been piled together by nature out of huge rocks, pressing upon each other with such terrible weight, that Samoylenko could not help gasping every time he looked at them. The dark and beautiful mountain was cleft in places by narrow fissures and gorges from which came a breath of dewy moisture and mystery; though the gorges could be seen other mountains, brown, pink, lilac, smoky, or bathed in vivid sunlight. From time to time as they passed a gorge they caught the sound of water falling from the heights and splashing on the stones.

“Ach, the damned mountains!” sighed Laevsky. “How sick I am of them!”

At the place where the Black River falls into the Yellow, and the water black as ink stains the yellow and struggles with it, stood the Tatar Kerbalay’s duhan, with the Russian flag on the roof and with an inscription written in chalk: “The Pleasant Duhan.” Near it was a little garden, enclosed in a hurdle fence, with tables and chairs set out in it, and in the midst of a thicket of wretched thorn-bushes stood a single solitary cypress, dark and beautiful.

Kerbalay, a nimble little Tatar in a blue shirt and a white apron, was standing in the road, and, holding his stomach, he bowed low to welcome the carriages, and smiled, showing his glistening white teeth.

“Good-evening, Kerbalay,” shouted Samoylenko. “We are driving on a little further, and you take along the samovar and chairs! Look sharp!”

Kerbalay nodded his shaven head and muttered something, and only those sitting in the last carriage could hear: “We’ve got trout, your Excellency.”

“Bring them, bring them!” said Von Koren.

Five hundred paces from the duhan the carriages stopped. Samoylenko selected a small meadow round which there were scattered stones convenient for sitting on, and a fallen tree blown down by the storm with roots overgrown by moss and dry yellow needles. Here there was a fragile wooden bridge over the stream, and just opposite on the other bank there was a little barn for drying maize, standing on four low piles, and looking like the hut on hen’s legs in the fairy tale; a little ladder sloped from its door.

The first impression in all was a feeling that they would never get out of that place again. On all sides wherever they looked, the mountains rose up and towered above them, and the shadows of evening were stealing rapidly, rapidly from the duhan and dark cypress, making the narrow winding valley of the Black River narrower and the mountains higher. They could hear the river murmuring and the unceasing chirrup of the grasshoppers.

“Enchanting!” said Marya Konstantinovna, heaving deep sighs of ecstasy. “Children, look how fine! What peace!”

“Yes, it really is fine,” assented Laevsky, who liked the view, and for some reason felt sad as he looked at the sky and then at the blue smoke rising from the chimney of the duhan. “Yes, it is fine,” he repeated.

“Ivan Andreitch, describe this view,” Marya Konstantinovna said tearfully.

“Why?” asked Laevsky. “The impression is than any description. The wealth of sights and sounds which every one receives from nature by direct impression is ranted about by authors in a hideous and unrecognisable way.”

“Really?” Von Koren asked coldly, choosing the biggest stone by the side of the water, and trying to clamber up and sit upon it. “Really?” he repeated, looking directly at Laevsky. “What of ‘Romeo and Juliet’? Or, for instance, Pushkin’s ‘Night in the Ukraine’? Nature ought to come and bow down at their feet.”