‘Someone is there,’ Nadezhda said softly.

She stood waiting for him to come down or to call her up to him, so that he could at last declare his love – then both would be happy on that calm, beautiful night. White, pale, slender, very lovely in the moonlight, she awaited his caresses. She was weary of perpetually dreaming of love and happiness and was unable to conceal her feelings any longer. Her whole figure, her radiant eyes, her fixed happy smile, betrayed her innermost thoughts. But he felt awkward, shrank back and didn’t make a sound, not knowing whether to speak, whether to make the habitual joke out of the situation or whether to remain silent. He felt annoyed and his only thought was that here, in a country garden on a moonlit night, close to a beautiful, loving, thoughtful girl, he felt the same apathy as on Little Bronny Street: evidently this type of romantic situation had lost its fascination, like that prosaic depravity. Of no consequence to him now were those meetings on moonlit nights, those white shapes with slim waists, those mysterious shadows, towers, country estates and characters such as Sergey Sergeich, and people like himself, Podgorin, with his icy indifference, his constant irritability, his inability to adapt to reality and take what it had to offer, his wearisome, obsessive craving for what did not and never could exist on earth. And now, as he sat in that tower, he would have preferred a good fireworks display, or some moonlight procession, or Varvara reciting Nekrasov’s The Railway again. He would rather another woman was standing there on the bank where Nadezhda was: this other woman would have told him something absolutely fascinating and new that had nothing to do with love or happiness. And if she did happen to speak of love, this would have been a summons to those new, lofty, rational aspects of existence on whose threshold we are perhaps already living and of which we sometimes seem to have premonitions.

‘There’s no one there,’ Nadezhda said.