Dead Souls by Nikolai Gogol (moboreader .txt) 📕

Why do I so persistently paint the poverty, the imperfections of Russian life, and delve into the remotest depths, the most retired holes and corners, of our Empire for my subjects? The answer is that there is nothing else to be done when an author’s idiosyncrasy happens to incline him that way. So again we find ourselves in a retired spot. But what a spot!

Imagine, if you can, a mountain range like a gigantic fortress, with embrasures and bastions which appear to soar a thousand versts towards the heights of heaven, and, towering grandly over a boundless expanse of plain, are broken up into precipitous, overhanging limestone cliffs. Here and there those cliffs are seamed with watercourses and gullies, while at other points they are rounded off into spurs of green⁠—spurs now coated with fleece-like tufts of young undergrowth, now studded with the stumps of felled trees, now covered with timber which has, by some miracle, escaped the woodman’s axe. Also, a river winds awhile between its banks, then leaves the meadow land, divides into runlets (all flashing in the sun like fire), plunges, reunited, into the midst of a thicket of elder, birch, and pine, and, lastly, speeds triumphantly past bridges and mills and weirs which seem to be lying in wait for it at every turn.

At one particular spot the steep flank of the mountain range is covered with billowy verdure of denser growth than the rest; and here the aid of skilful planting, added to the shelter afforded by a rugged ravine, has enabled the flora of north and south so to be brought together that, twined about with sinuous hop-tendrils, the oak, the spruce fir, the wild pear, the maple, the cherry, the thorn, and the mountain ash either assist or check one another’s growth, and everywhere cover the declivity with their straggling profusion. Also, at the edge of the summit there can be seen mingling with the green of the trees the red roofs of a manorial homestead, while behind the upper stories of the mansion proper and its carved balcony and a great semicircular window there gleam the tiles and gables of some peasants’ huts. Lastly, over this combination of trees and roofs there rises⁠—overtopping everything with its gilded, sparkling steeple⁠—an old village church. On each of its pinnacles a cross of carved gilt is stayed with supports of similar gilding and design; with the result that from a distance the gilded portions have the effect of hanging without visible agency in the air. And the whole⁠—the three successive tiers of woodland, roofs, and crosses whole⁠—lies exquisitely mirrored in the river below, where hollow willows, grotesquely shaped (some of them rooted on the river’s banks, and some in the water itself, and all drooping their branches until their leaves have formed a tangle with the water lilies which float on the surface), seem to be gazing at the marvellous reflection at their feet.

Thus the view from below is beautiful indeed. But the view from above is even better. No guest, no visitor, could stand on the balcony of the mansion and remain indifferent. So boundless is the panorama revealed that surprise would cause him to catch at his breath, and exclaim: “Lord of Heaven, but what a prospect!” Beyond meadows studded with spinneys and water-mills lie forests belted with green; while beyond, again, there can be seen showing through the slightly misty air strips of yellow heath, and, again, wide-rolling forests (as blue as the sea or a cloud), and more heath, paler than the first, but still yellow. Finally, on the far horizon a range of chalk-topped hills gleams white, even in dull weather, as though it were lightened with perpetual sunshine; and here and there on the dazzling whiteness of its lower slopes some plaster-like, nebulous patches represent far-off villages which lie too remote for the eye to discern their details. Indeed, only when the sunlight touches a steeple to gold does one realise that each such patch is a human settlement. Finally, all is wrapped in an immensity of silence which even the far, faint echoes of persons singing in the void of the plain cannot shatter.

Even after gazing at the spectacle for a couple of hours or so, the visitor would still find nothing to say, save: “Lord of Heaven, but what a prospect!” Then who is the dweller in, the proprietor of, this manor⁠—a manor to which, as to an impregnable fortress, entrance cannot be gained from the side where we have been standing, but only from the other approach, where a few scattered oaks offer hospitable welcome to the visitor, and then, spreading above him their spacious branches (as in friendly embrace), accompany him to the façade of the mansion whose top we have been regarding from the reverse aspect, but which now stands frontwise on to us, and has, on one side of it, a row of peasants’ huts with red tiles and carved gables, and, on the other, the village church, with those glittering golden crosses and gilded openwork charms which seem to hang suspended in the air? Yes, indeed!⁠—to what fortunate individual does this corner of the world belong? It belongs to Andrei Ivanovitch Tientietnikov, landowner of the canton of Tremalakhan, and, withal, a bachelor of about thirty.

Should my lady readers ask of me what manner of man is Tientietnikov, and what are his attributes and peculiarities, I should refer them to his neighbours. Of these, a member of the almost extinct tribe of intelligent staff officers on the retired list once summed up Tientietnikov in the phrase, “He is an absolute blockhead;” while a General who resided ten versts away was heard to remark that “he is a young man who, though not exactly a fool, has at least too much crowded into his head. I myself might have been of use to him, for not only