know what "steed" means. Discontent, that one. Who knows what Fyodor Kuzmich, Glorybe, might do in poems. That's what poems are for, so you don't understand a thing. And if Fyodor Kuzmich, Glorybe, is speaking in different voices,
well, that's just... Everybody does that. Take Benedikt: this morning he left home, walking in the sunshine, the snow squeaking underfoot, lots of pleasant thoughts swirling in his head, not a care in the world. But now, with night coming, it was like he was someone else: weak, scared, and it was so dark out that going out on the street was like wearing a boot over your head--but he had to. And Olenka wasn't there, and it was even more miserable in the izba without her.
The clapper clunked: work's over.
The Golubchiks jumped up, tossed their writing sticks down, pinched the candle flames, hurried to pull on their coats and crowded around the door. Jackal Demianich, a Lesser Murza, made the rounds of the tables, put the finished scrolls in a box, stuffed the empty ink pots in a basket, and wiped the writing sticks with a rag. He grumbled that we're using up a lot of rusht, that you can't keep enough sticks on hand, and that's what a Murza does, he grumbles and gripes at people, and Jackal Demianich is given that power over us because he's a Veteran of the Ice Battle. What sort of Battle it was, and when, and just who Jackal Demianich fought, and whether he struck down a lot of Golubchiks with a cudgel or a bludgeon, we don't know, and don't want to know--and even if someone told us we'd forget.
So the day's over, it's gone, burned itself out. And night has fallen on the town, and Olenka sweetie disappeared somewhere in the winding streets, in the snowy expanses, like a vision, and his fleeting friend the Gingerbread Man was gobbled up, and now Benedikt hurried home, making his way over the hills and drifts, tripping and falling, shoveling the snow with his sleeve, and feeling a path through the winter, parting the winter with his hands.
What is winter, after all? What is it? It's when you come into the izba from the cold, stomping your felt boots to knock off the snow, shaking it off your coat and slapping your frozen hat against the door jamb; you turn your head, and your whole cheek listens to the warmth of the stove, to the weak current from the room. Has the stove gone out? God forbid. Undressing, you go all wobbly in the warmth, like you're thanking someone; you hurry to blow on the fire, to feed it with old, dry rusht,
with wood chips and sticks, you pull the still warm pot of mouse soup out of the swaddle of rags. Fumbling in the hiding space behind the stove, you grab the bundle with the spoon and fork and feel grateful: everything's in order, they didn't steal it, there weren't any thieves, and if there were, they didn't find anything.
You gulp down the usual thin soup, spitting the claws out into your palm, and start thinking, looking at the feeble, bluish flame of the candle, listening to the scuttering and scurrying under the floor, the crackle in the stove, the wail just outside the window, begging to be let in; something white, heavy, cold, unseen. You suddenly imagine your izba far off and tiny, like you're looking down at it from a treetop, and you imagine the whole town from afar, like it was dropped in a snowdrift, and the empty fields around, where the blizzard rages in white columns like someone being dragged under the arms with his head arched back. You imagine the northern forests, deserted, dark, impassable; the branches rock in the northern trees, and on the branches, swaying up and down, is the invisible Slynx--it kneads its paws, stretches its neck, presses its invisible ears back against its flat, invisible head, and it cries a hungry cry, and reaches, reaches for the hearth, for the warm blood pounding in people's necks: SSSLYYYNNXXX!
Fear touches your heart like a cold draft or a small paw, and you shudder, shake yourself and look around, as if you don't know who
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