The Best of Science Fiction 12

All this, let it be said once and for all, is no more than a schematic attempt at an explanation. About that time the woman actually began to show signs of independence or, as one might say, of autonomy. Nikolai Vassilevitch had the extraordinary impression that she was acquiring a personality of her own, indecipherable perhaps, but still distinct from his, and one which slipped through his fingers. It is certain that some sort of continuity was established between each of her appearances — between all those brunettes, those blondes, those redheads and auburn-headed girls, between those plump, those slim, those dusky or snowy or golden beauties, there was a certain something in common. At the beginning of this chapter I cast some doubt on the propriety of considering Caracas as a unitary personality; nevertheless I myself could not quite, whenever I saw her, free myself of the impression that, however unheard of it may seem, this was fundamentally the same woman. And it may be that this was why Gogol felt he had to give her a name.

An attempt to establish in what precisely subsisted the common attributes of the different forms would be quite another thing. Perhaps it was no more and no less than the creative afflatus of Nikolai Vassilevitch himself. But no, it would have been too singular and strange if he had been so much divided off from himself, so much averse to himself. Because whoever she was, Caracas was a disturbing presence and even — it is better to be quite clear — a hostile one. Yet neither Gogol nor I ever succeeded in formulating a remotely tenable hypothesis as to her true nature; when I say formulate, I mean in terms which would be at once rational and accessible to all. But I cannot pass over an extraordinary event which took place at this time.

Caracas fell ill of a shameful disease — or rather Gogol did — though he was not then having, nor had he ever had, any contact with other women. I will not even try to describe how this happened, or where the filthy complaint came from; all I know is that it happened. And that my great, unhappy friend would say to me: "So, Foma Paskalovitch, you see what lay at the heart of Caracas; it was the spirit of syphilis."

Sometimes he would even blame himself in a quite absurd manner; he was always prone to self-accusation. This incident was a real catastrophe as far as the already obscure relationship between husband and wife, and the hostile feelings of Nikolai Vassilevitch himself, were concerned. He was compelled to undergo long-drawn-out and painful treatment — the treatment of those days — and the situation was aggravated by the fact that the disease in the woman did not seem to be easily curable.

Gogol deluded himself for some time that, by blowing his wife up and down and furnishing her with the most widely divergent aspects, he could obtain a woman immune from the contagion, but he was forced to desist when no results were forthcoming.

I shall be brief, seeking not to tire my readers, and also because what I remember seems to become more and more confused. I shall therefore hasten to the tragic conclusion. As to this last, however, let there be no mistake. I must once again make it clear that I am very sure of my ground. I was an eyewitness. Would that I had not been!

The years went by. Nikolai Vassilevitch's distaste for his wife became stronger, though his love for her did not show any signs of diminishing. Toward the end, aversion and attachment struggled so fiercely with each other in his heart that he became quite stricken, almost broken up. His restless eyes, which habitually assumed so many different expressions and sometimes spoke so sweetly to the heart of his interlocutor, now almost always shone with a fevered light, as if he were under the effect of a drug. The strangest impulses arose in him, accompanied by the most senseless fears. He spoke to me of Caracas more and more often, accusing her of unthinkable and amazing things. In these regions I could not follow him, since I had but a sketchy acquaintance with his wife, and hardly any intimacy — and above all since my sensibility was so limited compared with his. I shall accordingly restrict myself to reporting some of his accusations, without reference to my personal impressions.

"Believe it or not, Foma Paskalovitch," he would, for example, often say to me: "Believe it or not, she's aging! " Then, unspeakably moved, he would, as was his way, take my hands in his. He also accused Caracas of giving herself up to solitary pleasures, which he had expressly forbidden. He even went so far as to charge her with betraying him, but the things he said became so extremely obscure that I must excuse myself from any further account of them.

One thing that appears certain is that toward the end Caracas, whether aged or not, had turned into a bitter creature, querulous, hypocritical and subject to religious excess. I do not exclude the possibility that she may have had an influence on Gogol's moral position during the last period of his life, a position which is sufficiently well known. The tragic climax came one night quite unexpectedly when Nikolai Vassilevitch and I were celebrating his silver wedding — one of the last evenings we were to spend together. I neither can nor should attempt to set down what it was that led to his decision, at a time when to all appearances he was resigned to tolerating his consort. I know not what new events had taken place that day. I shall confine myself to the facts; my readers must make what they can of them.

That evening Nikolai Vassilevitch was unusually agitated. His distaste for Caracas seemed to have reached an unprecedented intensity. The famous 'pyre of vanities' — the burning of his manuscripts — had already taken place; I should not like to say whether or not at the instigation of his wife. His state of mind had been further inflamed by other causes. As to his physical condition, this was ever more pitiful, and strengthened my impression that he took drugs. All the same, he began to talk in a more or less normal way about Belinsky, who was giving him some trouble with his attacks on the Selected Correspondence . Then suddenly, tears rising to his eyes, he interrupted himself and cried out: "No. No. It's too much, too much. I can't go on any longer," as well as other obscure and disconnected phrases which he would not clarify. He seemed to be talking to himself. He wrung his hands, shook his head, got up and sat down again after having taken four or five anxious steps round the room. When Caracas appeared, or rather when we went in to her later in the evening in her Oriental chamber, he controlled himself no longer and began to behave like an old man, if I may so express myself, in his second childhood, quite giving way to his absurd impulses. For instance, he kept nudging me and winking and senselessly repeating: "There she is, Foma Paskalovitch; there she is!" Meanwhile she seemed to look up at us with a disdainful attention. But behind these 'mannerisms' one could feel in him a real repugnance, a repugnance which had, I suppose, now reached the limits of the endurable. Indeed ...

After a certain time Nikolai Vassilevitch seemed to pluck up courage. He burst into tears, but somehow they were more manly tears. He wrung his hands again, seized mine in his, and walked up and down, muttering: "That's enough! We can't have any more of this. This is an unheard of thing. How can such a thing be happening to me? How can a man be expected to put up with this ?"

He then leapt furiously upon the pump, the existence of which he seemed just to have remembered, and, with it in his hand, dashed like a whirlwind to Caracas. He inserted the tube in her anus and began to inflate her ... Weeping the while, he shouted like one possessed: "Oh, how I love her, how I love her, my poor, poor darling! ... But she's going to burst! Unhappy Caracas, most pitiable of God's creatures! But die she must!"