whole room, suddenly so still, might well have been compared by a poet to the ruined nest of a swallow, broken down and torn to pieces by the storm, the nestlings and their mother killed, and their warm little bed of fluff, feather and flock scattered about them. . . . Semyon Ivanovitch, however, looked more like a conceited, thievish old cock-sparrow. He kept quite quiet now, seemed to be lying low, as though he were not guilty, as though he had had nothing to do with the shameless, conscienceless, and unseemly duping and deception of all these good people. He did not heed now the sobs and wailing of his bereaved and wounded landlady. On the contrary, like a wary, callous capitalist, anxious not to waste a minute in idleness even in the coffin, he seemed to be wrapped up in some speculative calculation. There was a look of deep reflection in his face, while his lips were drawn together with a significant air, of which Semyon Ivanovitch during his lifetime had not been suspected of being capable. He seemed, as it were, to have grown shrewder, his right eye was, as it were, slyly screwed up. Semyon Ivanovitch seemed wanting to say something, to make some very important communication and explanation and without loss of time, because things were complicated and there was not a minute to lose. . . . And it seemed as though they could hear him.
"What is it? Give over, do you hear, you stupid woman? Don't whine! Go to bed and sleep it off, my good woman, do you hear? I am dead; there's no need of a fuss now. What's the use of it, really? It's nice to lie here. . . . Though I don't mean that, do you hear? You are a fine lady, you are a regular fine lady. Understand that; here I am dead now, but look here, what if—that is, perhaps it can't be so—but I say what if I'm not dead, what if I get up, do you hear? What would happen then?"
