its beauty and cheapness. He tapped the chest with his fingers, then
called my attention to a stove of patterned tiles, such as one never
sees now. He tapped the stove, too, with his fingers. There was an
atmosphere of good-natured simplicity and well-fed abundance about
the chest of drawers, the tiled stove, the low chairs, the pictures
embroidered in wool and silk on canvas in solid, ugly frames. When one
remembers that all those objects were standing in the same places and
precisely in the same order when I was a little child, and used to come
here to name-day parties with my mother, it is simply unbelievable that
they could ever cease to exist.

I thought what a fearful difference between Butyga and me! Butyga who
made things, above all, solidly and substantially, and seeing in that
his chief object, gave to length of life peculiar significance, had no
thought of death, and probably hardly believed in its possibility; I,
when I built my bridges of iron and stone which would last a thousand
years, could not keep from me the thought, "It's not for long....it's no
use." If in time Butyga's cupboard and my bridge should come under the
notice of some sensible historian of art, he would say: "These were two
men remarkable in their own way: Butyga loved his fellow-creatures and
would not admit the thought that they might die and be annihilated, and
so when he made his furniture he had the immortal man in his mind. The
engineer Asorin did not love life or his fellow-creatures; even in
the happy moments of creation, thoughts of death, of finiteness and
dissolution, were not alien to him, and we see how insignificant and
finite, how timid and poor, are these lines of his...."

"I only heat these rooms," muttered Ivan Ivanitch, showing me his rooms.
"Ever since my wife died and my son was killed in the war, I have kept
the best rooms shut up. Yes... see..."