At Christmastime
На святках
Headnote
1 “At Christmastime” (“На святках”) belongs to Chekhov’s last years. He wrote it at Yalta in December 1899 and it appeared in the Petersburg Gazette on New Year’s Day, 1900, in the same season as the long peasant chronicle “In the Ravine” and two years before “The Bishop.” It is among the shortest of the late stories and one of the most severely built: two panels, a village tavern kitchen and a Petersburg water-cure clinic, joined by a single sheet of paper.
2 The hinge is the letter. An illiterate old couple pay fifteen kopecks to a discharged soldier who sits all day in his sister’s tavern and is reputed to write a good letter. Vasilisa gets out the salutation and the Christmas greeting and then breaks down; four years of what she has meant to say – the want, the sold cow, her husband’s failing health, the question whether her daughter is even alive – never reach the page. What Yegor writes instead is boilerplate from the army disciplinary code, misspelled, capitalized at random, addressed to no one and about nothing. The comedy and the cruelty are the same fact. Chekhov supplies no verdict: he lets the pen squeak, gives Yegor a full stomach and a red neck, and allows Vasilisa to see exactly what she is looking at without being able to name it.
3 Then the letter arrives, and the story turns on the smallest possible pivot. Yefimya reads the opening lines – the only ones her mother actually spoke – and they are enough; she weeps over snow piled to the roofs and a little yellow dog, and never reaches the bombast underneath. Her husband, listening in the corridor, remembers the letters she gave him to post and that he never posted, which is the whole explanation of the four years’ silence and is disposed of in three lines. Nothing is repaired. The story closes where it opened, on language emptied of sense: a general who asks the same question every day and forgets the answer, and a porter who barks it back.
4 A word on the rendering. Yegor’s letter is misspelled and eccentrically capitalized in the Russian, and it is left so here rather than tidied into sense – the gap between what the old people feel and what gets written down is the story, and correcting the clerk’s prose would close it. The title translates святки, the twelve days from Christmas to Epiphany, and the “second day of the feast” on which the couple come to the tavern falls inside them. Where the narrator says that Yegor was пошлость itself, the word is given as “vulgarity,” as elsewhere in this edition: Chekhov’s term covers a smug, self-satisfied coarseness for which English has no single equivalent, and which he treated all his life as the real antagonist. The old man’s word for his son-in-law’s workplace is a countryman’s approximation of the medical term, and is rendered by a countryman’s approximation in English, against the narrator’s own more exact usage a few pages later.