kempis.nl
De Kunduz coalitie: D66 – Groenlinks – CDA – Christenunie en VVD heeft besloten de BTW voor beeldende kunst verder te verhogen van 6 via 19 naar 21 procent per 1 october.
Beste Kunstenaar, galeriehouder en kunstliefhebber,
Zoals U wellicht heeft vernomen gaat de btw voor de podiumkunsten weer verlaagd worden naar 6%. Die van de beeldende kunst daarentegen gaat per 1 oktober omhoog naar 21%. Een volstrekt oneerlijk en onbegrijpelijk onderscheid binnen de cultuursector wordt hierdoor aangebracht.
Teken onderstaande petitie, zodat we aan deze oneerlijke en voor de beeldende kunst ondermijnende situatie een eind kunnen maken!
Schuilen in het Rijks
≡ Teken de Petitie: btwopkunstnaar6.petities.nl
Aanbieding Petitie: September 2012
kempis.nl poetry magazine
More in: - Art & Poetry News 2012, Melseke, Columns, THE TALK OF THE TOWN
Anton Chekhov
(Anton Tsjechov 1860-1904)
In The Graveyard
THE wind has got up, friends, and it is beginning to get dark. Hadn’t we better take ourselves off before it gets worse?”
The wind was frolicking among the yellow leaves of the old birch trees, and a shower of thick drops fell upon us from the leaves. One of our party slipped on the clayey soil, and clutched at a big grey cross to save himself from falling.
“Yegor Gryaznorukov, titular councillor and cavalier . .” he read. “I knew that gentleman. He was fond of his wife, he wore the Stanislav ribbon, and read nothing. . . . His digestion worked well . . . . life was all right, wasn’t it? One would have thought he had no reason to die, but alas! fate had its eye on him. . . . The poor fellow fell a victim to his habits of observation. On one occasion, when he was listening at a keyhole, he got such a bang on the head from the door that he sustained concussion of the brain (he had a brain), and died. And here, under this tombstone, lies a man who from his cradle detested verses and epigrams. . . . As though to mock him his whole tombstone is adorned with verses. . . . There is someone coming!”
A man in a shabby overcoat, with a shaven, bluish-crimson countenance, overtook us. He had a bottle under his arm and a parcel of sausage was sticking out of his pocket.
“Where is the grave of Mushkin, the actor?” he asked us in a husky voice.
We conducted him towards the grave of Mushkin, the actor, who had died two years before.
“You are a government clerk, I suppose?” we asked him.
“No, an actor. Nowadays it is difficult to distinguish actors from clerks of the Consistory. No doubt you have noticed that. . . . That’s typical, but it’s not very flattering for the government clerk.”
It was with difficulty that we found the actor’s grave. It had sunken, was overgrown with weeds, and had lost all appearance of a grave. A cheap, little cross that had begun to rot, and was covered with green moss blackened by the frost, had an air of aged dejection and looked, as it were, ailing.
“. . . forgotten friend Mushkin . . .” we read.
Time had erased the never, and corrected the falsehood of man.
“A subscription for a monument to him was got up among actors and journalists, but they drank up the money, the dear fellows . . .” sighed the actor, bowing down to the ground and touching the wet earth with his knees and his cap.
“How do you mean, drank it?”
That’s very simple. They collected the money, published a paragraph about it in the newspaper, and spent it on drink. . . . I don’t say it to blame them. . . . I hope it did them good, dear things! Good health to them, and eternal memory to him.”
“Drinking means bad health, and eternal memory nothing but sadness. God give us remembrance for a time, but eternal memory — what next!”
“You are right there. Mushkin was a well-known man, you see; there were a dozen wreaths on the coffin, and he is already forgotten. Those to whom he was dear have forgotten him, but those to whom he did harm remember him. I, for instance, shall never, never forget him, for I got nothing but harm from him. I have no love for the deceased.”
“What harm did he do you?”
“Great harm,” sighed the actor, and an expression of bitter resentment overspread his face. “To me he was a villain and a scoundrel — the Kingdom of Heaven be his! It was through looking at him and listening to him that I became an actor. By his art he lured me from the parental home, he enticed me with the excitements of an actor’s life, promised me all sorts of things — and brought tears and sorrow. . . . An actor’s lot is a bitter one! I have lost youth, sobriety, and the divine semblance. . . . I haven’t a half-penny to bless myself with, my shoes are down at heel, my breeches are frayed and patched, and my face looks as if it had been gnawed by dogs. . . . My head’s full of freethinking and nonsense. . . . He robbed me of my faith — my evil genius! It would have been something if I had had talent, but as it is, I am ruined for nothing. . . . It’s cold, honoured friends. . . . Won’t you have some? There is enough for all. . . . B-r-r-r. . . . Let us drink to the rest of his soul! Though I don’t like him and though he’s dead, he was the only one I had in the world, the only one. It’s the last time I shall visit him. . . . The doctors say I shall soon die of drink, so here I have come to say good-bye. One must forgive one’s enemies.”
We left the actor to converse with the dead Mushkin and went on. It began drizzling a fine cold rain.
At the turning into the principal avenue strewn with gravel, we met a funeral procession. Four bearers, wearing white calico sashes and muddy high boots with leaves sticking on them, carried the brown coffin. It was getting dark and they hastened, stumbling and shaking their burden. . . .
“We’ve only been walking here for a couple of hours and that is the third brought in already. . . . Shall we go home, friends?”
Anton Chekhov: In The Graveyard
kempis.nl poetry magazine
More in: Chekhov, Anton
Hans Andreus
(1926-1977)
Laatste gedicht
Dit wordt het laatste gedicht wat ik schrijf,
nu het met mijn leven bijna is gedaan,
de scheppingsdrift me ook wat is vergaan
met letterlijk de kanker in mijn lijf,
en, Heer (ik spreek je toch maar weer zo aan,
ofschoon ik me nauwelijks daar iets bij voorstel,
maar ik praat liever tegen iemand aan
dan in de ruimte en zo is dit wel
de makkelijkste manier om wat te zeggen),-
hoe moet het nu, waar blijf ik met dat licht
van mij, van jou, wanneer het vallen, weg in
het onverhoeds onnoemelijke begint ?
Of is het dat jij me er een onverdicht
woord dat niet uitgesproken hoeft voor vindt ?
Uit: Laatste gedichten, Uitgeverij Holland, Haarlem 1977
Hans Andreus poetry
kempis.nl poetry magazine
More in: Archive A-B
Aimé Césaire
(1913-2008)
Entre autres massacres
De toutes leurs forces le soleil et la lune s’entrechoquent
les étoiles tombent comme des témoins trop mûrs
et comme une portée de souris grises
ne crains rien apprête tes grosses eaux
qui si bien emportent la berge des miroirs
ils ont mis de la boue sur mes yeux
et vois je vois terriblement je vois
de toutes les montagnes de toutes les îles
il ne reste plus rien que les quelques mauvais chicots
de l’impénitente salive de la mer
Recueil : “Cadastres”
Aimé Césaire poetry
kempis.nl poetry magazine
More in: Archive C-D, Césaire, Aimé
Luigi Pirandello: Shoot! (16)
Shoot! (Si Gira, 1926) The Notebooks of Serafino Gubbio, Cinematograph Operator by Luigi Pirandello. Translated from the Italian by C. K. Scott Moncrieff.
BOOK III
5
It is no mere waste of time, you will understand, to spend half an hour in watching and considering a tiger, seeing in it a manifestation of Earth, guileless, beyond good and evil, incomparably beautiful and innocent in its savage power. Before we can come down from this “aboriginality” and reach the stage of being able to see before us a man or woman of our own time, and to recognise and consider him or her as an inhabitant of the same earth, we require–I do, at least; I cannot answer for you–a wide stretch of imagination.
And so I remained for a while looking at Signora Nestoroff before I was able to understand what she was saying to me.
But the fault, as a matter of fact, was not only mine and the tiger’s. The fact of her addressing me at all was unusual; and it is quite natural, when anyone addresses us suddenly with whom we have not been on speaking terms, that we should find it hard at first to take in the meaning, sometimes even the sound of the most ordinary words, and should ask:
“Excuse me, what was it you said?”
In a little more than eight months, since I came here, between her and myself, apart from formal greetings, barely a score of words have passed.
Then she–yes, this happened too–coming up to me, began to speak to me with great volubility, as we do when we wish to distract the attention of some one who has caught us in some action or thought which we are anxious to keep secret. (The Nestoroff speaks our language with marvellous ease and with a perfect accent, as though she had lived for many years in Italy: but she at once breaks into French whenever, if only for a moment, she changes her tone or grows excited.) She wished to find out from me whether I believed that the actor’s profession was such that any animal whatsoever (not necessarily in a metaphorical sense) could regard itself as qualified, without preliminary training, to practise it.
“Where?” I asked her.
She did not understand my question.
“Well,” I explained to her; “if you mean, practise it here, where there is no need of speech, perhaps even an animal–why not!–may be capable of succeeding.”
I saw her face cloud over.
“That will be it,” she said mysteriously.
I seemed at first to divine that she (like all the professional actors who are employed here) speaking out of contempt for certain others who, without actually needing, but at the same time not despising an easy source of revenue, either from vanity or from predilection, or for some other reason, had managed to have their services accepted by the firm and to take their place among the actors, with no great difficulty, that supreme difficulty being eliminated which it would have been most arduous for them and perhaps impossible to overcome without a long training and a genuine aptitude, I mean the difficulty of speaking in public. We have a number of them at the Kosmograph who are real gentlemen, young fellows between twenty and thirty, either friends of some big shareholder on the Board, or shareholders themselves, who make a hobby of playing some part or other that has taken their fancy in a film, solely for their own amusement; and play their parts in the most gentlemanly fashion, some of them even with a grace that a real actor might envy.
But, reflecting afterwards on the mysterious tone in which she, her face suddenly clouding over, had uttered the words: “That will be it,” the suspicion occurred to me that perhaps she had heard the news that Aldo Nuti, I do not yet know from what part of the horizon, was trying to find an opening here.
This suspicion disturbed me not a little.
Why did she come to ask me, of all people, with Aldo Nuti in her mind, whether I believed that the actor’s profession was such that any animal might consider itself qualified, without preliminary training, to practise it? Did she then know of my friendship with Giorgio Mirelli?
I had not then, nor have I now any reason to think so. At least the questions with which I have adroitly plied her in the hope of enlightenment have brought me no certainty.
I do not know why, but I should dislike intensely her knowing that I was a friend of Giorgio Mirelli, in his boyhood, and a familiar inmate of the villa by Sorrento into which she brought confusion and death.
“I do not know why,” I have said: but it is not true; I do know why, and I have already given a hint of the reason. I feel no love, I repeat again, nor could I feel any, for this woman; hatred, if anything. Everyone hates her here; and that by itself would be an overwhelming reason for me not to hate her. Always, in judging other people, I have endeavoured to break the circle of my own affections, to gather from the clamour of life, composed more of tears than of laughter, as many notes as I could outside the chord of my own feelings. I knew Giorgio Mirelli; but how, in what capacity? Such as he was in his relations with me. He was the sort of person that I liked. But who, and what was he in his relations with this woman? The sort that she could like? I do not know. Certainly he was not, he could not be one and the same person to her and to myself. And how then am I to judge this woman by him? We have all of us a false conception of an individual whole. Every whole consists in the mutual relations of its constituent elements; which means that, by altering those relations however slightly, we are bound to alter the whole. This explains how some one who is reasonably loved by me can reasonably be hated by a third person. I who love and the other who hates are two: not only that, but the one whom I love, and the one whom the third person hates, are by no means identical; they are one and one: therefore they are two also. And we ourselves can never know what reality is accorded to us by other people; who we are to this person and to that.
Now, if the Nesteroff came to hear that I had been a great friend of Giorgio Mirelli, she would perhaps suspect me of a hatred for herself which I do not feel: and this suspicion would be enough to make her at once become another person to me, I myself remaining meanwhile in the same attitude towards her; she would assume in my eyes an aspect that would hide all the rest; and I should no longer be able to study her,as I am now studying her, as a whole.
I spoke to her of the tiger, of the feelings which its presence in this place and the fate in store for it aroused in me; but I at once became aware that she was not in a position to understand me, not perhaps because she was incapable of doing so, but because the relations that have grown up between her and the animal do not allow her to feel either pity for it or anger at the deed that is to be done.
Her answer was shrewd:
“A sham, yes; stupid too, if you like; but when the door of the cage is opened and the animal is driven into the other, bigger cage representing a glade in a forest, with the bars hidden by branches, the hunter, even if he is a sham like the forest, will still be entitled to defend himself against it, simply because it, as you say, is not a sham animal but a real one.”
“But that is just where the harm lies,” I exclaimed: “in using a real animal where everything else is a sham.”
“Where do you get that?” she promptly rejoined. “The part of the hunter will be a sham; but when he is face to face with this ‘real’ animal he will be a ‘real’ man! And I can assure you that if he does not kill it with his first shot, or does not wound it so as to bring it down, it will not stop to think that the hunter is a sham and the hunt a sham, but will spring upon him and ‘really’ tear a ‘real’ man to pieces.”
I smiled at the acuteness of her logic and said:
“But who will have wished such a thing. Look at her as she lies there. She knows nothing, the beautiful creature, she is not to blame for her ferocity.”
There was a strange look in her eyes, as though she suspected that I was trying to make fun of her; then she smiled as well, shrugged her shoulders slightly and went on:
“Do you feel is to deeply! Tame her! Make her a stage tiger, trained to sham death at a sham bullet from a sham hunter, and then all will be right.”
We should never have come to an under-standing; because if my sympathies were with the tiger, hers were with the hunter.
In fact, the hunter appointed to kill the animal is Carlo Ferro. The Nestoroff must be greatly upset by this; and perhaps she comes here not, as her enemies assert, to study her part, but to estimate the risk which her lover will be running.
He too, for all that he shews a scornful indifference, must, in his heart of hearts, feel apprehensive. I know that, in conversation with the General Manager, Commendator Borgalli, and also upstairs in the office, he has put forward a number of claims: the insurance of his life for at least one hundred thousand lire, to be paid to his parents in Sicily, in the event of his death, which heaven forbid; another insurance, for a more modest sum, in the event of his being incapacitated for work by any serious injury, which heaven forbid also; a handsome bonus, if everything, as is to be hoped, turns out well, and lastly–a curious claim, and one that was certainly not suggested, like the rest, by a lawyer–the skin of the dead tiger.
The tigerskin is presumably for the Nestoroff; for her little feet; a costly rug. Oh, she must certainly have warned her lover, with prayers and entreaties, against undertaking so dangerous a part; but then, seeing him determined and bound by contract, she must, she and no one else, have suggested to Ferro that he should claim ‘at least’ the skin of the tiger. “At least?” you say. Why, yes! That she used the words “at least” seems to me beyond question. ‘At least’, that is to say in compensation for the tense anxiety that she must feel for the risk to which he will be exposing himself. It is not possible that the idea can have originated with him, Carlo Ferro, of having the skin of the dead animal to spread under the little feet of his mistress. Carlo Ferro is incapable of such an idea. You have only to look at him to be convinced of it; look at that great black hairy arrogant goat’s head on his shoulders.
He appeared, the other day, and interrupted my conversation with the Nestoroff in front of the cage. He did not even trouble to inquire what we were discussing, as though a conversation with myself could not be of the slightest importance to him. He barely glanced at me, barely raised Ms bamboo cane to the brim of Ms hat in sign of greeting, looked with Ms usual contemptuous indifference at the tiger in the cage, saying to his mistress:
“Come along: Polacco is ready; he is waiting for us.”
And he turned his back, confident of being followed by the Nestoroff, as a tyrant by Ms slave.
No one feels or shews so much as he that instinctive antipathy, which as I have said is shared by almost all the actors for myself, and which is to be explained, or so at least I explain it, as an effect, which they themselves do not see clearly, of my profession.
Carlo Ferro feels it more strongly than any of them, because, among all his other advantages, he has that of seriously believing himself to be a great actor.
Luigi Pirandello: Shoot! (16)
kempis.nl poetry magazine
More in: -Shoot!
Boris Pasternak
(1890–1960)
Poetry
Yes, I shall swear by you, my verse,
I shall wheeze out, before I swoon:
You’re not a tenor’s shape and voice,
You’re summer travelling third class,
You are a suburb, not a tune.
You’re a street as close as May,
You’re a battlefield at night,
Where clouds groan loudly in dismay
And scatter, when dismissed, in fright.
And, splitting in the railway’s lace-
That’s outskirts, not refrain and home-
They crawl back to their native place
Without a song, as if struck dumb.
The shower’s offshoots stick in clusters
Till break of day, and all the time
They scribble on the roofs acrostics
And bubble up rhyme after rhyme.
All poetry is what you make it.
And even when the truism’s not worth
The rhyme, the flow of verse is scared.
The notebook’s open-so flow forth!
Boris Pasternak poetry
kempis.nl poetry magazine
More in: Archive O-P, Pasternak, Boris
Sonja Prins
(1912-2009)
Geen stem
geen stem in de wolkbreuk de plotselinge waterval
van de daken glijdend
druipende steen met hun zoute tongen
verwoest o geen stem
onder het afdak
geen oog en geen beeld en geen godheid
buiten het raam
wuivende takken en de echo van een licht
over de grond kruipend
nee een stroom wild
rode robijn
een wilde stroom
en het daglicht dat opstijgt
in de kuil van de zee
die het land omvademt
geen stem maar hij komt
hij komt kruipend
(uit ‘Nieuwe proeve in strategie’ van Sonja Prins, 1912)
Sonja Prins poetry
kempis.nl poetry magazine
More in: Archive O-P
J.A. Woolf: Making memories (14)
kempis.nl poetry magazine 2012
More in: J.A. Woolf
Theodor Fontane
(1819–1898)
Der echte Dichter
(Wie man sich früher ihn dachte)
Ein Dichter, ein echter, der Lyrik betreibt,
Mit einer Köchin ist er beweibt,
Seine Kinder sind schmuddlig und unerzogen,
Kommt der Mietszettelmann, so wird tüchtig gelogen,
Gelogen, gemogelt wird überhaupt viel,
»Fabulieren« ist ja Zweck und Ziel.
Und ist er gekämmt und gewaschen zuzeiten,
So schafft das nur Verlegenheiten,
Und ist er gar ohne Wechsel und Schulden
Und empfängt er pro Zeile ‘nen halben Gulden
Oder pendeln ihm Orden am Frack hin und her,
So ist er gar kein Dichter mehr,
Eines echten Dichters eigenste Welt
Ist der Himmel und – ein Zigeunerzelt.
Theodor Fontane poetry
kempis.nl poetry magazine
More in: Archive E-F, Theodor Fontane
Leo Tolstoy
(1828-1910)
Alyosha the Pot
Alyosha was the younger brother. He was called the Pot, because his mother had once sent him with a pot of milk to the deacon’s wife, and he had stumbled against something and broken it. His mother had beaten him, and the children had teased him. Since then he was nicknamed the Pot. Alyosha was a tiny, thin little fellow, with ears like wings, and a huge nose. “Alyosha has a nose that looks like a dog on a hill!” the children used to call after him. Alyosha went to the village school, but was not good at lessons; besides, there was so little time to learn. His elder brother was in town, working for a merchant, so Alyosha had to help his father from a very early age. When he was no more than six he used to go out with the girls to watch the cows and sheep in the pasture, and a little later he looked after the horses by day and by night. And at twelve years of age he had already begun to plough and to drive the cart. The skill was there though the strength was not. He was always cheerful. Whenever the children made fun of him, he would either laugh or be silent. When his father scolded him he would stand mute and listen attentively, and as soon as the scolding was over would smile and go on with his work. Alyosha was nineteen when his brother was taken as a soldier. So his father placed him with the merchant as a yard-porter. He was given his brother’s old boots, his father’s old coat and cap, and was taken to town. Alyosha was delighted with his clothes, but the merchant was not impressed by his appearance.
“I thought you would bring me a man in Simeon’s place,” he said, scanning Alyosha; “and you’ve brought me THIS! What’s the good of him?”
“He can do everything; look after horses and drive. He’s a good one to work. He looks rather thin, but he’s tough enough. And he’s very willing.”
“He looks it. All right; we’ll see what we can do with him.”
So Alyosha remained at the merchant’s.
The family was not a large one. It consisted of the merchant’s wife: her old mother: a married son poorly educated who was in his father’s business: another son, a learned one who had finished school and entered the University, but having been expelled, was living at home: and a daughter who still went to school.
They did not take to Alyosha at first. He was uncouth, badly dressed, and had no manner, but they soon got used to him. Alyosha worked even better than his brother had done; he was really very willing. They sent him on all sorts of errands, but he did everything quickly and readily, going from one task to another without stopping. And so here, just as at home, all the work was put upon his shoulders. The more he did, the more he was given to do. His mistress, her old mother, the son, the daughter, the clerk, and the cook– all ordered him about, and sent him from one place to another.
“Alyosha, do this! Alyosha, do that! What! have you forgotten, Alyosha? Mind you don’t forget, Alyosha!” was heard from morning till night. And Alyosha ran here, looked after this and that, forgot nothing, found time for everything, and was always cheerful.
His brother’s old boots were soon worn out, and his master scolded him for going about in tatters with his toes sticking out. He ordered another pair to be bought for him in the market. Alyosha was delighted with his new boots, but was angry with his feet when they ached at the end of the day after so much running about. And then he was afraid that his father would be annoyed when he came to town for his wages, to find that his master had deducted the cost of the boots.
In the winter Alyosha used to get up before daybreak. He would chop the wood, sweep the yard, feed the cows and horses, light the stoves, clean the boots, prepare the samovars and polish them afterwards; or the clerk would get him to bring up the goods; or the cook would set him to knead the bread and clean the saucepans. Then he was sent to town on various errands, to bring the daughter home from school, or to get some olive oil for the old mother. “Why the devil have you been so long?” first one, then another, would say to him. Why should they go? Alyosha can go. “Alyosha! Alyosha!” And Alyosha ran here and there. He breakfasted in snatches while he was working, and rarely managed to get his dinner at the proper hour. The cook used to scold him for being late, but she was sorry for him all the same, and would keep something hot for his dinner and supper.
At holiday times there was more work than ever, but Alyosha liked holidays because everybody gave him a tip. Not much certainly, but it would amount up to about sixty kopeks [1s 2d]– his very own money. For Alyosha never set eyes on his wages. His father used to come and take them from the merchant, and only scold Alyosha for wearing out his boots.
When he had saved up two roubles [4s], by the advice of the cook he bought himself a red knitted jacket, and was so happy when he put it on, that he couldn’t close his mouth for joy. Alyosha was not talkative; when he spoke at all, he spoke abruptly, with his head turned away. When told to do anything, or asked if he could do it, he would say yes without the smallest hesitation, and set to work at once.
Alyosha did not know any prayer; and had forgotten what his mother had taught him. But he prayed just the same, every morning and every evening, prayed with his hands, crossing himself.
He lived like this for about a year and a half, and towards the end of the second year a most startling thing happened to him. He discovered one day, to his great surprise, that, in addition to the relation of usefulness existing between people, there was also another, a peculiar relation of quite a different character. Instead of a man being wanted to clean boots, and go on errands and harness horses, he is not wanted to be of any service at all, but another human being wants to serve him and pet him. Suddenly Alyosha felt he was such a man.
He made this discovery through the cook Ustinia. She was young, had no parents, and worked as hard as Alyosha. He felt for the first time in his life that he–not his services, but he himself–was necessary to another human being. When his mother used to be sorry for him, he had taken no notice of her. It had seemed to him quite natural, as though he were feeling sorry for himself. But here was Ustinia, a perfect stranger, and sorry for him. She would save him some hot porridge, and sit watching him, her chin propped on her bare arm, with the sleeve rolled up, while he was eating it. When he looked at her she would begin to laugh, and he would laugh too.
This was such a new, strange thing to him that it frightened Alyosha. He feared that it might interfere with his work. But he was pleased, nevertheless, and when he glanced at the trousers that Ustinia had mended for him, he would shake his head and smile. He would often think of her while at work, or when running on errands. “A fine girl, Ustinia!” he sometimes exclaimed.
Ustinia used to help him whenever she could, and he helped her. She told him all about her life; how she had lost her parents; how her aunt had taken her in and found a place for her in the town; how the merchant’s son had tried to take liberties with her, and how she had rebuffed him. She liked to talk, and Alyosha liked to listen to her. He had heard that peasants who came up to work in the towns frequently got married to servant girls. On one occasion she asked him if his parents intended marrying him soon. He said that he did not know; that he did not want to marry any of the village girls.
“Have you taken a fancy to some one, then?”
“I would marry you, if you’d be willing.”
“Get along with you, Alyosha the Pot; but you’ve found your tongue, haven’t you?” she exclaimed, slapping him on the back with a towel she held in her hand. “Why shouldn’t I?”
At Shrovetide Alyosha’s father came to town for his wages. It had come to the ears of the merchant’s wife that Alyosha wanted to marry Ustinia, and she disapproved of it. “What will be the use of her with a baby?” she thought, and informed her husband.
The merchant gave the old man Alyosha’s wages.
“How is my lad getting on?” he asked. “I told you he was willing.”
“That’s all right, as far as it goes, but he’s taken some sort of nonsense into his head. He wants to marry our cook. Now I don’t approve of married servants. We won’t have them in the house.”
“Well, now, who would have thought the fool would think of such a thing?” the old man exclaimed. “But don’t you worry. I’ll soon settle that.”
He went into the kitchen, and sat down at the table waiting for his son. Alyosha was out on an errand, and came back breathless.
“I thought you had some sense in you; but what’s this you’ve taken into your head?” his father began.
“I? Nothing.”
“How, nothing? They tell me you want to get married. You shall get married when the time comes. I’ll find you a decent wife, not some town hussy.”
His father talked and talked, while Alyosha stood still and sighed. When his father had quite finished, Alyosha smiled.
“All right. I’ll drop it.”
“Now that’s what I call sense.”
When he was left alone with Ustinia he told her what his father had said. (She had listened at the door.)
“It’s no good; it can’t come off. Did you hear? He was angry– won’t have it at any price.”
Ustinia cried into her apron.
Alyosha shook his head.
“What’s to be done? We must do as we’re told.”
“Well, are you going to give up that nonsense, as your father told you?” his mistress asked, as he was putting up the shutters in the evening.
“To be sure we are,” Alyosha replied with a smile, and then burst into tears.
From that day Alyosha went about his work as usual, and no longer talked to Ustinia about their getting married. One day in Lent the clerk told him to clear the snow from the roof. Alyosha climbed on to the roof and swept away all the snow; and, while he was still raking out some frozen lumps from the gutter, his foot slipped and he fell over. Unfortunately he did not fall on the snow, but on a piece of iron over the door. Ustinia came running up, together with the merchant’s daughter.
“Have you hurt yourself, Alyosha?”
“Ah! no, it’s nothing.”
But he could not raise himself when he tried to, and began to smile.
He was taken into the lodge. The doctor arrived, examined him, and asked where he felt the pain.
“I feel it all over,” he said. “But it doesn’t matter. I’m only afraid master will be annoyed. Father ought to be told.”
Alyosha lay in bed for two days, and on the third day they sent for the priest.
“Are you really going to die?” Ustinia asked.
“Of course I am. You can’t go on living for ever. You must go when the time comes.” Alyosha spoke rapidly as usual. “Thank you, Ustinia. You’ve been very good to me. What a lucky thing they didn’t let us marry! Where should we have been now? It’s much better as it is.”
When the priest came, he prayed with his bands and with his heart. “As it is good here when you obey and do no harm to others, so it will be there,” was the thought within it.
He spoke very little; he only said he was thirsty, and he seemed full of wonder at something.
He lay in wonderment, then stretched himself, and died.
THE END
Leo Tolstoy short stories
kempis.nl poetry magazine
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Luigi Pirandello: Shoot! (15)
Shoot! (Si Gira, 1926. The Notebooks of Serafino Gubbio, Cinematograph Operator by Luigi Pirandello. Translated from the Italian by C. K. Scott Moncrieff.
BOOK III
4
Excuse me for a moment. I am going to pay a visit to the tiger. I shall talk, I shall go on talking, I shall pick up the thread of my discourse later on, never fear. At present, I must go and see the tiger.
Ever since they bought her, I have gone every day to pay her a visit, before starting my work. On two days only have I not been able to go, because they did not give me time.
We have had other animals here that were wild, although greatly subdued by melancholy: a couple of polar bears which used to spend the whole day standing on their hind legs beating their breasts, like Trinitarians doing penance: three shivering lion cubs, always huddled in a corner of the cage, one on top of another; other animals as well, that were not exactly wild: a poor ostrich, terrified at every sound, like a chicken, and always uncertain where to set its feet: a number of mischievous monkeys. The Kosmograph is provided with everything, including a menagerie, albeit its inmates remain there but a short time.
No animal has ever ‘talked to me’, like this tiger.
When we first secured her, she had but recently arrived, a gift from some illustrious foreign personage, at the Zoological Gardens in Rome. At the Zoological Gardens they were unable to keep her, because she was absolutely incapable of learning, I do not say to blow her nose with a handkerchief, but even to respect the most elementary rules of social intercourse. Three or four times she threatened to jump the ditch, or rather attempted to jump it, to hurl herself upon the visitors to the gardens who stood quietly gazing at her from a distance.
But what other thought could arise more spontaneously in the mind of a tiger (if you object to the word ‘mind’, let us say the paws) than that the ditch in question was put there on purpose so that she might try to jump it, and that those ladies and gentlemen stopped there in front of her in order that she might devour them if she succeeded in jumping it?
It is certainly an advantage to be able to stand a joke; but we know that not everyone possesses this advantage. Many people cannot even endure the thought that some one else thinks he is at liberty to joke at their expense. I speak of men, who, nevertheless, in the abstract, are all capable of realising that at times a joke is permissible.
The tiger, you say, is not placed on show in a zoological garden for a joke. I agree. But does it not seem a joke to you to think that she can suppose that you keep her there on show to give the public a “living idea” of natural history!
Here we are back at our starting-point. This, inasmuch as we are not tigers, but men, is rhetoric.
We may feel compassion for a man who is unable to stand a joke; we ought not to feel any for a beast; especially if the joke for which we have placed it on show, I mean the “living idea,” may have fatal consequences: that is to say, for the visitors to the Zoological Gardens, a too practical illustration of its ferocity.
This tiger was, therefore, wisely condemned to death. The Kosmograph Company managed to hear of it in time, and bought her. Now she is here, in a cage in our menagerie. Since she has been here, her behaviour has been exemplary. How are we to explain this? Our treatment, no doubt, seems to her far more logical. Here she is not at liberty to attempt to jump any ditch, has no illusion of ‘local colour’, as in the Zoological Gardens. Here she has in front of her the bars of her cage, which say to her continually: “You cannot escape; you are a prisoner”; and she lies on the ground there almost all day long, resigned to her fate, gazing out through the bars, quietly, wonderingly waiting.
Alas, poor beast, she does not know that here there is something far more serious in store for her, than that joke of the “living idea”!
The scenario is already completed, an Indian subject, in which she is destined to represent one of the principal parts. A spectacular scenario, upon which several hundred thousand lire will be spent; but the stupidest and most vulgar that could be imagined. I need only give the title: ‘The Lady and the Tiger’. The usual lady, more tigerish than the tiger. I seem to have heard that she is to be an English ‘Miss’ travelling in the Indies with a train of admirers.
India will be a sham, the jungle will be a sham, the travels will be a sham, with a sham ‘Miss’ and sham admirers: only the death of this poor beast will not be a sham. Do you follow me? And does it not make you writhe in anger?
To kill her in self-defence, or to save the life of another person, well and good. Albeit not of her own accord, for her own pleasure, has the beast come here to place herself on show among a lot of men, but men themselves, for their pleasure, have gone out to hunt her, to drag her from her savage lair. But to kill her like this, in a sham forest, in a sham hunt, for a stupid make-believe, is a real iniquity and is going too far. One of the admirers, at a certain stage, will fire point-blank at a rival. You will see this rival fall to the ground, dead. Yes, my friends. But when the scene is finished, there he is getting up again, brushing the dust of the stage off his clothes. But this poor beast will never get up again, after they have shot her. The scene shifters will carry off the sham forest, and at the same time clear the stage of her carcase. In the midst of a universal sham, her death alone will be genuine.
And if it were only a sham that could by its beauty and nobility compensate in a measure for the sacrifice of this beast. But no. It is utterly stupid. The actor who is to kill her will not even know, perhaps, why he has killed her. The scene will last for a minute or two at most, when projected upon the screen, and will pass without leaving any permanent impression in the minds of the spectators, who will come away from the theatre yawning:
“Oh Lord, what rubbish!”
This, you beautiful wild creature, is what awaits you. You do not know it, and gaze through the bars of your cage with those terror-stricken eyes in which the slit pupils contract and dilate by turns. I see your wild nature as it were steaming from your whole body, like the vapour of a blazing coal; I see marked on the black stripes of your coat the elastic force of your irrepressible spring. Whoever studies you closely is glad of the cage that imprisons you and checks in him also the savage instinct which the sight of you stirs irresistibly in his blood.
You cannot remain here on any other terms. Either you must be imprisoned like this, or you must be killed; because your ferocity–we quite understand–is innocent; nature has implanted it in you, and you, in employing it, are obeying nature and cannot feel any remorse. We cannot endure that you, after a gory feast, should be able to sleep calmly. Your very innocence makes us innocent of your death, when we inflict it in self-defence. We can kill you, and then, like you, sleep calmly. But out there, in the savage lands, where you do not allow any stranger to pass; not here, not here, where you have not come of your own accord, for your own pleasure. The beautiful, ingenuous innocence of your ferocity makes the iniquity of ours seem disgusting here. We seek to defend ourselves against you, after bringing you here, for our pleasure, and we keep you in prison: this is no longer your kind of ferocity; it is a treacherous ferocity! But we know, you may be sure, we know how to go even farther, to do better still: we shall kill you for amusement, stupidly. A sham hunter, in a sham forest, among sham trees…. We shall be worthy in every respect, truly, of the concocted plot. Tigers, more tigerish than a tiger. And to think that the sentiment which this film, now in preparation, is intended to arouse in the spectators is contempt for human ferocity! It will be part of o’ur day’s work, this ferocity practised for amusement, and we count moreover upon making a handsome profit out of it, should the film prove successful.
You stare. At what do you stare, you beautiful, innocent creature! That is just how things stand. You are here for no other purpose. And I who love and admire you, when they kill you, shall be ‘impassively’ turning the handle of this pretty machine here, do you see? They have invented it. It has to act; it has to eat. It eats everything, whatever stupidity they may set before it. It will eat you too; it eats everything, I tell you! And I am its servant. I shall come and plant it closer to you, when you, mortally wounded, are writhing in your last agony. Ah, do not fear, it will extract the utmost penny of profit from your death! It does not have the luck to taste such a dinner every day. You can have that consolation. And, if you like, another as well.
There comes every day, like myself, in front of your cage here, a lady intent on studying how you move, how you turn your head, how you look out of your eyes. The Nestoroff. Is that nothing to you? She has chosen you to be her teacher. Luck such as this does not come the way of every tiger.
As usual, she is taking her part seriously. But I have heard it said that the part of the ‘Miss’, “more tigerish than the tiger,” will not be assigned to her. Perhaps she does not yet know this; she thinks that the part is hers; and she comes here to study.
People have told me this, and laughed at it. But I myself, the other day, took her by surprise, on one of her visits here, and remained talking to her for some time. (to be continued)
Luigi Pirandello: Shoot! (15)
kempis.nl poetry magazine
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Het wordt hoog tijd dat er bezuinigd gaat worden op dure woorden.
(Henk & Ingrid)
http://www.henkeningrid.org/ - (de wereld volgens Henk & Ingrid)
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