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"Captain Ribnikov" is a novel by Russian author Aleksandr Kuprin, published in 1913. The story revolves around the experiences of Captain Ribnikov, a dedicated and principled officer in the Russian Navy, as he confronts moral dilemmas and the harsh realities of life at sea. The narrative explores themes of duty, honor, and the complexities of human relationships, set against the backdrop of naval life. Kuprin's vivid storytelling captures the struggles of individuals grappling with their ideals and the often brutal world around them, making it a poignant reflection on the nature of loyalty and sacrifice.


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Submitted by davidb on February 02, 2025


								
if it’s all true, and Captain Ribnikov is really a Japanese spy, then what extraordinary presence of mind the man must have to play with this magnificent audacity, this diabolically true caricature of a broken-down officer in broad daylight in a hostile capital. What awful sensations he must have, balanced every second of the day on the very edge of certain death!’ Here was something completely inexplicable to Schavinsky--a fascinating, mad, cool audacity--perhaps the very noblest kind of patriotic devotion. An acute curiosity, together with a reverent fear, drew the journalist’s mind more and more strongly towards the soul of this amazing captain. But sometimes he pulled himself up mentally: ‘Suppose I’ve forced myself to believe in a ridiculous preconceived idea? Suppose I’ve just let myself be fooled by a disreputable captain in my inquisitive eagerness to read men’s souls? Surely there are any number of yellow Mongol faces in the Ural or among the Oremburg Cossacks.’ Still more intently he looked into every motion and expression of the captain’s face, listened intently to every sound of his voice. Ribnikov did not miss a single soldier who gave him a salute as he passed. He put his hand to the peak of his cap with a peculiarly prolonged and exaggerated care. Whenever they drove past a church he invariably raised his hat and crossed himself punctiliously with a broad sweep of his arm, and as he did it he gave an almost imperceptible side-glance to his companion--is he noticing or not? Once Schavinsky could hold out no longer, and said: ‘But you’re pious, though, Captain.’ Ribnikov threw out his hands, hunched his shoulders up funnily, and said in his hoarse voice: ‘Can’t be helped, old man. I’ve got the habit of it at the Front. The man who fights learns to pray, you know. It’s a splendid Russian proverb. You learn to say your prayers out there, whether you like it or not. You go into the firing line. The bullets are whirring, terribly--shrapnel, bombs ... those cursed Japanese shells.... But it can’t be helped--duty, your oath, and off you go! And you say to yourself: “Our Father, which art in heaven, hallowed be Thy name. Thy kingdom come. Thy Will be done in earth, as it is in heaven....”’ And he said the whole prayer to the end, carefully shaping out each sound. ‘Spy!’ Schavinsky decided. But he would not leave his suspicion half-way. For hours on end he went on watching and goading the captain. In a private room of a restaurant at dinner he bent right over the table and looked into Ribnikov’s very pupils. ‘Listen, Captain. No one can hear us now.... What’s the strongest oath I can give you that no one will ever hear of our conversation?... I’m convinced, absolutely and beyond all doubt, that you’re a Japanese.’ Ribnikov banged himself on the chest again. ‘I am Capt----’ ‘No, no. Let’s have done with these tricks. You can’t hide your face, however clever you are. The line of your cheekbones, the cut of your eyes, your peculiar head, the colour of your skin, the stiff, straggling growth on your face--everything points beyond all shadow of doubt to you belonging to the yellow race. But you’re safe. I shan’t tell on you, whatever offers they make me, however they threaten me for silence. I shan’t do you any harm, if it’s only because I’m full of admiration for your amazing courage. I say more--I’m full of reverence, terror if you like. I’m a writer--that’s a man of fancy and imagination. I can’t even imagine how it’s possible for a man to make up his mind to it: to come thousands of miles from your country to a city full of enemies that hate you, risking your life every second--you’ll be hanged without a trial if you’re caught, I suppose you know? And then to go walking about in an officer’s uniform, to enter every possible kind of company, and hold the most dangerous conversations. The least mistake, one slip will ruin you in a second. Half an hour ago you used the word “holograph” instead of “manuscript.” A trifle, but very characteristic. An army captain would never use this word of a modern manuscript, but only of an archive or a very solemn document. He wouldn’t even say “manuscript,” but just a “book”--but these are trifles. But the one thing I don’t understand is the incessant strain of the mind and will, the diabolical waste of spiritual strength. To forget to think in Japanese, to forget your name utterly, to identify yourself completely with another’s personality--no, this is surely greater than any heroism they told us of in school. My dear man, don’t try to play with me. I swear I’m not your enemy.’ He said all this quite sincerely, for his whole being was stirred to flame by the heroic picture of his imagination. But the captain would not let himself be flattered. He listened to him, and stared with eyes slightly closed at his glass, which he quietly moved over the tablecloth, and the corners of his blue lips twisted nervously. And in his face Schavinsky recognised the same hidden mockery, the same deep, stubborn, implacable hatred, the peculiar hatred that a European can perhaps never understand, felt by a wise, cultured, civilised beast, made man, for a being of another species. ‘Keep your kindness in your pocket,’ replied Ribnikov carelessly. ‘Let it go to hell. They teased me in the regiment too with being a Jap. Chuck it! I’m Captain Ribnikov. You know there’s a Russian proverb, “The face of a beast with the soul of a man.” I’ll just tell you there was once a case in our regiment----’ ‘What was your regiment?’ Schavinsky asked suddenly. But the captain seemed not to have heard. He began to tell the old, threadbare dirty stories that are told in camp, on manœuvres, and in barracks, and in spite of himself Schavinsky began to feel insulted. Once during the evening as they sat in the cab Schavinsky put his arm round his waist, and drew him close and said in a low voice: ‘Captain ... no, Colonel, at least, or you would never have been given such a serious mission. Let’s say Colonel, then. I do homage to your daring, that is to the boundless courage of the Japanese nation. Sometimes when I read or think of individual cases of your diabolical bravery and contempt of death, I tremble with ecstasy. What immortal beauty, what divine courage there is, for instance, in the action of the captain of the shattered warship who answered the call to surrender by quietly lighting a cigarette, and went to the bottom with a cigarette in his lips! What titanic strength, what thrilling contempt for the enemy! And the naval cadets on the fireships who went to certain death, delighted as though they were going to a ball! And do you remember how a lieutenant, all by himself, towed a torpedo in a boat at night to make an end of the mole at Port Arthur? The searchlights were turned on and all there remained of the lieutenant and his boat was a bloody stain on the concrete wall. But the next day all the midshipmen and lieutenants of the Japanese Fleet overwhelmed
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Aleksandr Kuprin

Aleksandr Ivanovich Kuprin (1870-1938) was a prominent Russian novelist and short story writer known for his vivid storytelling and exploration of complex human emotions and social issues. Born in a military family, Kuprin's early experiences influenced his literary themes, which often revolve around the struggles of the lower classes and the nuances of love and loss. His most famous works include "The Duel," a poignant examination of honor and morality, and "The Pit," which delves into the lives of those marginalized by society. Kuprin's writing is characterized by lyrical prose and deep psychological insights, earning him recognition as one of the notable figures of Russian literature in the early 20th century. more…

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