CHAPTER III.
TSCHAIKOVSKI, THE WOMAN-DREADER
Had his relations with music been as completely original as his relations with women, there would be less dispute as to the genius of this man whom the Germans call a Russian; the Russians, a German. He was the son of a well-to-do mining and military engineer, who believed in marriage and made three wives happy—in succession. The young Tschaikovski was late, like Wagner, in deciding on music, and was twenty-three before he took up instrumentation.
He was of a passionate nature, but his temper usually struck inward, and his friend Kashkin said that he "never began a quarrel or defended himself when attacked." That is not, I believe, a type to fascinate women for long, and Tschaikovski's moroseness, which bordered on morbidness and always hovered on the brink of insanity, made it perhaps fortunate for at least two women that his negotiations with them ended as they did. And so he drifted—not such a bachelor as Beethoven, yet quite as wifeless. Unlike Beethoven, who turned from one disappointing woman to another, Tschaikovski turned to men. Among his friends was Nikolai Rubinstein, the brother of the more famous pianist, Anton.
Now, Nikolai, like Anton, had tried marriage, and, after two years of quarrels with his wife's relatives and doubtless with her, had forsworn the other sex. Incidentally he had taught all day and gambled all night; so the husband was not the only gainer by the separation. Nikolai and Tschaikovski set up a ménage together for a time. Tschaikovski, however, had not learned that womankind was not his kind; so he flirted a little with the beautiful niece of one Tarnovski, for instance, and with an unknown at a masked ball. But he was chiefly music-mad and undermined his health by his overwork.
Then in 1868, his father got after him to marry. As long before as 1859, when he was nineteen, he had suffered from an unrequited love. Now at the age of twenty-eight he cared nothing for petticoats. He had written his sister a year ago that he was tired of life, and marriage did not tempt him; he was, said he, "too lazy to woo, too lazy to support a family, too lazy to endure the responsibility of a wife and children." But upon this ennui fell an electric spark—from the old storage-batteries, woman's eyes.
There had come to the Moscow opera a Belgian singer, Désirée Artôt, who was then thirty-three years old, a woman whose pictures make her nearly beautiful, and who is recorded as a queen of grace and a queen of dramatic and lyric song. She was witty and magnetic, and Peter Iljitsch, five years her junior, like another Chopin and another Mary's lamb, followed her about.
One day he wrote: "She is a charmer; we are friends." Then tempo accelerate; he copied music for her benefit performance; later he apologised for not writing his brother—he was all monopolised by the singer. So he went swirling into the current. He tried to keep away; they met by accident; she reproached him; he promised to call; then his inveterate timidity palsied him, till Anton Rubinstein had to drag him to her rooms by force.