“Certainly, mother,” answered Mitia sweetly, smiling at his youngest sister who, happy in feeling warm, had begun to play, and was trying to creep into the violin case.
At half-past nine Anton Egoritsch himself brought him an omelet, and taking the violin from his hand, placed it in the case. Mitia hastily ate the omelet, his father almost feeding him while drawing on an old uniform. Anton Egoritsch was soon due at his post in the Chancery Department, where he occupied the lowest and worst paid position—that of copyist. He intended to hand in the work he had done at home, for which he hoped to get extra pay. In that case a fire would be lighted in the bedroom, and the little girls would have breakfast. Now they could only have weak tea and rye bread, and gaze at Mitia’s omelet with hungry eyes. Mitia would gladly share it with them, but Anton Egoritsch was inexorable.
“Have patience, children, have patience. Father will get some extra money, and then you shall breakfast too. Mitenka must eat. He needs all his strength. He’ll be an artist, and provide for us all, and make us famous. That’s what he’ll do, children.”
Anna Nikitischna, who never contradicted her husband, looked sadly at her son. Her heart contracted painfully at the sight of his thin body, his pale little face, and hollow cheeks. “The food does him no good,” she thought, “and whatever the future may bring, at present he looks wretched.” It was not that she doubted Mitia’s future fame; on the contrary her heart joyfully inclined to the belief when Anton Egoritsch related to her how surprised and delighted the audience had been last night, and how they had vied with each other in treating Mitia as a phenomenon. She simply understood nothing about it all, and when she listened to the monotonous exercises her son was constantly practising, she couldn’t tell whether the playing was good or bad.
After the omelet was finished, Anton Egoritsch wrapped up his son and took him to the Conservatory. Mitia not only studied music there, but also other subjects. The first lesson to-day happened to be “the Russian language.” There were about thirty boys in the class. The teacher had not yet arrived, and Mitia found himself in the midst of a scrimmage, which turned out to be a game. He joined in the romp, and was soon jumping and turning somersaults with unusual activity and liveliness. What the others did, he did. He felt cheerful and unrestrained. The deep depression which fell on him in consequence of incessant and hard practising instantly vanished. The boys paid him no especial attention, but just treated him like one of themselves. No one seemed to remember the laurels he had won last night, or dwell upon the fact that he was the most talented student of the Conservatory. They were all aware of it, but there was no time to give it a thought at such a moment. The game was a very close one, and the combat of the contending parties very sharp.
The teacher entered, every boy scrambled to his place, and quiet was restored.
Mitia breathed hard, his cheeks burned hotly, and a pleasant warmth diffused itself over his small frail body, a sensation due to the exercise and healthy fatigue of all his muscles.
“If mother could see me now, how pleased she would be!” thought the boy, remembering how frequently she would sigh when she looked at him and say, “Poor child, why are you so pale?”
The lesson over, another recess, another game—more movement, noise, laughter—the free expansion of childhood! These times were Mitia’s hours of rest. Let it not be imagined he did not love his work. The violin was his vocation. Three years ago, when he was nine years old, he had begged his father to buy him one, and was very happy when a friend of his father, a fifth-rate musician, taught him how to hold the violin and bow. He began to scrape from morning to night, profiting by the few hints from the musician. He was quick to comprehend and apply the advice given him. Anton Egoritsch at first regarded it as a simple, childish amusement; then an agreeable uncertainty pervaded his mind. His son might possibly have talent—great talent! He had often heard stories of great musicians, who had sprung from poor and obscure origin. What if his son were destined to greatness, to make his family famous—the poor insignificant Spiridonoff—and, above all, destined to make a fortune, and to lift them all out of this miserable poverty! The idea entirely possessed him, and a year later he took the boy to the Conservatory. He returned after Mitia’s first examination with whirling brain. The committee were delighted with the child. His style of playing, acquired from the fifth-rate musician, broke every artistic rule, yet the boy’s talent was so evident it showed in every movement of the bow. Onkel emphatically declared he would give up Spiridonoff to nobody, and that he, Onkel, as the oldest professor of the institution, had the right of choice. This Brendel denied, asserting that Onkel had already ruined more than one pupil’s talent, that he did nothing but ruin, in fact couldn’t do otherwise, as he taught the Munich method—that is to say, a bad method. Then Onkel in his turn derided the Dresden method, proclaiming there was but one method in the world—the Munich.
Their altercation, conducted in Russian, grew loader and louder, and at last when it reached the shooting stage, lapsed into German, Onkel using epithets peculiar to Munich, and Brendel those distinctive of Leipsic. The dispute had to be settled by the Advisory Committee, who assigned Mitia Spiridonoff to Onkel. From that moment Brendel doubted Mitia’s talent. But this did not trouble Anton Egoritsch. He was convinced of his son’s future fame and wealth, and felt grateful to fortune for sending him such good luck. His whole soul became centred in rearing up the prospective greatness of the Spiridonoff family. He wanted to coerce fate. His scant earnings were all spent on Mitia. Of the two rooms occupied by the family, one was given to Mitia, because he needed pure air and quiet. The rest were crowded in the other room, which served as bedroom, nursery, workroom, dining-room, and parlor. Mitia was well and warmly clad, while the little girls ran around in anything. Mitia’s food was unlike theirs. He had breakfast, and a different piece of meat for his dinner, also milk and sweetmeats. Mitia had a comfortable little bed, a soft coverlet, and clean and whole linen. Mitia was treated like a well-paying boarder in a poor family. Anton Egoritsch was so absorbed in his enthusiastic cultivation of the boy’s talent, and the glory it would bring to the Spiridonoffs that he often forgot the very existence of the other members of his family. Mitia on his part was forced to pay for all this attention. Every step he took was watched, every minute of his time was taken possession of by his father. The old man entrusted him solely to the Conservatory, believing that every second spent there brought his son nearer to the goal. But as soon as Mitia returned from the Conservatory, and had had his dinner, the old man would fondle him with one hand and with the other pass him the violin.