The play lasted over an hour longer, but Maria Nikolaevna and Sanin soon gave up looking at the stage. A conversation sprang up between them again, and went on the same lines as before; only this time Sanin was less silent. Inwardly he was angry with himself and with Maria Nikolaevna; he tried to prove to her all the inconsistency of her 'theory,' as though she cared for theories! He began arguing with her, at which she was secretly rejoiced; if a man argues, it means that he is giving in or will give in. He had taken the bait, was giving way, had left off keeping shyly aloof! She retorted, laughed, agreed, mused dreamily, attacked him ... and meanwhile his face and her face were close together, his eyes no longer avoided her eyes.... Those eyes of hers seemed to ramble, seemed to hover over his features, and he smiled in response to them--a smile of civility, but still a smile. It was so much gained for her that he had gone off into abstractions, that he was discoursing upon truth in personal relations, upon duty, the sacredness of love and marriage.... It is well known that these abstract propositions serve admirably as a beginning ... as a starting-point....
People who knew Maria Nikolaevna well used to maintain that when her strong and vigorous personality showed signs of something soft and modest, something almost of maidenly shamefacedness, though one wondered where she could have got it from ... then ... then, things were taking a dangerous turn.
Things had apparently taken such a turn for Sanin.... He would have felt contempt for himself, if he could have succeeded in concentrating his attention for one instant; but he had not time to concentrate his mind nor to despise himself.
She wasted no time. And it all came from his being so very good-looking! One can but exclaim, No man knows what may be his making or his undoing!
The play was over. Maria Nikolaevna asked Sanin to put on her shawl and did not stir, while he wrapped the soft fabric round her really queenly shoulders. Then she took his arm, went out into the corridor, and almost cried out aloud. At the very door of the box Dönhof sprang up like some apparition; while behind his back she got a glimpse of the figure of the Wiesbaden critic. The 'literary man's' oily face was positively radiant with malignancy.
'Is it your wish, madam, that I find you your carriage?' said the young officer addressing Maria Nikolaevna with a quiver of ill-disguised fury in his voice.
'No, thank you,' she answered ... 'my man will find it. Stop!' she added in an imperious whisper, and rapidly withdrew drawing Sanin along with her.