The woman's companion, some five or six years her senior, has a face exceptional in the constant change and movement of its great dark eyes as at one moment they withdraw themselves from the street of the Cossack hamlet, to gaze fixedly and gravely towards the steppe where it lies scoured with the scudding breeze, and at another moment fall to scanning the faces of the persons around her, and, at another, frown anxiously, or send a smile flitting across her comely lips as she bends her head, until her features are concealed. Next, the head is raised again, for the eyes have taken on another phase, and become dilated with interest, while a sharp furrow is forming between the slender eyebrows, and the finely moulded lips and trim mouth have compressed themselves together, and the thin nostrils of the straight nose are snuffing the air like those of a horse.
In fact, in the woman there is something non-peasant in its origin. For instance, let one but watch her sharply clicking feet as, in walking, they peep from under her blue skirt, and one will perceive that they are not the splayed feet of a villager, but, rather, feet arched of instep, and at one time accustomed to the wearing of boots. Or, as the woman sits engaged in embroidering a blue bodice with a pattern of white peas, one will perceive that she has long been accustomed to plying the needle so dexterously; swiftly do the small, sunburnt hands fly in and out under the tumbled material, eagerly though the wind may strive to wrest it from her. Again, as she sits bending over her work, one will descry through a rent in her bodice a small, firm bosom which might almost have been that of a virgin, were it not for the fact that a projecting teat proclaims that she is a woman preparing to suckle an infant. In short, as she sits among her companions she looks like a fragment of copper flung into the midst of some rusty old scrap-iron.
Most of the people in whose society I wander neither rise to great heights nor sink to great depths, but are as colourless as dust, and wearisomely insignificant. Hence is it that whenever I chance upon a person whose soul I can probe and explore for thoughts unfamiliar to me and words not hitherto heard I congratulate myself, seeing that though it is my desire to see life grow more fair and exalted, and I yearn to bring about that end, there constantly reveals itself to me merely a vista of sharp angles and dark spaces and poor crushed, defrauded people. Yes, never do I seek to project a spark of my own fire into the darkness of my neighbour's soul but I see that spark disappear, become lost, in a chaos of dumb vacuity.
Hence the woman of whom I have just spoken particularly excites my fancy, and leads me to attempt divinations of her past, until I find myself evolving a story which is not only of vast complexity, but has got painted into it merely the colours of my own hopes and aspirations. It is a story necessarily illusory, necessarily bound to make life seem even worse than before. Yet it is a grievous thing NEVER to distort actuality, NEVER to envelop actuality in the wrappings of one's imagination....
Closing his eyes, and picking his words with difficulty, a tall, fair peasant drawls in thick, gluelike tones:
"'Very well,' I said: and off we set. On the way I said again: 'Gubin, though you may not like to be told so, you are no better than a thief.'"
The o's uttered by this peasant are uniformly round and firm—they roll forward as a cartwheel trundles along a hot, dusty country road.
The youth with the high cheek-bones fixes the whites of his porcine eyes (eyes the pupils of which are as indeterminate as the eyes of a blind man) upon the woman in the green scarf. Then, having, like a calf, plucked and chewed some stalks of the withered grass, he rolls up the sleeves of his shirt, bends one fist into the crook of the elbow, and says to Konev with a glance at the well-developed muscle:
"Should you care to hit me?"
"No, you can hit yourself. Hit yourself over the head. Then, perhaps, you'll grow wiser."