Forty Stories - Anton Chekhov [2]
Even in his last years Chekhov bore very little resemblance to the Braz portrait. No one could guess from looking at that portrait that this was a man who was always laughing and joking, who was gay and carefree and confident of his powers, who was kind and gentle and generous and very human. What distinguished him from other people was precisely what the portrait left out—the flame of eagerness in the eyes, the wild appetite for experience, the sense of sheer enjoyment which accompanied him everywhere. Men felt doubly men in his presence, and women were continually falling in love with him. There was nothing of the puritan in him. He yearned for only one thing—that people should live in the utmost freedom, perhaps because very early in his own life he had acquired all the freedom he wanted.
By the time he was thirty Chekhov had traveled across the whole length of Russia, visited Hong Kong, Singapore, and Ceylon, and half the great cities of Europe. He makes one of his characters say: “I long to embrace, to include in my own short life, all that is accessible to man. I long to speak, to read, to wield a hammer in a great factory, to keep watch at sea, to plow. I want to be walking along the Nevsky Prospect, or in the open fields, or on the ocean—wherever my imagination ranges …” “I want to go to Spain and Africa,” he wrote at another time. “I have a craving for life.” He imagined himself leading great caravans of his friends across the whole world, and since this was impossible he was always inviting them to come and stay with him, so that his various houses in the country came to resemble circuses with all the visitors assigned to play out their comic roles. He wrote to the vaudeville writer Bilibin: “I tell you what: get married and come down here, wife and all, for a week or two. I assure you it’ll do you all a world of good, and you’ll go away marvelously stupid.” The venerable Grigorovich came to stay with him, and some time later, remembering the strange things that had happened to him, he lifted his arms in mock horror and exclaimed: “If you only knew what went on at the Chekhovs’! A saturnalia, a regular saturnalia, I tell you!”
What went on, of course, was nothing more than an experiment in furious good humor, with Chekhov playing his usual conspiratorial role. The wonder is that he was able to write so many stories in a life given over to so many friendships. He never stinted his friends, and gave money away recklessly. At those famous house parties there would be poets and novelists and musicians, some high officials, an ecclesiastical dignitary or two, a handful of circus folk, but there were also other people who were not so easily categorized, and these would turn out to be horse thieves, ex-convicts, piano tuners, or prostitutes, anyone in fact that he had met in the course of his travels. He had an especial fondness for pretty young women and homely priests, and he loved all animals except cats, which he abominated. What he sought for in people was that eagerness for life and experience which he regarded as man’s birthright, and his hatred of poverty arose from the despairing knowledge that poverty saps unendurably at human vitality. He had no liking for the government, and he had even less liking for the revolutionaries attempting to overthrow the government. He loved life, and regarded politics as death.
Chekhov was l’homme moyen sensuel raised to the level of genius. He worked prodigiously hard at his medical practice and over his stories and plays, but even at the moments of greatest tension good humor kept creeping in. Everything