Another time a petty clerk, a respectable head of a family, married his daughter, a beautiful girl of seventeen, known to every one in the town, to another petty clerk, a young man who came from a different district. But suddenly it was learned that the young husband had treated the beauty very roughly on the wedding night, chastising her for what he regarded as a stain on his honour. Lyamshin, who was almost a witness of the affair, because he got drunk at the wedding and so stayed the night, as soon as day dawned, ran round with the diverting intelligence.
Instantly a party of a dozen was made up, all of them on horseback, some on hired Cossack horses, Pyotr Stepanovitch, for instance, and Liputin, who, in spite of his grey hairs, took part in almost every scandalous adventure of our reckless youngsters. When the young couple appeared in the street in a droshky with a pair of horses to make the calls which are obligatory in our town on the day after a wedding, in spite of anything that may happen, the whole cavalcade, with merry laughter, surrounded the droshky and followed them about the town all the morning. They did not, it’s true, go into the house, but waited for them outside, on horseback. They refrained from marked insult to the bride or bridegroom, but still they caused a scandal. The whole town began talking of it. Every one laughed, of course. But at this Von Lembke was angry, and again had a lively scene with Yulia Mihailovna. She, too, was extremely angry, and formed the intention of turning the scapegraces out of her house. But next day she forgave them all after persuasions from Pyotr Stepanovitch and some words from Karmazinov, who considered the affair rather amusing.
“It’s in harmony with the traditions of the place,” he said. “Anyway it’s characteristic and … bold; and look, every one’s laughing, you’re the only person indignant.”
But there were pranks of a certain character that were absolutely past endurance.
A respectable woman of the artisan class, who went about selling gospels, came into the town. People talked about her, because some interesting references to these gospel women had just appeared in the Petersburg papers. Again the same buffoon, Lyamshin, with the help of a divinity student, who was taking a holiday while waiting for a post in the school, succeeded, on the pretence of buying books from the gospel woman, in thrusting into her bag a whole bundle of indecent and obscene photographs from abroad, sacrificed expressly for the purpose, as we learned afterwards, by a highly respectable old gentleman (I will omit his name) with an order on his breast, who, to use his own words, loved “a healthy laugh and a merry jest.” When the poor woman went to take out the holy books in the bazaar, the photographs were scattered about the place. There were roars of laughter and murmurs of indignation. A crowd collected, began abusing her, and would have come to blows if the police had not arrived in the nick of time. The gospel woman was taken to the lock-up, and only in the evening, thanks to the efforts of Mavriky Nikolaevitch, who had learned with indignation the secret details of this loathsome affair, she was released and escorted out of the town. At this point Yulia Mihailovna would certainly have forbidden Lyamshin her house, but that very evening the whole circle brought him to her with the intelligence that he had just composed a new piece for the piano, and persuaded her at least to hear it. The piece turned out to be really amusing, and bore the comic title of “The Franco-Prussian War.” It began with the menacing strains of the “Marseillaise”:
“Qu’un sang impur abreuve nos sillons.”
There is heard the pompous challenge, the intoxication of future victories. But suddenly mingling with the masterly variations on the national hymn, somewhere from some corner quite close, on one side come the vulgar strains of “Mein lieber Augustin.” The “Marseillaise” goes on unconscious of them. The “Marseillaise” is at the climax of its intoxication with its own grandeur; but Augustin gains strength; Augustin grows more and more insolent, and suddenly the melody of Augustin begins to blend with the melody of the “Marseillaise.” The latter begins, as it were, to get angry; becoming aware of Augustin at last she tries to fling him off, to brush him aside like a tiresome insignificant fly. But “Mein lieber Augustin” holds his ground firmly, he is cheerful and self-confident, he is gleeful and impudent, and the “Marseillaise” seems suddenly to become terribly stupid. She can no longer conceal her anger and mortification; it is a wail of indignation, tears, and curses, with hands outstretched to Providence.
“Pas un pouce de notre terrain; pas une de nos forteresses.”
But she is forced to sing in time with “Mein lieber Augustin.” Her melody passes in a sort of foolish way into Augustin; she yields and dies away. And only by snatches there is heard again:
“Qu’un sang impur …”