reed. He used to burn out the heart of the stalk, make holes where necessary, drill them, fix a mouthpiece at one end, and tune them so well that it was possible to play almost any air on them. He made a number of them in his spare time, and sent them by his friends amongst the freight brakemen to the bazaar in the town. He got two kopeks apiece for them. On the day following the visit of the commission he left his wife at home to meet the six o'clock train, and started off to the forest to cut some sticks. He went to the end of his section--at this point the line made a sharp turn--descended the embankment, and struck into the wood at the foot of the mountain. About half a verst away there was a big marsh, around which splendid reeds for his flutes grew. He cut a whole bundle of stalks and started back home. The sun was already dropping low, and in the dead stillness only the twittering of the birds was audible, and the crackle of the dead wood under his feet. As he walked along rapidly, he fancied he heard the clang of iron striking iron, and he redoubled his pace. There was no repair going on in his section. What did it mean? He emerged from the woods, the railway embankment stood high before him; on the top a man was squatting on the bed of the line busily engaged in something. Semyon commenced quietly to crawl up towards him. He thought it was some one after the nuts which secure the rails. He watched, and the man got up, holding a crow-bar in his hand. He had loosened a rail, so that it would move to one side. A mist swam before Semyon's eyes; he wanted to cry out, but could not. It was Vasily! Semyon scrambled up the bank, as Vasily with crow-bar and wrench slid headlong down the other side.

"Vasily Stepanych! My dear friend, come back! Give me the crow-bar. We will put the rail back; no one will know. Come back! Save your soul from sin!"

Vasily did not look back, but disappeared into the woods.

Semyon stood before the rail which had been torn up. He threw down his bundle of sticks. A train was due; not a freight, but a passenger-train. And he had nothing with which to stop it, no flag. He could not replace the rail and could not drive in the spikes with his bare hands. It was necessary to run, absolutely necessary to run to the hut for some tools. "God help me!" he murmured.

Semyon started running towards his hut. He was out of breath, but still ran, falling every now and then. He had cleared the forest; he was only a few hundred feet from his hut, not more, when he heard the distant hooter of the factory sound--six o'clock! In two minutes' time No. 7 train was due. "Oh, Lord! Have pity on innocent souls!" In his mind Semyon saw the engine strike against the loosened rail with its left wheel, shiver, careen, tear up and splinter the sleepers--and just there, there was a curve and the embankment seventy feet high, down which the engine would topple--and the third-class carriages would be packed ... little children... All sitting in the train now, never dreaming of danger. "Oh, Lord! Tell me what to do!... No, it is impossible to run to the hut and get back in time."

Semyon did not run on to the hut, but turned back and ran faster than before. He was running almost mechanically, blindly; he did not know himself what was to happen. He ran as far as the rail which had been pulled up; his sticks were lying in a heap. He bent down, seized one without knowing why, and ran on farther. It seemed to him the train was already coming. He heard the distant whistle; he heard the quiet, even tremor of the rails; but his strength was exhausted, he could run no farther, and came to a halt about six hundred feet from the awful spot. Then an idea came into his head, literally like a ray of light. Pulling off his cap, he took out of it a cotton scarf, drew his knife out of the upper part of his boot, and crossed himself, muttering, "God bless me!"

He buried the knife in his left arm above the elbow; the blood spurted out, flowing in a hot stream. In this he soaked his scarf, smoothed it out, tied it to the stick and hung out his red flag.

He stood waving his flag. The train was already in sight. The driver would not see him--would come close up, and a heavy train cannot be pulled up in six hundred feet.

And the blood kept on flowing. Semyon pressed the sides of the wound together so as to close it, but the blood did not diminish. Evidently he had cut his arm very deep. His head commenced to swim, black spots began to dance before his eyes, and then it became dark. There was a ringing in his ears. He could not see the train or hear the noise. Only one thought possessed him. "I shall not be able to keep standing up. I shall fall and drop the flag; the train will pass over me. Help me, oh Lord!"

All turned black before him, his mind became a blank, and he dropped the flag; but the blood-stained banner did not fall to the ground. A hand seized it and held it high to meet the approaching train. The engineer saw it, shut the regulator, and reversed steam. The train came to a standstill.

People jumped out of the carriages and collected in a crowd. They saw a man lying senseless on the footway, drenched in blood, and another man standing beside him with a blood-stained rag on a stick.

Vasily looked around at all. Then, lowering his head, he said: "Bind me. I tore up a rail!"

THE DARLING

BY ANTON P. CHEKOV

Olenka, the daughter of the retired collegiate assessor Plemyanikov, was sitting on the back-door steps of her house doing nothing. It was hot, the flies were nagging and teasing, and it was pleasant to think that it would soon be evening. Dark rain clouds were gathering from the east, wafting a breath of moisture every now and then.

Kukin, who roomed in the wing of the same house, was standing in the yard looking up at the sky. He was the manager of the Tivoli, an open-air theatre.

"Again," he said despairingly. "Rain again. Rain, rain, rain! Every day rain! As though to spite me. I might as well stick my head into a noose and be done with it. It's ruining me. Heavy losses every day!" He wrung his hands, and continued, addressing Olenka: "What a life, Olga Semyonovna! It's enough to make a man weep. He works, he does his best, his very best, he tortures himself, he passes sleepless nights, he thinks and thinks and thinks how to do everything just right. And what's the result? He gives the public the best operetta, the very best pantomime, excellent artists. But do they want it? Have they the least appreciation of it? The public is rude. The public is a great boor. The public wants a circus, a lot of nonsense, a lot of stuff. And there's the weather. Look! Rain almost every evening. It began to rain on the tenth of May, and it's kept it up through the whole of June. It's simply awful. I can't get any audiences, and don't I have to pay rent? Don't I have to pay the actors?"

The next day towards evening the clouds gathered again, and Kukin said with an hysterical laugh:

"Oh, I don't care. Let it do its worst. Let it drown the whole theatre, and me, too. All right, no luck for me in this world or the next. Let the actors bring suit against me and drag me to court. What's the court? Why not Siberia at hard labour, or even the scaffold? Ha, ha, ha!"

It was the same on the third day.

Olenka listened to Kukin seriously, in silence. Sometimes tears would rise to her eyes. At last Kukin's misfortune touched her. She fell in love with him. He was short, gaunt, with a yellow face, and curly hair combed back from his forehead, and a thin tenor voice. His features puckered all up when he spoke. Despair was ever inscribed on his face. And yet he awakened in Olenka a sincere, deep feeling.

She was always loving somebody. She couldn't get on without loving somebody. She had loved her sick father, who sat the whole time in his armchair in a darkened room, breathing heavily. She had loved her aunt, who came from Brianska once or twice a year to visit them. And before that, when a pupil at the progymnasium, she had loved her French teacher. She was a quiet, kind-hearted, compassionate girl, with a soft gentle way about her. And she made a very healthy, wholesome impression. Looking at her full, rosy cheeks, at her soft white neck with the black mole, and at the good naive smile that always played on her face when something pleasant was said, the men would think, "Not so bad," and would smile too; and the lady visitors, in the middle of the conversation, would suddenly grasp her hand and exclaim, "You darling!" in a burst of delight.

The house, hers by inheritance, in which she had lived from birth, was located at the outskirts of the city on the Gypsy Road, not far from the Tivoli. From early evening till late at night she could hear the music in the theatre and the bursting of the rockets; and it seemed to her that Kukin was roaring and battling with his fate and taking his chief enemy, the indifferent public, by assault. Her heart melted softly, she felt no desire to sleep, and when Kukin returned home towards morning, she tapped on her window-pane, and through the curtains he saw her face and one shoulder and the kind smile she gave him.

He proposed to her, and they were married. And when he had a good look of her neck and her full vigorous shoulders, he clapped his hands and said:

"You darling!"

He was happy. But it rained on their wedding-day, and the expression of despair never left his face.

They got along well together. She sat in the cashier's box, kept the theatre in order, wrote down the expenses, and paid out the salaries. Her rosy cheeks, her kind naive smile, like a halo around her face, could be seen at the cashier's window, behind the scenes, and in the cafe. She began to tell her friends that the theatre was the greatest, the most important, the most essential thing in the world, that it was the only place to obtain true enjoyment in and become humanised and educated.

"But do you suppose the public appreciates it?" she asked. "What the public wants is the circus. Yesterday Vanichka and I gave _Faust Burlesqued_, and almost all the boxes were empty. If we had given some silly nonsense, I assure you, the theatre would have been overcrowded. To-morrow we'll put _Orpheus in Hades_ on. Do come."

Whatever Kukin said about the theatre and the actors, she repeated.