Fawn: Act Four. Russian Eros

Cover designer Fooocus

© Kirill Borgia, 2026

© Fooocus, cover design, 2026

ISBN 978-5-0069-8800-2 (т. 4)

ISBN 978-5-0069-7455-5

Created with Ridero smart publishing system

It was one of those quiet paradoxes of the theatrical world that Anastasia began to understand already during her first season abroad: a Russian ballerina might win Paris with astonishing ease, yet meet in Vienna a politeness that concealed a far more cautious judgment. The contradiction did not reveal itself through failure or scandal. Rather, it emerged in the subtler language of theatres — the rhythm of applause, the tone of criticism, the invisible expectations that hung in the air long before the curtain rose.

Paris, at the turn of the century, lived in a permanent state of artistic appetite. The audiences beneath the vast gilded vault of the Palais Garnier had developed a taste for sensation — not merely spectacle in the vulgar sense, but the intoxicating pleasure of encountering something new. Foreign artists were not intruders there; they were invitations to dream. A dancer arriving from Russia entered the stage already surrounded by a faint halo of curiosity.

For years Parisian critics had written with fascination about the northern schools, whose training was whispered about with a mixture of admiration and disbelief. Stories circulated of relentless classes, iron discipline, and teachers who shaped bodies as sculptors shape marble. To the Parisian imagination, Russia represented a land where art and endurance were inseparable, where beauty emerged not from indulgence but from severity.

Thus when a young dancer from that world appeared beneath the lights, the audience believed it was witnessing not merely a performer but a fragment of that distant artistic empire.

Vienna, however, moved according to another temperament. Beneath the dignified splendor of the Vienna State Opera the traditions of the old imperial court still breathed quietly through every performance. The Viennese adored ballet, but their affection possessed a distinctly domestic character. They admired elegance, musical sensitivity, and refinement — yet they preferred these virtues expressed in a language already familiar to them.

Where Paris greeted novelty with delight, Vienna observed it with composed courtesy.

And Vienna possessed something else that Paris lacked: a formidable memory. The city cherished its own dancers with a loyalty that bordered on possessiveness. Their names lingered in conversation long after they had left the stage, their interpretations quietly establishing a standard against which newcomers were measured. A visiting ballerina did not simply perform; she entered into comparison.

Thus Anastasia discovered, even in that first season, that applause possessed a geography.

In Paris it arrived quickly, almost impulsively, like a sudden burst of summer rain against warm stone. Critics praised the luminous clarity of her line, the firmness of her training, the curious combination of restraint and fire that seemed to animate Russian dancers. Some wrote — half seriously, half enchanted — that the northern temperament produced artists capable of transforming discipline into something resembling poetry.

There were evenings when the applause rolled toward the stage with such enthusiasm that Anastasia felt, standing beneath the great chandelier, as though the city itself had opened its arms.

Vienna applauded differently.

There the audience listened first. Each variation, each sustained balance, each delicate phrasing of movement was received with a quiet attentiveness that bordered on scholarly interest. Only after the final cadence did the applause arrive — measured, dignified, thoughtful rather than impetuous.

It was not indifference. It was evaluation.

Gradually she began to understand the deeper current beneath these differences. Paris admired the Russian dancer precisely because she carried within her something foreign, even exotic. Vienna, more cautious and perhaps more exacting, wished to see whether she could speak the language of its stage as fluently as its own daughters.

And yet there was also another wind beginning to stir across Europe — a faint but unmistakable curiosity about the artistic world beyond the western horizon. Names from St. Petersburg and Moscow began appearing with increasing frequency in the cultural journals of France and Italy. Critics speculated about a new generation of dancers emerging from the imperial theatres, trained with an intensity that seemed almost legendary.

Within a few years that curiosity would erupt into full fascination with the arrival of the Ballets Russes under the restless genius of Sergei Diaghilev, transforming the European stage and forever altering the reputation of Russian ballet.

But during Anastasia’s first season that wave had not yet fully broken.

She stood, as it were, on the quiet edge of it — young, observant, and increasingly aware that the path of a Russian ballerina through Europe was not merely a journey from one theatre to another, but a passage through the shifting expectations of an entire continent.

The transformation did not occur loudly, nor did it resemble the crude mechanisms of advertisement that sometimes accompanied lesser careers. Anastasia herself, during those early months, could scarcely identify the precise moment when her name ceased to belong merely to a dancer and began to exist as something larger — a presence, a reputation, a whisper that traveled ahead of her from one theatre to another.

Yet those who observed the theatre world with cooler eyes recognized the pattern almost at once.

The father of Nikolai had kept his word.

He was not a man who spoke of influence; in fact, he cultivated the appearance of someone almost detached from the theatrical sphere. His official duties lay within the sober corridors of the Ministry of Foreign Affairs of the Russian Empire, where reputations were not forged through applause but through discretion, memoranda, and quiet negotiations conducted across polished desks. Nevertheless, the diplomatic world possessed its own invisible networks — channels through which information, introductions, and subtle encouragement could travel with astonishing speed.

Within a remarkably short time, certain doors began to open for Anastasia.

A theatre director in Paris received a letter from an acquaintance attached to the Russian embassy, mentioning — with polite restraint — that a young dancer of exceptional promise had recently arrived from St Petersburg. A critic, invited to a diplomatic reception where artists mingled with ministers, heard her name spoken in the same casual tone reserved for figures already considered noteworthy. A salon hostess — one whose gatherings were attended by half the cultural life of the city — was persuaded that it might be charming to present a Russian ballerina among her guests.

None of these gestures appeared extraordinary when viewed separately. Yet taken together they formed a quiet architecture around her career.

Paris, always eager to recognize a rising figure, responded with characteristic enthusiasm. Within weeks her name began appearing in reviews not merely as one performer among many, but with a particular emphasis — as though critics sensed, perhaps unconsciously, that she represented something worth watching. The phrases varied, yet their meaning converged: a new talent, a striking presence, a dancer whose development deserved attention.

In Vienna the process unfolded more cautiously, but even there the currents shifted.

An invitation to perform at a charity gala connected with the Russian diplomatic mission allowed her to appear before an audience that included ministers, aristocrats, and several of the city’s most influential patrons of the arts. A favorable remark in the society pages — hardly more than a paragraph — introduced her to readers who might never have attended a ballet at all. And somewhere, behind the scenes, a discreet suggestion reached the director of the Vienna State Opera that the young Russian ballerina had already attracted attention in Paris.

Such recommendations carried weight in an era when diplomacy and culture often moved through the same drawing rooms.

It would have been impossible to prove that these developments were orchestrated. Indeed, the brilliance of Nikolai’s father lay precisely in that invisibility. He never appeared at rehearsals, never claimed credit, never allowed his involvement to become a topic of conversation. The theatrical world remained convinced that Anastasia’s ascent resulted from nothing more than talent and fortunate timing.

In a sense, that belief was not entirely false.

Her beauty, the disciplined authority of her technique, the quiet intensity that seemed to gather around her when she stepped onto the stage — all these things belonged to her alone. Influence could open doors, but it could not command applause.

What Nikolai’s father had done, with the cool efficiency of a seasoned diplomat, was something subtler: he ensured that the right people were present the first time she walked through those doors.

And in the theatre, as in politics, the first impression — made before the proper witnesses — could determine the entire course of a career.

The decisive moment came without noise.

For many months Anastasia had remained, in the eyes of the world, under the discreet patronage of Pyotr Ivanovich. That arrangement had once seemed unshakeable. The old man’s house had been the place where her discipline had hardened, where ambition had been shaped into obedience, where the fragile brilliance of a provincial girl had been tempered until it could withstand the cold scrutiny of a great stage. No one who had witnessed those early years would have doubted that she belonged — at least in some quiet, contractual sense — to him.

And yet circumstances change their geometry when larger forces begin to move.

By the time Anastasia returned to Russia after her first Parisian triumphs, her position had altered in ways that even the most perceptive observers struggled to articulate. She was no longer merely a promising ballerina emerging from a private atelier. Her name had begun to circulate in European theatres; critics had written of her with a curiosity that bordered on expectation. The transformation had not yet hardened into legend, but it had already taken on the unmistakable outline of one.

Pyotr Ivanovich understood this before anyone said it aloud.

It was on an autumn afternoon in Moscow that Nikolai came to the house.

He arrived without ceremony — no carriage procession, no theatrical display of authority — yet the quiet confidence with which he crossed the threshold altered the atmosphere of the place at once. Pierre, who had opened the door, recognized him immediately and stepped aside without question. Servants moved through the corridor with the same careful attentiveness they had always shown toward powerful visitors, though none of them could have explained why the air felt suddenly sharper.

Pyotr Ivanovich received him in the familiar study, the same room where so many negotiations of a different kind had once taken place.

The old patron sat behind his heavy desk, spectacles resting low on the bridge of his nose, his hands folded with the patience of a man accustomed to waiting for others to speak first. Nikolai did not hurry. He removed his gloves, placed them neatly upon the table, and inclined his head with the courteous respect due to a man who had played an undeniable role in Anastasia’s formation.

For several minutes they spoke of neutral matters — Paris, the theatre season, the shifting tastes of audiences. Their conversation carried the calm rhythm of two men who recognized each other’s intelligence and saw no advantage in pretence.

Only then did Nikolai come to the point.

He did not demand anything. The word take never appeared in his speech.

Instead he spoke of the future: of theatres already interested in Anastasia’s appearances, of engagements that would require freedom of movement, of the practical arrangements necessary for a dancer whose career had crossed beyond the boundaries of one patron’s household. His tone remained measured, almost courteous, yet beneath it lay a certainty that did not invite contradiction.

Pyotr Ivanovich listened without interrupting.

When Nikolai finished, the old man removed his spectacles and regarded him for a long moment. There was no anger in his expression — only the faint weariness of someone who realized that time had quietly shifted the balance of power.

“She has become,” Pyotr Ivanovich said slowly, “more than what she was when she first entered this house.”

Nikolai inclined his head.

“That,” he replied, “is largely your doing.”

The acknowledgment was not flattery. It was offered with the calm precision of a statement of fact, and for that reason it carried weight.

For a moment the old patron’s gaze drifted toward the tall windows, where the pale Moscow light fell across the room’s dark wood. Somewhere in the house a piano sounded faintly — one of the younger dancers practicing scales with stubborn persistence.

At last Pyotr Ivanovich rose.

The gesture was small, almost ceremonial. He walked around the desk, stopped a few paces from Nikolai, and extended his hand.

“I will not make a spectacle of gratitude,” he said quietly. “Nor of resistance.”

Nikolai took the offered hand.

The two men held each other’s gaze for a brief moment — an understanding passing between them that required no witnesses.

When Anastasia left the house that evening, there were no raised voices, no theatrical farewell. Pierre helped carry her trunk to the carriage with the same careful efficiency he had shown for years. The other girls watched from the corridor, whispering softly among themselves, uncertain whether they were witnessing a departure or the beginning of something larger.

Anastasia herself did not look back until the carriage had already turned into the street.

Only then did she glance once at the familiar façade of the house that had shaped her discipline, her endurance, and her strange education in obedience.

It no longer belonged to her.

And yet nothing about her departure resembled escape.

Nikolai sat opposite her in the carriage, one gloved hand resting calmly upon the polished head of his cane. The movement of the horses set the lamps outside swaying gently, casting brief patterns of gold across the interior.

He watched her with the quiet attentiveness of someone who had waited a long time for this moment.

“You are free now,” he said.

The word did not sound triumphant. It sounded final.

And Anastasia understood, with a clarity that sent a faint shiver through her chest, that this freedom had not come by chance.

Nikolai had not wrested her away from Pyotr Ivanovich.

He had simply arrived at the precise moment when she had already grown too large to remain anywhere else.

For the attentive reader, it should perhaps be noted that the matter was not quite as simple as the outward calm of that conversation might suggest.

The exchange between Nikolai and Pyotr Ivanovich, though conducted with impeccable courtesy, contained an element that neither man chose to name aloud. Those who have observed the habits of imperial ministries will understand how often influence moves not through open command, but through quiet pieces of paper whose existence alone alters the balance of a discussion.

At a certain moment in their conversation — one that neither Anastasia nor anyone in the house ever witnessed — Nikolai had produced a thin leather folder. He did not lay it upon the desk with theatrical emphasis. On the contrary, he opened it with the same composed restraint with which a diplomat might consult a memorandum during an ordinary meeting.

Inside were several documents.

They had come, indirectly but unmistakably, through the offices connected to the Ministry of Foreign Affairs, where Nikolai’s father possessed both rank and a network of acquaintances skilled in the discreet movement of information. The papers themselves were not dramatic in appearance: a handful of financial statements, certain letters whose tone suggested arrangements that polite society preferred not to examine too closely, and a few administrative records linking those transactions to circles in which Pyotr Ivanovich’s name appeared somewhat more frequently than prudence might have advised.

None of it, taken alone, constituted a scandal.

Taken together, however, the documents formed a pattern — one that, if placed in the wrong hands or presented with the wrong emphasis, might invite questions from officials who were less inclined than Nikolai to treat the matter with tact.

Pyotr Ivanovich had read them carefully.

Those who knew the old patron well might imagine that he would have reacted with indignation or anger. Yet neither of those emotions showed themselves. His expression, it is said, changed only once: a slight tightening around the eyes, the kind a man might display when recognizing that the conversation in which he participates has acquired a dimension he had not anticipated.

Nikolai did not threaten him.

Indeed, the word threat never entered the room.

Instead he closed the folder again, returned it calmly to the table, and spoke with the same measured tone that had marked the rest of their discussion.

There was no need, he explained, for any of these papers to circulate beyond the small circle already aware of them. The world was noisy enough without the addition of unnecessary curiosities. Discretion, after all, served the interests of everyone involved.

And Nikolai, he assured him, valued discretion.

Pyotr Ivanovich understood.

When the old patron extended his hand a few minutes later and declared that he would not oppose Anastasia’s departure, he did so with the composure of a man who had fully grasped the nature of the situation. It was not humiliation that governed his decision, but calculation. The balance of advantage had shifted; resistance would only disturb the fragile quiet that protected them both.

Nikolai, for his part, kept his word.

The leather folder disappeared back into the quiet channels from which it had emerged, and no whisper of those financial or moral curiosities ever found its way into public conversation.

Thus Anastasia’s departure remained, to the outside world, exactly what it appeared to be: a dignified and amicable transition from one patronage to another.

Only two men ever knew how narrow the margin between courtesy and compulsion had truly been.

When the moment of farewell finally came, Anastasia discovered — to her own quiet surprise — that relief did not accompany it.

Pyotr Ivanovich’s house had never been a prison to her. If it had been one in any sense, it had been a strangely desired captivity, a place where the boundaries of obedience and curiosity had entwined in ways she had never before imagined. It was here that she had first felt the peculiar shift within herself: no longer merely the naked, compliant doll in the hands of a brutal master — as Voronin, now nearly forgotten, had once seemed to her — but a young woman whose exposed body and pliant will were handled with a curious attention, sometimes even with an ear turned toward her own unspoken longings.

There had been humiliations, certainly. Discipline. Rituals that left her trembling with a mixture of shame and awakening awareness. Yet beneath them ran something more intricate than cruelty. Pyotr Ivanovich, for all his cold calculations, had possessed the patience to watch her grow into the strange freedom that obedience sometimes grants.

She never told Nikolai about the photographs.

They had been taken during that long journey from Rostov-on-Don to Moscow, when she traveled with the old man and Pierre in the carriage that seemed to roll endlessly through the autumn landscape. Pierre had handled the camera with silent efficiency, adjusting the plates, guiding her with brief gestures of his hand. She had stood before the lens as she had been instructed — completely exposed, her young body offered to the mechanical gaze with a mixture of embarrassment and daring curiosity.

Later, Pyotr Ivanovich had mentioned those photographs only once, almost casually. If she ever ceased to obey him, he had said, such images might find their way into less private hands.

Now the day had come when she had indeed ceased to belong to him. And nothing had happened.

The photographs remained in his possession. No scandal had followed, no whisper had escaped into society. They existed only in that quiet archive of his private indulgences, objects he might study alone in the dim light of his study. She imagined him sometimes opening the portfolio, pausing over the pale clarity of her body caught in silvered detail — the frank openness with which she had faced the camera, the youth that shone so unmistakably through the stillness of the plates.

In a strange way, she allowed him that.

When Nikolai had already stepped outside, leaving the two of them a final moment within the quiet room, Anastasia moved toward the old man without hesitation. They embraced, not as patron and possession, but with a curious gravity that surprised them both.

Leaning close to his ear, she whispered softly that she was not saying goodbye.

Pyotr Ivanovich’s arms tightened around her shoulders for the briefest instant.

“I hope very much that you are not,” he replied.

She hesitated, then added in an even softer voice, one that seemed to rise from some deeply private place within her.

“You were the first real man in my life.”

For a moment he said nothing. When she looked up, it seemed to her that his eyes had grown slightly moist behind the lenses of his spectacles.

Perhaps it was only the reflection of the light.

Or perhaps, for the first time since she had known him, something in the old man had allowed itself the smallest fracture.

Now, as she herself had once wished — perhaps half-playfully, perhaps with more seriousness than she had admitted even to herself — Anastasia belonged exclusively to Nikolai.

The word belonged, however, concealed more nuance than its simplicity suggested. She was not a burden to him, nor was he in any sense her shepherd or gaoler. Their understanding had never rested upon such crude arrangements. Yet Nikolai, with that quiet clarity which guided so many of his decisions, could not fail to recognize that her fate had now become entwined with his own. If she was to move through the world that lay before her — through theatres, salons, and the watchful scrutiny of society — it would be under the shadow of his protection as much as under the light of her talent.

For the time being, Moscow became her harbor.

She lived in the Morozov estate, the same house where, not so very long ago, she had moved through the halls almost unnoticed, assisting Nikolai’s sister Anna with the choreography of that extravagant winter ball which had first drawn certain eyes toward her. The house seemed both familiar and subtly transformed to her now, as though the walls themselves had realized that her place within them had changed.

Anna, for her part, regarded Anastasia’s new position with a seriousness that surprised even Nikolai.

There was, in Anna’s nature, a curious mixture of warmth and aristocratic practicality. She accepted events quickly once she had determined that they were inevitable, and once Anastasia’s presence had become part of the household’s quiet logic, Anna took it upon herself to shape that presence into something worthy of the Morozov name.