"I have said above that the determination needed by me for the accomplishment of my final resolve, came to hand not through any sequence of causes, but thanks to a certain strange circumstance which had perhaps no connection whatever with the matter at issue. Ten days ago Rogojin called upon me about certain business of his own with which I have nothing to do at present. I had never seen Rogojin before, but had often heard about him.
"I gave him all the information he needed, and he very soon took his departure; so that, since he only came for the purpose of gaining the information, the matter might have been expected to end there.
"But he interested me too much, and all that day I was under the influence of strange thoughts connected with him, and Idetermined to return his visit the next day.
"Rogojin was evidently by no means pleased to see me, and hinted, delicately, that he saw no reason why our acquaintance should continue. For all that, however, I spent a very interesting hour, and so, I dare say, did he. There was so great a contrast between us that I am sure we must both have felt it; anyhow, I felt it acutely. Here was I, with my days numbered, and he, a man in the full vigour of life, living in the present, without the slightest thought for 'final convictions,' or numbers, or days, or, in fact, for anything but that which-which--well, which he was mad about, if he will excuse me the expression--as a feeble author who cannot express his ideas properly.
"In spite of his lack of amiability, I could not help seeing, in Rogojin a man of intellect and sense; and although, perhaps, there was little in the outside world which was of. interest to him, still he was clearly a man with eyes to see.
"I hinted nothing to him about my 'final conviction,' but it appeared to me that he had guessed it from my words. He remained silent--he is a terribly silent man. I remarked to him, as I rose to depart, that, in spite of the contrast and the wide differences between us two, les extremites se touchent ('extremes meet,' as I explained to him in Russian); so that maybe he was not so far from my final conviction as appeared.
"His only reply to this was a sour grimace. He rose and looked for my cap, and placed it in my hand, and led me out of the house--that dreadful gloomy house of his--to all appearances, of course, as though I were leaving of my own accord, and he were simply seeing me to the door out of politeness. His house impressed me much; it is like a burial-ground, he seems to like it, which is, however, quite natural. Such a full life as he leads is so overflowing with absorbing interests that he has little need of assistance from his surroundings.
"The visit to Rogojin exhausted me terribly. Besides, I had felt ill since the morning; and by evening I was so weak that I took to my bed, and was in high fever at intervals, and even delirious. Colia sat with me until eleven o'clock.
"Yet I remember all he talked about, and every word we said, though whenever my eyes closed for a moment I could picture nothing but the image of Surikoff just in the act of finding a million roubles. He could not make up his mind what to do with the money, and tore his hair over it. He trembled with fear that somebody would rob him, and at last he decided to bury it in the ground. I persuaded him that, instead of putting it all away uselessly underground, he had better melt it down and make a golden coffin out of it for his starved child, and then dig up the little one and put her into the golden coffin. Surikoff accepted this suggestion, I thought, with tears of gratitude, and immediately commenced to carry out my design.
"I thought I spat on the ground and left him in disgust. Colia told me, when I quite recovered my senses, that I had not been asleep for a moment, but that I had spoken to him about Surikoff the whole while.
"At moments I was in a state of dreadful weakness and misery, so that Colia was greatly disturbed when he left me.
"When I arose to lock the door after him, I suddenly called to mind a picture I had noticed at Rogojin's in one of his gloomiest rooms, over the door. He had pointed it out to me himself as we walked past it, and I believe I must have stood a good five minutes in front of it. There was nothing artistic about it, but the picture made me feel strangely uncomfortable. It represented Christ just taken down from the cross. It seems to me that painters as a rule represent the Saviour, both on the cross and taken down from it, with great beauty still upon His face. This marvellous beauty they strive to preserve even in His moments of deepest agony and passion. But there was no such beauty in Rogojin's picture. This was the presentment of a poor mangled body which had evidently suffered unbearable anguish even before its crucifixion, full of wounds and bruises, marks of the violence of soldiers and people, and of the bitterness of the moment when He had fallen with the cross--all this combined with the anguish of the actual crucifixion.
"The face was depicted as though still suffering; as though the body, only just dead, was still almost quivering with agony. The picture was one of pure nature, for the face was not beautified by the artist, but was left as it would naturally be, whosoever the sufferer, after such anguish.
"I know that the earliest Christian faith taught that the Saviour suffered actually and not figuratively, and that nature was allowed her own way even while His body was on the cross.
"It is strange to look on this dreadful picture of the mangled corpse of the Saviour, and to put this question to oneself:
'Supposing that the disciples, the future apostles, the women who had followed Him and stood by the cross, all of whom believed in and worshipped Him--supposing that they saw this tortured body, this face so mangled and bleeding and bruised (and they MUST have so seen it)--how could they have gazed upon the dreadful sight and yet have believed that He would rise again?'
