but he had been dead; children had played, streams murmured over pebbles, the wayfarer had lifted up hot dust in the highroad,—but he had been dead. And now he is again among them,—touches them,—looks at them,—looks at them! and through the black discs of his pupils, as through darkened glass, stares the unknowable Yonder.

III

No one was taking care of Lazarus, for no friends, no relatives were left to him, and the great desert, which encircled the holy city, came near the very threshold of his dwelling. And the desert entered his house, and stretched on his couch, like a wife, and extinguished the fires. No one was taking care of Lazarus, One after the other, his sisters—Mary and Martha—forsook him, For a long while Martha was loath to abandon him, for she knew not who would feed him and pity him, she wept and prayed. But one night, when the wind was roaming in the desert and with a hissing sound the cypresses were bending over the roof, she dressed noiselessly and secretly left the house. Lazarus probably heard the door slam; it banged against the side-post under the gusts of the desert wind, but he did not rise to go out and to look at her that was abandoning him. All the night long the cypresses hissed over his head and plaintively thumped the door, letting in the cold, greedy desert.

Like a leper he was shunned by everyone, and it was proposed to tie a bell to his neck, as is done with lepers, to warn people against sudden meetings. But someone remarked, growing frightfully pale, that it would be too horrible if by night the moaning of Lazarus’ bell were suddenly heard under the windows,—and so the project was abandoned.

And since he did not take care of himself, he would probably have starved to death, had not the neighbors brought him food in fear of something that they sensed but vaguely. The food was brought to him by children; they were not afraid of Lazarus, nor did they mock him with naive cruelty, as children are wont to do with the wretched and miserable. They were indifferent to him, and Lazarus answered them with the same coldness: he had no desire to caress the black little curls, and to look into their innocent shining eyes. Given to Time and to the Desert, his house was crumbling down, and long since had his famishing lowing goats wandered away to the neighboring pastures. And his bridal garments became threadbare. Ever since that happy day, when the musicians played, he had worn them unaware of the difference of the new and the worn. The bright colors grew dull and faded; vicious dogs and the sharp thorn of the Desert turned the tender fabric into rags,

By day, when the merciless sun slew all things alive, and even scorpions sought shelter under stones and writhed there in a mad desire to sting, he sat motionless under the sunrays, his blue face and the uncouth, bushy beard lifted up, bathing in the fiery flood.

When people still talked to him, he was once asked:

"Poor Lazarus, does it please thee to sit thus and to stare at the sun?"

And he had answered:

"Yes, it does."

So strong, it seemed, was the cold of his three-days’ grave, so deep the darkness, that there was no heat on earth to warm Lazarus, nor a splendor that could brighten the darkness of his eyes. That is what came to the mind of those who spoke to Lazarus, and with a sigh they left him.

And when the scarlet, flattened globe would lower, Lazarus would set out for the desert and walk straight toward the sun, as though striving to reach it. He always walked straight toward the sun and those who tried to follow him and to spy upon what he was doing at night in the desert, retained in their memory the black silhouette of a tall stout man against the red background of an enormous flattened disc. Night pursued them with her horrors, and so they did not learn of Lazarus' doings in the desert, but the vision of the black on red was forever branded on their brain. Just as a beast with a splinter in its eye furiously rubs its muzzle with its paws, so they too foolishly rubbed their eyes, but what Lazarus had given was indelible, and Death alone could efface it.

But there were people who lived far away, who never saw Lazarus and knew of him only by report. With daring curiosity, which is stronger than fear and feeds upon it, with hidden mockery, they would come to Lazarus who was sitting in the sun and enter into conversation with him. By this time Lazarus’ appearance had changed for the better and was not so terrible. The first minute they snapped their fingers and thought of how stupid the inhabitants of the holy city were; but when the short talk was over and they started homeward, their looks were such that the inhabitants of the holy city recognized them at once and said:

"Look, there is one more fool on whom Lazarus has set his eye,"—and they shook their heads regretfully, and lifted up their arms.

There came brave, intrepid warriors, with tinkling weapons; happy youths came with laughter and song; busy tradesmen, jingling their money, ran in for a moment, and haughty priests leaned their crosiers against Lazarus’ door, and they were all strangely changed, as they came back. The same terrible shadow swooped down upon their souls and gave a new appearance to the old familiar world.

Those who still had the desire to speak, expressed their feelings thus:

"All things tangible and visible grew hollow, light and transparent,—similar to lightsome shadows in the darkness of night;

"for, that great darkness, which holds the whole cosmos, was dispersed neither by the sun nor by the moon and the stars, but like an immense black shroud enveloped the earth and, like a mother, embraced it;

"it penetrated all the bodies, iron and stone,—and the particles of the bodies, having lost their ties, grew lonely; and it penetrated into the depth of the particles, and the particles of particles became lonely;

"for that great void, which encircles the cosmos, was not filled by things visible: neither by the sun, nor by the moon and the stars, but reigned unrestrained, penetrating everywhere, severing body from body, particle from particle;

"in the void hollow trees spread hollow roots, threatening a fantastic fall; temples, palaces and horses loomed up, and they were hollow; and in the void men moved about restlessly, but they were light and hollow like shadows;

"for, Time was no more, and the beginning of all things came near their end: the building was still being built, and builders were still hammering away, and its ruins were already seen and the void in its place; the man was still being born, but already funeral candles were burning at his head, and now they were extinguished, and there was the void in place of the man and of the funeral candles.

"and wrapped by void and darkness the man in despair trembled in the face of the Horror of the Infinite."

Thus spake the men who had still a desire to speak. But, surely, much more could have told those who wished not to speak, and died in silence.

IV

At that time there lived in Rome a renowned sculptor. In clay, marble and bronze he wrought bodies of gods and men, and such was their beauty, that people called them immortal. But he himself was discontented and asserted that there was something even more beautiful, that he could not embody either in marble or in bronze. "I have not yet gathered the glimmers of the moon, nor have I my fill of sunshine," he was wont to say, "and there is no soul in my marble, no life in my beautiful bronze." And when on moonlight nights he slowly walked along the road, crossing the black shadows of cypresses, his white tunic glittering in the moonshine, those who met him would laugh in a friendly way and say:

"Art thou going to gather moonshine, Aurelius? Why hen didst thou not fetch baskets?"

And he would answer, laughing and pointing to his eyes:

"Here are the baskets wherein I gather the sheen of the moon and the glimmer of the sun."

And so it was: the moon glimmered in his eyes and the sun sparkled therein. But he could not translate them into marble and therein lay the serene tragedy of his life.

He was descended from an ancient patrician race, had a good wife and children, and suffered from no want.

When the obscure rumor about Lazarus reached him, he consulted his wife and friends and undertook the far journey to Judea to see him who had miraculously risen from the dead. He was somewhat weary in those days and he hoped that the road would sharpen his blunted senses. What was said of Lazarus did not frighten him: he had pondered much over Death, did not like it, but he disliked also those who confused it with life.

"In this life—life and beauty; beyond,—Death, the enigmatical!"—

thought he, and there is no better thing for a man to do than to delight in life and in the beauty of all things living. He had even a vain glorious desire to convince Lazarus of the truth of his own view and restore his soul to life, as his body had been restored, This seemed so much easier because the rumors, shy and strange, did not render the whole truth about Lazarus and but vaguely warned against something frightful.

Lazarus had just risen from the stone in order to follow the sun which was setting in the desert, when a rich Roman attended by an armed slave, approached him and addressed him in a sonorous tone of voice:

"Lazarus!"

And Lazarus beheld a superb face, lit with glory, and arrayed in fine clothes, and precious stones sparkling in the sun. The red light lent to the Roman’s face and head the appearance of gleaming bronze—that also Lazarus noticed. He resumed obediently his place and lowered his weary eyes.

"Yes, thou art ugly, my poor Lazarus,"—quietly said the Roman, playing with his golden chain; "thou art even horrible, my poor friend; and Death was not lazy that day when thou didst fall so heedlessly into his hands. But thou art stout, and, as the great Caesar used to say, fat people are not ill-tempered; to tell the truth, I don’t understand why men fear thee. Permit me to spend the night in thy house; the hour is late, and I have no shelter."

Never had anyone asked Lazarus' hospital.

"I have no bed," said he.

"I am somewhat of a soldier and I can sleep sitting," the Roman answered. "We shall build a fire."

"I have no fire."

"Then we shall have our talk in the darkness, like two friends. I think, thou wilt find a bottle of wine."

"I have no wine."

The Roman laughed.

"Now I see why thou art so somber and dislikest thy second life. No wine! Why, then we shall do without it: there are words that make the head go round better than the Falernian."

By a sign he dismissed the slave, and they remained all alone. And again the sculptor started speaking, but it was as if, together with the setting sun, life had left his words; and they grew pale and hollow, as if they staggered on unsteady feet, as if they slipped and fell down, drunk with the heavy lees of weariness and despair. And black chasms grew up between the words—like far-off hints of the great void and the great darkness.

"Now I am thy guest, and thou wilt not be unkind to me, Lazarus!"—said he. "Hospitality is the duty even of those who for three days were dead. Three days, I was told, thou didst rest in the grave. here it must be cold … and that is whence comes thy ill habit of going without fire and wine. As to me, I like fire; it grows dark here so rapidly. … The lines of thy eyebrows and forehead are quite, quite interesting: they are like ruins of strange palaces, buried in ashes after an earthquake. But why dost thou wear such ugly and queer garments? I have seen bridegrooms in thy country, and they wear such clothes—are they not funny—and terrible. … But art thou a bridegroom?"

The sun had already disappeared, a monstrous black shadow came running from the east—it was as if gigantic bare feet began rumbling on the sand, and the wind sent a cold wave along the backbone

"In the darkness thou seemest still larger, Lazarus, as if thou hast grown stouter in these moments. Dost thou feed on darkness, Lazarus? I would fain have a little fire—at least a little fire, a little fire. I feel somewhat chilly, your nights are so barbarously cold. … Were it not so dark, I should say that thou wert looking at me, Lazarus. Yes, it seems to me, thou art looking. … Why, thou art looking at me, I feel it—but there thou art smiling."

Night came, and filled the air with heavy blackness.

"How well it will be, when the sun will rise to-morrow anew. … I am a great sculptor, thou knowest; that is how my friends call me. I create. Yes, that is the word … but I need daylight. I give life to the cold marble, I melt sonorous bronze in fire, in bright hot fire. … Why didst thou touch me with thy hand?"

"Come"—said Lazarus—"Thou art my guest."

And they went to the house. And a long night enveloped the earth.

The slave, seeing that his master did not come, went to seek him, when the sun was already high in the sky. And he beheld his master side by side with Lazarus: in profound silence were they sitting right under the dazzling and scorching sunrays and looking upward. The slave began to weep and cried out:

"My master, what has befallen thee, master?"

The very same day the sculptor left for Rome. On the way Aurelius was pensive and taciturn, staring attentively at everything—the men, the ship, the sea, as though trying to retain something. On the high sea a storm burst upon them, and all through it Aurelius stayed on the deck and eagerly scanned the seas looming near and sinking with a thud.

At home his friends were frightened at the change which had taken place in Aurelius, but he calmed them, saying meaningly:

"I have found it."

And without changing the dusty clothes he wore on his journey, he fell to work, and the marble obediently resounded under his sonorous hammer. Long and eagerly worked he, admitting no one, until one morning he announced that the work was ready and ordered his friends to be summoned, severe critics and connoisseurs of art. And to meet them he put on bright and gorgeous garments, that glittered with yellow gold—and—scarlet byssus.

"Here is my work," said he thoughtfully.

His friends glanced and a shadow of profound sorrow covered their faces. It was something monstrous, deprived of all the lines and shapes familiar to the eye, but not without a hint at some new, strange image.

On a thin, crooked twig, or rather on an ugly likeness of a twig rested askew a blind, ugly, shapeless, outspread mass of something utterly and inconceivably distorted, a mad heap of wild and bizarre fragments, all feebly and vainly striving to part from one another. And, as if by chance, beneath one of the wildly-rent salients a butterfly was chiseled with divine skill, all airy loveliness, delicacy and beauty, with transparent wings, which seemed to tremble with an impotent desire to take fight.

"Wherefore this wonderful butterfly, Aurelius?" said somebody falteringly,

"I know not"—was the sculptor’s answer.

But it was necessary to tell the truth, and one of his friends who loved him best said firmly:

"This is ugly, my poor friend. It must be destroyed. Give me the hammer."

And with two strokes he broke the monstrous man into pieces, leaving only the infinitely delicate butterfly untouched.

From that time on Aurelius created nothing. With profound indifference he looked at marble and bronze, and on his former divine works, where everlasting beauty rested. With the purpose of arousing his former fervent passion for work and awakening his deadened soul, his friends took him to see other artists’ beautiful works,—but he remained indifferent as before, and the smile did not warm up his tightened lips. And only after listening to lengthy talks about beauty, he would retort wearily and indolently: