diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 05:17:42 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 05:17:42 -0700 |
| commit | 8bfcb3d64935edf12d892d4ea124c3f4937896fd (patch) | |
| tree | 2d086a846efb2d4b2384bca5b2453d640599bd14 /1756-h | |
Diffstat (limited to '1756-h')
| -rw-r--r-- | 1756-h/1756-h.htm | 3376 |
1 files changed, 3376 insertions, 0 deletions
diff --git a/1756-h/1756-h.htm b/1756-h/1756-h.htm new file mode 100644 index 0000000..7161ffe --- /dev/null +++ b/1756-h/1756-h.htm @@ -0,0 +1,3376 @@ +<?xml version="1.0" encoding="us-ascii"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + Uncle Vanya, by Anton Checkov + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { margin-top: .75em; margin-bottom: .75em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +The Project Gutenberg EBook of Uncle Vanya, by Anton Checkov + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Uncle Vanya + +Author: Anton Checkov + +Release Date: November 23, 2008 [EBook #1756] +Last Updated: November 26, 2012 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK UNCLE VANYA *** + + + + +Produced by An Anonymous Volunteer, and David Widger + + + + + +</pre> + <p> + <br /><br /> + </p> + <h1> + UNCLE VANYA + </h1> + <h2> + SCENES FROM COUNTRY LIFE + </h2> + <h3> + IN FOUR ACTS + </h3> + <p> + <br /> + </p> + <h2> + By Anton Checkov + </h2> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <h3> + Contents + </h3> + <table summary="" style="margin-right: auto; margin-left: auto"> + <tr> + <td> + <p class="toc"> + <a href="#link2H_4_0001"> CHARACTERS </a> + </p> + <br /> + <p class="toc"> + <a href="#link2H_4_0002"> <b>UNCLE VANYA</b> </a> + </p> + <br /> + <p class="toc"> + <a href="#link2H_4_0003"> ACT I </a> + </p> + <p class="toc"> + <a href="#link2H_4_0004"> ACT II </a> + </p> + <p class="toc"> + <a href="#link2H_4_0005"> ACT III </a> + </p> + <p class="toc"> + <a href="#link2H_4_0006"> ACT IV </a> + </p> + </td> + </tr> + </table> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_4_0001" id="link2H_4_0001"> + <!-- H2 anchor --> </a> + </p> + <h2> + CHARACTERS + </h2> + <p> + ALEXANDER SEREBRAKOFF, a retired professor + </p> + <p> + HELENA, his wife, twenty-seven years old + </p> + <p> + SONIA, his daughter by a former marriage + </p> + <p> + MME. VOITSKAYA, widow of a privy councilor, and mother of Serebrakoff's + first wife + </p> + <p> + IVAN (VANYA) VOITSKI, her son + </p> + <p> + MICHAEL ASTROFF, a doctor + </p> + <p> + ILIA (WAFFLES) TELEGIN, an impoverished landowner + </p> + <p> + MARINA, an old nurse + </p> + <p> + A WORKMAN + </p> + <p> + <br /><br /> + </p> + <p> + The scene is laid on SEREBRAKOFF'S country place + </p> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h1> + UNCLE VANYA + </h1> + <p> + <a name="link2H_4_0003" id="link2H_4_0003"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <div class="play"> + <h2> + ACT I + </h2> + <p> + A country house on a terrace. In front of it a garden. In an avenue of + trees, under an old poplar, stands a table set for tea, with a samovar, + etc. Some benches and chairs stand near the table. On one of them is + lying a guitar. A hammock is swung near the table. It is three o'clock + in the afternoon of a cloudy day. + </p> + <p> + MARINA, a quiet, grey-haired, little old woman, is sitting at the table + knitting a stocking. + </p> + <p> + ASTROFF is walking up and down near her. + </p> + <p> + MARINA. [Pouring some tea into a glass] Take a little tea, my son. + </p> + <p> + ASTROFF. [Takes the glass from her unwillingly] Somehow, I don't seem to + want any. + </p> + <p> + MARINA. Then will you have a little vodka instead? + </p> + <p> + ASTROFF. No, I don't drink vodka every day, and besides, it is too hot + now. [A pause] Tell me, nurse, how long have we known each other? + </p> + <p> + MARINA. [Thoughtfully] Let me see, how long is it? Lord—help me to + remember. You first came here, into our parts—let me think—when + was it? Sonia's mother was still alive—it was two winters before + she died; that was eleven years ago—[thoughtfully] perhaps more. + </p> + <p> + ASTROFF. Have I changed much since then? + </p> + <p> + MARINA. Oh, yes. You were handsome and young then, and now you are an + old man and not handsome any more. You drink, too. + </p> + <p> + ASTROFF. Yes, ten years have made me another man. And why? Because I am + overworked. Nurse, I am on my feet from dawn till dusk. I know no rest; + at night I tremble under my blankets for fear of being dragged out to + visit some one who is sick; I have toiled without repose or a day's + freedom since I have known you; could I help growing old? And then, + existence is tedious, anyway; it is a senseless, dirty business, this + life, and goes heavily. Every one about here is silly, and after living + with them for two or three years one grows silly oneself. It is + inevitable. [Twisting his moustache] See what a long moustache I have + grown. A foolish, long moustache. Yes, I am as silly as the rest, nurse, + but not as stupid; no, I have not grown stupid. Thank God, my brain is + not addled yet, though my feelings have grown numb. I ask nothing, I + need nothing, I love no one, unless it is yourself alone. [He kisses her + head] I had a nurse just like you when I was a child. + </p> + <p> + MARINA. Don't you want a bite of something to eat? + </p> + <p> + ASTROFF. No. During the third week of Lent I went to the epidemic at + Malitskoi. It was eruptive typhoid. The peasants were all lying side by + side in their huts, and the calves and pigs were running about the floor + among the sick. Such dirt there was, and smoke! Unspeakable! I slaved + among those people all day, not a crumb passed my lips, but when I got + home there was still no rest for me; a switchman was carried in from the + railroad; I laid him on the operating table and he went and died in my + arms under chloroform, and then my feelings that should have been + deadened awoke again, my conscience tortured me as if I had killed the + man. I sat down and closed my eyes—like this—and thought: + will our descendants two hundred years from now, for whom we are + breaking the road, remember to give us a kind word? No, nurse, they will + forget. + </p> + <p> + MARINA. Man is forgetful, but God remembers. + </p> + <p> + ASTROFF. Thank you for that. You have spoken the truth. + </p> + <p> + Enter VOITSKI from the house. He has been asleep after dinner and looks + rather dishevelled. He sits down on the bench and straightens his + collar. + </p> + <p> + VOITSKI. H'm. Yes. [A pause] Yes. + </p> + <p> + ASTROFF. Have you been asleep? + </p> + <p> + VOITSKI. Yes, very much so. [He yawns] Ever since the Professor and his + wife have come, our daily life seems to have jumped the track. I sleep + at the wrong time, drink wine, and eat all sorts of messes for luncheon + and dinner. It isn't wholesome. Sonia and I used to work together and + never had an idle moment, but now Sonia works alone and I only eat and + drink and sleep. Something is wrong. + </p> + <p> + MARINA. [Shaking her head] Such a confusion in the house! The Professor + gets up at twelve, the samovar is kept boiling all the morning, and + everything has to wait for him. Before they came we used to have dinner + at one o'clock, like everybody else, but now we have it at seven. The + Professor sits up all night writing and reading, and suddenly, at two + o'clock, there goes the bell! Heavens, what is that? The Professor wants + some tea! Wake the servants, light the samovar! Lord, what disorder! + </p> + <p> + ASTROFF. Will they be here long? + </p> + <p> + VOITSKI. A hundred years! The Professor has decided to make his home + here. + </p> + <p> + MARINA. Look at this now! The samovar has been on the table for two + hours, and they are all out walking! + </p> + <p> + VOITSKI. All right, don't get excited; here they come. + </p> + <p> + Voices are heard approaching. SEREBRAKOFF, HELENA, SONIA, and TELEGIN + come in from the depths of the garden, returning from their walk. + </p> + <p> + SEREBRAKOFF. Superb! Superb! What beautiful views! + </p> + <p> + TELEGIN. They are wonderful, your Excellency. + </p> + <p> + SONIA. To-morrow we shall go into the woods, shall we, papa? + </p> + <p> + VOITSKI. Ladies and gentlemen, tea is ready. + </p> + <p> + SEREBRAKOFF. Won't you please be good enough to send my tea into the + library? I still have some work to finish. + </p> + <p> + SONIA. I am sure you will love the woods. + </p> + <p> + HELENA, SEREBRAKOFF, and SONIA go into the house. TELEGIN sits down at + the table beside MARINA. + </p> + <p> + VOITSKI. There goes our learned scholar on a hot, sultry day like this, + in his overcoat and goloshes and carrying an umbrella! + </p> + <p> + ASTROFF. He is trying to take good care of his health. + </p> + <p> + VOITSKI. How lovely she is! How lovely! I have never in my life seen a + more beautiful woman. + </p> + <p> + TELEGIN. Do you know, Marina, that as I walk in the fields or in the + shady garden, as I look at this table here, my heart swells with + unbounded happiness. The weather is enchanting, the birds are singing, + we are all living in peace and contentment—what more could the + soul desire? [Takes a glass of tea.] + </p> + <p> + VOITSKI. [Dreaming] Such eyes—a glorious woman! + </p> + <p> + ASTROFF. Come, Ivan, tell us something. + </p> + <p> + VOITSKI. [Indolently] What shall I tell you? + </p> + <p> + ASTROFF. Haven't you any news for us? + </p> + <p> + VOITSKI. No, it is all stale. I am just the same as usual, or perhaps + worse, because I have become lazy. I don't do anything now but croak + like an old raven. My mother, the old magpie, is still chattering about + the emancipation of woman, with one eye on her grave and the other on + her learned books, in which she is always looking for the dawn of a new + life. + </p> + <p> + ASTROFF. And the Professor? + </p> + <p> + VOITSKI. The Professor sits in his library from morning till night, as + usual— + </p> +<pre xml:space="preserve"> + "Straining the mind, wrinkling the brow, + We write, write, write, + Without respite + Or hope of praise in the future or now." +</pre> + <p> + Poor paper! He ought to write his autobiography; he would make a really + splendid subject for a book! Imagine it, the life of a retired + professor, as stale as a piece of hardtack, tortured by gout, headaches, + and rheumatism, his liver bursting with jealousy and envy, living on the + estate of his first wife, although he hates it, because he can't afford + to live in town. He is everlastingly whining about his hard lot, though, + as a matter of fact, he is extraordinarily lucky. He is the son of a + common deacon and has attained the professor's chair, become the + son-in-law of a senator, is called "your Excellency," and so on. But + I'll tell you something; the man has been writing on art for twenty-five + years, and he doesn't know the very first thing about it. For + twenty-five years he has been chewing on other men's thoughts about + realism, naturalism, and all such foolishness; for twenty-five years he + has been reading and writing things that clever men have long known and + stupid ones are not interested in; for twenty-five years he has been + making his imaginary mountains out of molehills. And just think of the + man's self-conceit and presumption all this time! For twenty-five years + he has been masquerading in false clothes and has now retired absolutely + unknown to any living soul; and yet see him! stalking across the earth + like a demi-god! + </p> + <p> + ASTROFF. I believe you envy him. + </p> + <p> + VOITSKI. Yes, I do. Look at the success he has had with women! Don Juan + himself was not more favoured. His first wife, who was my sister, was a + beautiful, gentle being, as pure as the blue heaven there above us, + noble, great-hearted, with more admirers than he has pupils, and she + loved him as only beings of angelic purity can love those who are as + pure and beautiful as themselves. His mother-in-law, my mother, adores + him to this day, and he still inspires a sort of worshipful awe in her. + His second wife is, as you see, a brilliant beauty; she married him in + his old age and has surrendered all the glory of her beauty and freedom + to him. Why? What for? + </p> + <p> + ASTROFF. Is she faithful to him? + </p> + <p> + VOITSKI. Yes, unfortunately she is. + </p> + <p> + ASTROFF. Why unfortunately? + </p> + <p> + VOITSKI. Because such fidelity is false and unnatural, root and branch. + It sounds well, but there is no logic in it. It is thought immoral for a + woman to deceive an old husband whom she hates, but quite moral for her + to strangle her poor youth in her breast and banish every vital desire + from her heart. + </p> + <p> + TELEGIN. [In a tearful voice] Vanya, I don't like to hear you talk so. + Listen, Vanya; every one who betrays husband or wife is faithless, and + could also betray his country. + </p> + <p> + VOITSKI. [Crossly] Turn off the tap, Waffles. + </p> + <p> + TELEGIN. No, allow me, Vanya. My wife ran away with a lover on the day + after our wedding, because my exterior was unprepossessing. I have never + failed in my duty since then. I love her and am true to her to this day. + I help her all I can and have given my fortune to educate the daughter + of herself and her lover. I have forfeited my happiness, but I have kept + my pride. And she? Her youth has fled, her beauty has faded according to + the laws of nature, and her lover is dead. What has she kept? + </p> + <p> + HELENA and SONIA come in; after them comes MME. VOITSKAYA carrying a + book. She sits down and begins to read. Some one hands her a glass of + tea which she drinks without looking up. + </p> + <p> + SONIA. [Hurriedly, to the nurse] There are some peasants waiting out + there. Go and see what they want. I shall pour the tea. [Pours out some + glasses of tea.] + </p> + <p> + MARINA goes out. HELENA takes a glass and sits drinking in the hammock. + </p> + <p> + ASTROFF. I have come to see your husband. You wrote me that he had + rheumatism and I know not what else, and that he was very ill, but he + appears to be as lively as a cricket. + </p> + <p> + HELENA. He had a fit of the blues yesterday evening and complained of + pains in his legs, but he seems all right again to-day. + </p> + <p> + ASTROFF. And I galloped over here twenty miles at break-neck speed! No + matter, though, it is not the first time. Once here, however, I am going + to stay until to-morrow, and at any rate sleep <i>quantum satis.</i> + </p> + <p> + SONIA. Oh, splendid! You so seldom spend the night with us. Have you had + dinner yet? + </p> + <p> + ASTROFF. No. + </p> + <p> + SONIA. Good. So you will have it with us. We dine at seven now. [Drinks + her tea] This tea is cold! + </p> + <p> + TELEGIN. Yes, the samovar has grown cold. + </p> + <p> + HELENA. Don't mind, Monsieur Ivan, we will drink cold tea, then. + </p> + <p> + TELEGIN. I beg your pardon, my name is not Ivan, but Ilia, ma'am—Ilia + Telegin, or Waffles, as I am sometimes called on account of my + pock-marked face. I am Sonia's godfather, and his Excellency, your + husband, knows me very well. I now live with you, ma'am, on this estate, + and perhaps you will be so good as to notice that I dine with you every + day. + </p> + <p> + SONIA. He is our great help, our right-hand man. [Tenderly] Dear + godfather, let me pour you some tea. + </p> + <p> + MME. VOITSKAYA. Oh! Oh! + </p> + <p> + SONIA. What is it, grandmother? + </p> + <p> + MME. VOITSKAYA. I forgot to tell Alexander—I have lost my memory—I + received a letter to-day from Paul Alexevitch in Kharkoff. He has sent + me a new pamphlet. + </p> + <p> + ASTROFF. Is it interesting? + </p> + <p> + MME. VOITSKAYA. Yes, but strange. He refutes the very theories which he + defended seven years ago. It is appalling! + </p> + <p> + VOITSKI. There is nothing appalling about it. Drink your tea, mamma. + </p> + <p> + MME. VOITSKAYA. It seems you never want to listen to what I have to say. + Pardon me, Jean, but you have changed so in the last year that I hardly + know you. You used to be a man of settled convictions and had an + illuminating personality—— + </p> + <p> + VOITSKI. Oh, yes. I had an illuminating personality, which illuminated + no one. [A pause] I had an illuminating personality! You couldn't say + anything more biting. I am forty-seven years old. Until last year I + endeavoured, as you do now, to blind my eyes by your pedantry to the + truths of life. But now—Oh, if you only knew! If you knew how I + lie awake at night, heartsick and angry, to think how stupidly I have + wasted my time when I might have been winning from life everything which + my old age now forbids. + </p> + <p> + SONIA. Uncle Vanya, how dreary! + </p> + <p> + MME. VOITSKAYA. [To her son] You speak as if your former convictions + were somehow to blame, but you yourself, not they, were at fault. You + have forgotten that a conviction, in itself, is nothing but a dead + letter. You should have done something. + </p> + <p> + VOITSKI. Done something! Not every man is capable of being a writer <i>perpetuum + mobile</i> like your Herr Professor. + </p> + <p> + MME. VOITSKAYA. What do you mean by that? + </p> + <p> + SONIA. [Imploringly] Mother! Uncle Vanya! I entreat you! + </p> + <p> + VOITSKI. I am silent. I apologise and am silent. [A pause.] + </p> + <p> + HELENA. What a fine day! Not too hot. [A pause.] + </p> + <p> + VOITSKI. A fine day to hang oneself. + </p> + <p> + TELEGIN tunes the guitar. MARINA appears near the house, calling the + chickens. + </p> + <p> + MARINA. Chick, chick, chick! + </p> + <p> + SONIA. What did the peasants want, nurse? + </p> + <p> + MARINA. The same old thing, the same old nonsense. Chick, chick, chick! + </p> + <p> + SONIA. Why are you calling the chickens? + </p> + <p> + MARINA. The speckled hen has disappeared with her chicks. I am afraid + the crows have got her. + </p> + <p> + TELEGIN plays a polka. All listen in silence. Enter WORKMAN. + </p> + <p> + WORKMAN. Is the doctor here? [To ASTROFF] Excuse me, sir, but I have + been sent to fetch you. + </p> + <p> + ASTROFF. Where are you from? + </p> + <p> + WORKMAN. The factory. + </p> + <p> + ASTROFF. [Annoyed] Thank you. There is nothing for it, then, but to go. + [Looking around him for his cap] Damn it, this is annoying! + </p> + <p> + SONIA. Yes, it is too bad, really. You must come back to dinner from the + factory. + </p> + <p> + ASTROFF. No, I won't be able to do that. It will be too late. Now where, + where—[To the WORKMAN] Look here, my man, get me a glass of vodka, + will you? [The WORKMAN goes out] Where—where—[Finds his cap] + One of the characters in Ostroff's plays is a man with a long moustache + and short wits, like me. However, let me bid you good-bye, ladies and + gentlemen. [To HELENA] I should be really delighted if you would come to + see me some day with Miss Sonia. My estate is small, but if you are + interested in such things I should like to show you a nursery and + seed-bed whose like you will not find within a thousand miles of here. + My place is surrounded by government forests. The forester is old and + always ailing, so I superintend almost all the work myself. + </p> + <p> + HELENA. I have always heard that you were very fond of the woods. Of + course one can do a great deal of good by helping to preserve them, but + does not that work interfere with your real calling? + </p> + <p> + ASTROFF. God alone knows what a man's real calling is. + </p> + <p> + HELENA. And do you find it interesting? + </p> + <p> + ASTROFF. Yes, very. + </p> + <p> + VOITSKI. [Sarcastically] Oh, extremely! + </p> + <p> + HELENA. You are still young, not over thirty-six or seven, I should say, + and I suspect that the woods do not interest you as much as you say they + do. I should think you would find them monotonous. + </p> + <p> + SONIA. No, the work is thrilling. Dr. Astroff watches over the old woods + and sets out new plantations every year, and he has already received a + diploma and a bronze medal. If you will listen to what he can tell you, + you will agree with him entirely. He says that forests are the ornaments + of the earth, that they teach mankind to understand beauty and attune + his mind to lofty sentiments. Forests temper a stern climate, and in + countries where the climate is milder, less strength is wasted in the + battle with nature, and the people are kind and gentle. The inhabitants + of such countries are handsome, tractable, sensitive, graceful in speech + and gesture. Their philosophy is joyous, art and science blossom among + them, their treatment of women is full of exquisite nobility—— + </p> + <p> + VOITSKI. [Laughing] Bravo! Bravo! All that is very pretty, but it is + also unconvincing. So, my friend [To ASTROFF] you must let me go on + burning firewood in my stoves and building my sheds of planks. + </p> + <p> + ASTROFF. You can burn peat in your stoves and build your sheds of stone. + Oh, I don't object, of course, to cutting wood from necessity, but why + destroy the forests? The woods of Russia are trembling under the blows + of the axe. Millions of trees have perished. The homes of the wild + animals and birds have been desolated; the rivers are shrinking, and + many beautiful landscapes are gone forever. And why? Because men are too + lazy and stupid to stoop down and pick up their fuel from the ground. + [To HELENA] Am I not right, Madame? Who but a stupid barbarian could + burn so much beauty in his stove and destroy that which he cannot make? + Man is endowed with reason and the power to create, so that he may + increase that which has been given him, but until now he has not + created, but demolished. The forests are disappearing, the rivers are + running dry, the game is exterminated, the climate is spoiled, and the + earth becomes poorer and uglier every day. [To VOITSKI] I read irony in + your eye; you do not take what I am saying seriously, and—and—after + all, it may very well be nonsense. But when I pass peasant-forests that + I have preserved from the axe, or hear the rustling of the young + plantations set out with my own hands, I feel as if I had had some small + share in improving the climate, and that if mankind is happy a thousand + years from now I will have been a little bit responsible for their + happiness. When I plant a little birch tree and then see it budding into + young green and swaying in the wind, my heart swells with pride and I—[Sees + the WORKMAN, who is bringing him a glass of vodka on a tray] however—[He + drinks] I must be off. Probably it is all nonsense, anyway. Good-bye. + </p> + <p> + He goes toward the house. SONIA takes his arm and goes with him. + </p> + <p> + SONIA. When are you coming to see us again? + </p> + <p> + ASTROFF. I can't say. + </p> + <p> + SONIA. In a month? + </p> + <p> + ASTROFF and SONIA go into the house. HELENA and VOITSKI walk over to the + terrace. + </p> + <p> + HELENA. You have behaved shockingly again. Ivan, what sense was there in + teasing your mother and talking about <i>perpetuum mobile?</i> And at + breakfast you quarreled with Alexander again. Really, your behaviour is + too petty. + </p> + <p> + VOITSKI. But if I hate him? + </p> + <p> + HELENA. You hate Alexander without reason; he is like every one else, + and no worse than you are. + </p> + <p> + VOITSKI. If you could only see your face, your gestures! Oh, how tedious + your life must be. + </p> + <p> + HELENA. It is tedious, yes, and dreary! You all abuse my husband and + look on me with compassion; you think, "Poor woman, she is married to an + old man." How well I understand your compassion! As Astroff said just + now, see how you thoughtlessly destroy the forests, so that there will + soon be none left. So you also destroy mankind, and soon fidelity and + purity and self-sacrifice will have vanished with the woods. Why cannot + you look calmly at a woman unless she is yours? Because, the doctor was + right, you are all possessed by a devil of destruction; you have no + mercy on the woods or the birds or on women or on one another. + </p> + <p> + VOITSKI. I don't like your philosophy. + </p> + <p> + HELENA. That doctor has a sensitive, weary face—an interesting + face. Sonia evidently likes him, and she is in love with him, and I can + understand it. This is the third time he has been here since I have + come, and I have not had a real talk with him yet or made much of him. + He thinks I am disagreeable. Do you know, Ivan, the reason you and I are + such friends? I think it is because we are both lonely and unfortunate. + Yes, unfortunate. Don't look at me in that way, I don't like it. + </p> + <p> + VOITSKI. How can I look at you otherwise when I love you? You are my + joy, my life, and my youth. I know that my chances of being loved in + return are infinitely small, do not exist, but I ask nothing of you. + Only let me look at you, listen to your voice— + </p> + <p> + HELENA. Hush, some one will overhear you. + </p> + <p> + [They go toward the house.] + </p> + <p> + VOITSKI. [Following her] Let me speak to you of my love, do not drive me + away, and this alone will be my greatest happiness! + </p> + <p> + HELENA. Ah! This is agony! + </p> + <p> + TELEGIN strikes the strings of his guitar and plays a polka. MME. + VOITSKAYA writes something on the leaves of her pamphlet. + </p> + <p> + The curtain falls. + </p> + <a name="link2H_4_0004" id="link2H_4_0004"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT II + </h2> + <p> + The dining-room of SEREBRAKOFF'S house. It is night. The tapping of the + WATCHMAN'S rattle is heard in the garden. SEREBRAKOFF is dozing in an + arm-chair by an open window and HELENA is sitting beside him, also half + asleep. + </p> + <p> + SEREBRAKOFF. [Rousing himself] Who is here? Is it you, Sonia? + </p> + <p> + HELENA. It is I. + </p> + <p> + SEREBRAKOFF. Oh, it is you, Nelly. This pain is intolerable. + </p> + <p> + HELENA. Your shawl has slipped down. [She wraps up his legs in the + shawl] Let me shut the window. + </p> + <p> + SEREBRAKOFF. No, leave it open; I am suffocating. I dreamt just now that + my left leg belonged to some one else, and it hurt so that I woke. I + don't believe this is gout, it is more like rheumatism. What time is it? + </p> + <p> + HELENA. Half past twelve. [A pause.] + </p> + <p> + SEREBRAKOFF. I want you to look for Batushka's works in the library + to-morrow. I think we have him. + </p> + <p> + HELENA. What is that? + </p> + <p> + SEREBRAKOFF. Look for Batushka to-morrow morning; we used to have him, I + remember. Why do I find it so hard to breathe? + </p> + <p> + HELENA. You are tired; this is the second night you have had no sleep. + </p> + <p> + SEREBRAKOFF. They say that Turgenieff got angina of the heart from gout. + I am afraid I am getting angina too. Oh, damn this horrible, accursed + old age! Ever since I have been old I have been hateful to myself, and I + am sure, hateful to you all as well. + </p> + <p> + HELENA. You speak as if we were to blame for your being old. + </p> + <p> + SEREBRAKOFF. I am more hateful to you than to any one. + </p> + <p> + HELENA gets up and walks away from him, sitting down at a distance. + </p> + <p> + SEREBRAKOFF. You are quite right, of course. I am not an idiot; I can + understand you. You are young and healthy and beautiful, and longing for + life, and I am an old dotard, almost a dead man already. Don't I know + it? Of course I see that it is foolish for me to live so long, but wait! + I shall soon set you all free. My life cannot drag on much longer. + </p> + <p> + HELENA. You are overtaxing my powers of endurance. Be quiet, for God's + sake! + </p> + <p> + SEREBRAKOFF. It appears that, thanks to me, everybody's power of + endurance is being overtaxed; everybody is miserable, only I am + blissfully triumphant. Oh, yes, of course! + </p> + <p> + HELENA. Be quiet! You are torturing me. + </p> + <p> + SEREBRAKOFF. I torture everybody. Of course. + </p> + <p> + HELENA. [Weeping] This is unbearable! Tell me, what is it you want me to + do? + </p> + <p> + SEREBRAKOFF. Nothing. + </p> + <p> + HELENA. Then be quiet, please. + </p> + <p> + SEREBRAKOFF. It is funny that everybody listens to Ivan and his old + idiot of a mother, but the moment I open my lips you all begin to feel + ill-treated. You can't even stand the sound of my voice. Even if I am + hateful, even if I am a selfish tyrant, haven't I the right to be one at + my age? Haven't I deserved it? Haven't I, I ask you, the right to be + respected, now that I am old? + </p> + <p> + HELENA. No one is disputing your rights. [The window slams in the wind] + The wind is rising, I must shut the window. [She shuts it] We shall have + rain in a moment. Your rights have never been questioned by anybody. + </p> + <p> + The WATCHMAN in the garden sounds his rattle. + </p> + <p> + SEREBRAKOFF. I have spent my life working in the interests of learning. + I am used to my library and the lecture hall and to the esteem and + admiration of my colleagues. Now I suddenly find myself plunged in this + wilderness, condemned to see the same stupid people from morning till + night and listen to their futile conversation. I want to live; I long + for success and fame and the stir of the world, and here I am in exile! + Oh, it is dreadful to spend every moment grieving for the lost past, to + see the success of others and sit here with nothing to do but to fear + death. I cannot stand it! It is more than I can bear. And you will not + even forgive me for being old! + </p> + <p> + HELENA. Wait, have patience; I shall be old myself in four or five + years. + </p> + <p> + SONIA comes in. + </p> + <p> + SONIA. Father, you sent for Dr. Astroff, and now when he comes you + refuse to see him. It is not nice to give a man so much trouble for + nothing. + </p> + <p> + SEREBRAKOFF. What do I care about your Astroff? He understands medicine + about as well as I understand astronomy. + </p> + <p> + SONIA. We can't send for the whole medical faculty, can we, to treat + your gout? + </p> + <p> + SEREBRAKOFF. I won't talk to that madman! + </p> + <p> + SONIA. Do as you please. It's all the same to me. [She sits down.] + </p> + <p> + SEREBRAKOFF. What time is it? + </p> + <p> + HELENA. One o'clock. + </p> + <p> + SEREBRAKOFF. It is stifling in here. Sonia, hand me that bottle on the + table. + </p> + <p> + SONIA. Here it is. [She hands him a bottle of medicine.] + </p> + <p> + SEREBRAKOFF. [Crossly] No, not that one! Can't you understand me? Can't + I ask you to do a thing? + </p> + <p> + SONIA. Please don't be captious with me. Some people may like it, but + you must spare me, if you please, because I don't. Besides, I haven't + the time; we are cutting the hay to-morrow and I must get up early. + </p> + <p> + VOITSKI comes in dressed in a long gown and carrying a candle. + </p> + <p> + VOITSKI. A thunderstorm is coming up. [The lightning flashes] There it + is! Go to bed, Helena and Sonia. I have come to take your place. + </p> + <p> + SEREBRAKOFF. [Frightened] No, n-o, no! Don't leave me alone with him! + Oh, don't. He will begin to lecture me. + </p> + <p> + VOITSKI. But you must give them a little rest. They have not slept for + two nights. + </p> + <p> + SEREBRAKOFF. Then let them go to bed, but you go away too! Thank you. I + implore you to go. For the sake of our former friendship do not protest + against going. We will talk some other time—— + </p> + <p> + VOITSKI. Our former friendship! Our former—— + </p> + <p> + SONIA. Hush, Uncle Vanya! + </p> + <p> + SEREBRAKOFF. [To his wife] My darling, don't leave me alone with him. He + will begin to lecture me. + </p> + <p> + VOITSKI. This is ridiculous. + </p> + <p> + MARINA comes in carrying a candle. + </p> + <p> + SONIA. You must go to bed, nurse, it is late. + </p> + <p> + MARINA. I haven't cleared away the tea things. Can't go to bed yet. + </p> + <p> + SEREBRAKOFF. No one can go to bed. They are all worn out, only I enjoy + perfect happiness. + </p> + <p> + MARINA. [Goes up to SEREBRAKOFF and speaks tenderly] What's the matter, + master? Does it hurt? My own legs are aching too, oh, so badly. + [Arranges his shawl about his legs] You have had this illness such a + long time. Sonia's dead mother used to stay awake with you too, and wear + herself out for you. She loved you dearly. [A pause] Old people want to + be pitied as much as young ones, but nobody cares about them somehow. + [She kisses SEREBRAKOFF'S shoulder] Come, master, let me give you some + linden-tea and warm your poor feet for you. I shall pray to God for you. + </p> + <p> + SEREBRAKOFF. [Touched] Let us go, Marina. + </p> + <p> + MARINA. My own feet are aching so badly, oh, so badly! [She and SONIA + lead SEREBRAKOFF out] Sonia's mother used to wear herself out with + sorrow and weeping. You were still little and foolish then, Sonia. Come, + come, master. + </p> + <p> + SEREBRAKOFF, SONIA and MARINA go out. + </p> + <p> + HELENA. I am absolutely exhausted by him, and can hardly stand. + </p> + <p> + VOITSKI. You are exhausted by him, and I am exhausted by my own self. I + have not slept for three nights. + </p> + <p> + HELENA. Something is wrong in this house. Your mother hates everything + but her pamphlets and the professor; the professor is vexed, he won't + trust me, and fears you; Sonia is angry with her father, and with me, + and hasn't spoken to me for two weeks; I am at the end of my strength, + and have come near bursting into tears at least twenty times to-day. + Something is wrong in this house. + </p> + <p> + VOITSKI. Leave speculating alone. + </p> + <p> + HELENA. You are cultured and intelligent, Ivan, and you surely + understand that the world is not destroyed by villains and + conflagrations, but by hate and malice and all this spiteful tattling. + It is your duty to make peace, and not to growl at everything. + </p> + <p> + VOITSKI. Help me first to make peace with myself. My darling! [Seizes + her hand.] + </p> + <p> + HELENA. Let go! [She drags her hand away] Go away! + </p> + <p> + VOITSKI. Soon the rain will be over, and all nature will sigh and awake + refreshed. Only I am not refreshed by the storm. Day and night the + thought haunts me like a fiend, that my life is lost for ever. My past + does not count, because I frittered it away on trifles, and the present + has so terribly miscarried! What shall I do with my life and my love? + What is to become of them? This wonderful feeling of mine will be wasted + and lost as a ray of sunlight is lost that falls into a dark chasm, and + my life will go with it. + </p> + <p> + HELENA. I am as it were benumbed when you speak to me of your love, and + I don't know how to answer you. Forgive me, I have nothing to say to + you. [She tries to go out] Good-night! + </p> + <p> + VOITSKI. [Barring the way] If you only knew how I am tortured by the + thought that beside me in this house is another life that is being lost + forever—it is yours! What are you waiting for? What accursed + philosophy stands in your way? Oh, understand, understand—— + </p> + <p> + HELENA. [Looking at him intently] Ivan, you are drunk! + </p> + <p> + VOITSKI. Perhaps. Perhaps. + </p> + <p> + HELENA. Where is the doctor? + </p> + <p> + VOITSKI. In there, spending the night with me. Perhaps I am drunk, + perhaps I am; nothing is impossible. + </p> + <p> + HELENA. Have you just been drinking together? Why do you do that? + </p> + <p> + VOITSKI. Because in that way I get a taste of life. Let me do it, + Helena! + </p> + <p> + HELENA. You never used to drink, and you never used to talk so much. Go + to bed, I am tired of you. + </p> + <p> + VOITSKI. [Falling on his knees before her] My sweetheart, my beautiful + one—— + </p> + <p> + HELENA. [Angrily] Leave me alone! Really, this has become too + disagreeable. + </p> + <p> + HELENA goes out. A pause. + </p> + <p> + VOITSKI [Alone] She is gone! I met her first ten years ago, at her + sister's house, when she was seventeen and I was thirty-seven. Why did I + not fall in love with her then and propose to her? It would have been so + easy! And now she would have been my wife. Yes, we would both have been + waked to-night by the thunderstorm, and she would have been frightened, + but I would have held her in my arms and whispered: "Don't be afraid! I + am here." Oh, enchanting dream, so sweet that I laugh to think of it. + [He laughs] But my God! My head reels! Why am I so old? Why won't she + understand me? I hate all that rhetoric of hers, that morality of + indolence, that absurd talk about the destruction of the world——[A + pause] Oh, how I have been deceived! For years I have worshipped that + miserable gout-ridden professor. Sonia and I have squeezed this estate + dry for his sake. We have bartered our butter and curds and peas like + misers, and have never kept a morsel for ourselves, so that we could + scrape enough pennies together to send to him. I was proud of him and of + his learning; I received all his words and writings as inspired, and + now? Now he has retired, and what is the total of his life? A blank! He + is absolutely unknown, and his fame has burst like a soap-bubble. I have + been deceived; I see that now, basely deceived. + </p> + <p> + ASTROFF comes in. He has his coat on, but is without his waistcoat or + collar, and is slightly drunk. TELEGIN follows him, carrying a guitar. + </p> + <p> + ASTROFF. Play! + </p> + <p> + TELEGIN. But every one is asleep. + </p> + <p> + ASTROFF. Play! + </p> + <p> + TELEGIN begins to play softly. + </p> + <p> + ASTROFF. Are you alone here? No women about? [Sings with his arms + akimbo.] + </p> +<pre xml:space="preserve"> + "The hut is cold, the fire is dead; + Where shall the master lay his head?" +</pre> + <p> + The thunderstorm woke me. It was a heavy shower. What time is it? + </p> + <p> + VOITSKI. The devil only knows. + </p> + <p> + ASTROFF. I thought I heard Helena's voice. + </p> + <p> + VOITSKI. She was here a moment ago. + </p> + <p> + ASTROFF. What a beautiful woman! [Looking at the medicine bottles on the + table] Medicine, is it? What a variety we have; prescriptions from + Moscow, from Kharkoff, from Tula! Why, he has been pestering all the + towns of Russia with his gout! Is he ill, or simply shamming? + </p> + <p> + VOITSKI. He is really ill. + </p> + <p> + ASTROFF. What is the matter with you to-night? You seem sad. Is it + because you are sorry for the professor? + </p> + <p> + VOITSKI. Leave me alone. + </p> + <p> + ASTROFF. Or in love with the professor's wife? + </p> + <p> + VOITSKI. She is my friend. + </p> + <p> + ASTROFF. Already? + </p> + <p> + VOITSKI. What do you mean by "already"? + </p> + <p> + ASTROFF. A woman can only become a man's friend after having first been + his acquaintance and then his beloved—then she becomes his friend. + </p> + <p> + VOITSKI. What vulgar philosophy! + </p> + <p> + ASTROFF. What do you mean? Yes, I must confess I am getting vulgar, but + then, you see, I am drunk. I usually only drink like this once a month. + At such times my audacity and temerity know no bounds. I feel capable of + anything. I attempt the most difficult operations and do them + magnificently. The most brilliant plans for the future take shape in my + head. I am no longer a poor fool of a doctor, but mankind's greatest + benefactor. I evolve my own system of philosophy and all of you seem to + crawl at my feet like so many insects or microbes. [To TELEGIN] Play, + Waffles! + </p> + <p> + TELEGIN. My dear boy, I would with all my heart, but do listen to + reason; everybody in the house is asleep. + </p> + <p> + ASTROFF. Play! + </p> + <p> + TELEGIN plays softly. + </p> + <p> + ASTROFF. I want a drink. Come, we still have some brandy left. And then, + as soon as it is day, you will come home with me. [He sees SONIA, who + comes in at that moment.] + </p> + <p> + ASTROFF. I beg your pardon, I have no collar on. + </p> + <p> + [He goes out quickly, followed by TELEGIN.] + </p> + <p> + SONIA. Uncle Vanya, you and the doctor have been drinking! The good + fellows have been getting together! It is all very well for him, he has + always done it, but why do you follow his example? It looks dreadfully + at your age. + </p> + <p> + VOITSKI. Age has nothing to do with it. When real life is wanting one + must create an illusion. It is better than nothing. + </p> + <p> + SONIA. Our hay is all cut and rotting in these daily rains, and here you + are busy creating illusions! You have given up the farm altogether. I + have done all the work alone until I am at the end of my strength—[Frightened] + Uncle! Your eyes are full of tears! + </p> + <p> + VOITSKI. Tears? Nonsense, there are no tears in my eyes. You looked at + me then just as your dead mother used to, my darling—[He eagerly + kisses her face and hands] My sister, my dearest sister, where are you + now? Ah, if you only knew, if you only knew! + </p> + <p> + SONIA. If she only knew what, Uncle? + </p> + <p> + VOITSKI. My heart is bursting. It is awful. No matter, though. I must + go. [He goes out.] + </p> + <p> + SONIA. [Knocks at the door] Dr. Astroff! Are you awake? Please come here + for a minute. + </p> + <p> + ASTROFF. [Behind the door] In a moment. + </p> + <p> + He appears in a few seconds. He has put on his collar and waistcoat. + </p> + <p> + ASTROFF. What do you want? + </p> + <p> + SONIA. Drink as much as you please yourself if you don't find it + revolting, but I implore you not to let my uncle do it. It is bad for + him. + </p> + <p> + ASTROFF. Very well; we won't drink any more. I am going home at once. + That is settled. It will be dawn by the time the horses are harnessed. + </p> + <p> + SONIA. It is still raining; wait till morning. + </p> + <p> + ASTROFF. The storm is blowing over. This is only the edge of it. I must + go. And please don't ask me to come and see your father any more. I tell + him he has gout, and he says it is rheumatism. I tell him to lie down, + and he sits up. To-day he refused to see me at all. + </p> + <p> + SONIA. He has been spoilt. [She looks in the sideboard] Won't you have a + bite to eat? + </p> + <p> + ASTROFF. Yes, please. I believe I will. + </p> + <p> + SONIA. I love to eat at night. I am sure we shall find something in + here. They say that he has made a great many conquests in his life, and + that the women have spoiled him. Here is some cheese for you. + </p> + <p> + [They stand eating by the sideboard.] + </p> + <p> + ASTROFF. I haven't eaten anything to-day. Your father has a very + difficult nature. [He takes a bottle out of the sideboard] May I? [He + pours himself a glass of vodka] We are alone here, and I can speak + frankly. Do you know, I could not stand living in this house for even a + month? This atmosphere would stifle me. There is your father, entirely + absorbed in his books, and his gout; there is your Uncle Vanya with his + hypochondria, your grandmother, and finally, your step-mother— + </p> + <p> + SONIA. What about her? + </p> + <p> + ASTROFF. A human being should be entirely beautiful: the face, the + clothes, the mind, the thoughts. Your step-mother is, of course, + beautiful to look at, but don't you see? She does nothing but sleep and + eat and walk and bewitch us, and that is all. She has no + responsibilities, everything is done for her—am I not right? And + an idle life can never be a pure one. [A pause] However, I may be + judging her too severely. Like your Uncle Vanya, I am discontented, and + so we are both grumblers. + </p> + <p> + SONIA. Aren't you satisfied with life? + </p> + <p> + ASTROFF. I like life as life, but I hate and despise it in a little + Russian country village, and as far as my own personal life goes, by + heaven! there is absolutely no redeeming feature about it. Haven't you + noticed if you are riding through a dark wood at night and see a little + light shining ahead, how you forget your fatigue and the darkness and + the sharp twigs that whip your face? I work, that you know—as no + one else in the country works. Fate beats me on without rest; at times I + suffer unendurably and I see no light ahead. I have no hope; I do not + like people. It is long since I have loved any one. + </p> + <p> + SONIA. You love no one? + </p> + <p> + ASTROFF. Not a soul. I only feel a sort of tenderness for your old nurse + for old-times' sake. The peasants are all alike; they are stupid and + live in dirt, and the educated people are hard to get along with. One + gets tired of them. All our good friends are petty and shallow and see + no farther than their own noses; in one word, they are dull. Those that + have brains are hysterical, devoured with a mania for self-analysis. + They whine, they hate, they pick faults everywhere with unhealthy + sharpness. They sneak up to me sideways, look at me out of a corner of + the eye, and say: "That man is a lunatic," "That man is a wind-bag." Or, + if they don't know what else to label me with, they say I am strange. I + like the woods; that is strange. I don't eat meat; that is strange, too. + Simple, natural relations between man and man or man and nature do not + exist. [He tries to go out; SONIA prevents him.] + </p> + <p> + SONIA. I beg you, I implore you, not to drink any more! + </p> + <p> + ASTROFF. Why not? + </p> + <p> + SONIA. It is so unworthy of you. You are well-bred, your voice is sweet, + you are even—more than any one I know—handsome. Why do you + want to resemble the common people that drink and play cards? Oh, don't, + I beg you! You always say that people do not create anything, but only + destroy what heaven has given them. Why, oh, why, do you destroy + yourself? Oh, don't, I implore you not to! I entreat you! + </p> + <p> + ASTROFF. [Gives her his hand] I won't drink any more. + </p> + <p> + SONIA. Promise me. + </p> + <p> + ASTROFF. I give you my word of honour. + </p> + <p> + SONIA. [Squeezing his hand] Thank you. + </p> + <p> + ASTROFF. I have done with it. You see, I am perfectly sober again, and + so I shall stay till the end of my life. [He looks his watch] But, as I + was saying, life holds nothing for me; my race is run. I am old, I am + tired, I am trivial; my sensibilities are dead. I could never attach + myself to any one again. I love no one, and never shall! Beauty alone + has the power to touch me still. I am deeply moved by it. Helena could + turn my head in a day if she wanted to, but that is not love, that is + not affection— + </p> + <p> + [He shudders and covers his face with his hands.] + </p> + <p> + SONIA. What is it? + </p> + <p> + ASTROFF. Nothing. During Lent one of my patients died under chloroform. + </p> + <p> + SONIA. It is time to forget that. [A pause] Tell me, doctor, if I had a + friend or a younger sister, and if you knew that she, well—loved + you, what would you do? + </p> + <p> + ASTROFF. [Shrugging his shoulders] I don't know. I don't think I should + do anything. I should make her understand that I could not return her + love—however, my mind is not bothered about those things now. I + must start at once if I am ever to get off. Good-bye, my dear girl. At + this rate we shall stand here talking till morning. [He shakes hands + with her] I shall go out through the sitting-room, because I am afraid + your uncle might detain me. [He goes out.] + </p> + <p> + SONIA. [Alone] Not a word! His heart and soul are still locked from me, + and yet for some reason I am strangely happy. I wonder why? [She laughs + with pleasure] I told him that he was well-bred and handsome and that + his voice was sweet. Was that a mistake? I can still feel his voice + vibrating in the air; it caresses me. [Wringing her hands] Oh! how + terrible it is to be plain! I am plain, I know it. As I came out of + church last Sunday I overheard a woman say, "She is a dear, noble girl, + but what a pity she is so ugly!" So ugly! + </p> + <p> + HELENA comes in and throws open the window. + </p> + <p> + HELENA. The storm is over. What delicious air! [A pause] Where is the + doctor? + </p> + <p> + SONIA. He has gone. [A pause.] + </p> + <p> + HELENA. Sonia! + </p> + <p> + SONIA. Yes? + </p> + <p> + HELENA. How much longer are you going to sulk at me? We have not hurt + each other. Why not be friends? We have had enough of this. + </p> + <p> + SONIA. I myself—[She embraces HELENA] Let us make peace. + </p> + <p> + HELENA. With all my heart. [They are both moved.] + </p> + <p> + SONIA. Has papa gone to bed? + </p> + <p> + HELENA. No, he is sitting up in the drawing-room. Heaven knows what + reason you and I had for not speaking to each other for weeks. [Sees the + open sideboard] Who left the sideboard open? + </p> + <p> + SONIA. Dr. Astroff has just had supper. + </p> + <p> + HELENA. There is some wine. Let us seal our friendship. + </p> + <p> + SONIA. Yes, let us. + </p> + <p> + HELENA. Out of one glass. [She fills a wine-glass] So, we are friends, + are we? + </p> + <p> + SONIA. Yes. [They drink and kiss each other] I have long wanted to make + friends, but somehow, I was ashamed to. [She weeps.] + </p> + <p> + HELENA. Why are you crying? + </p> + <p> + SONIA. I don't know. It is nothing. + </p> + <p> + HELENA. There, there, don't cry. [She weeps] Silly! Now I am crying too. + [A pause] You are angry with me because I seem to have married your + father for his money, but don't believe the gossip you hear. I swear to + you I married him for love. I was fascinated by his fame and learning. I + know now that it was not real love, but it seemed real at the time. I am + innocent, and yet your clever, suspicious eyes have been punishing me + for an imaginary crime ever since my marriage. + </p> + <p> + SONIA. Peace, peace! Let us forget the past. + </p> + <p> + HELENA. You must not look so at people. It is not becoming to you. You + must trust people, or life becomes impossible. + </p> + <p> + SONIA. Tell me truly, as a friend, are you happy? + </p> + <p> + HELENA. Truly, no. + </p> + <p> + SONIA. I knew it. One more question: do you wish your husband were + young? + </p> + <p> + HELENA. What a child you are! Of course I do. Go on, ask something else. + </p> + <p> + SONIA. Do you like the doctor? + </p> + <p> + HELENA. Yes, very much indeed. + </p> + <p> + SONIA. [Laughing] I have a stupid face, haven't I? He has just gone out, + and his voice is still in my ears; I hear his step; I see his face in + the dark window. Let me say all I have in my heart! But no, I cannot + speak of it so loudly. I am ashamed. Come to my room and let me tell you + there. I seem foolish to you, don't I? Talk to me of him. + </p> + <p> + HELENA. What can I say? + </p> + <p> + SONIA. He is clever. He can do everything. He can cure the sick, and + plant woods. + </p> + <p> + HELENA. It is not a question of medicine and woods, my dear, he is a man + of genius. Do you know what that means? It means he is brave, profound, + and of clear insight. He plants a tree and his mind travels a thousand + years into the future, and he sees visions of the happiness of the human + race. People like him are rare and should be loved. What if he does + drink and act roughly at times? A man of genius cannot be a saint in + Russia. There he lives, cut off from the world by cold and storm and + endless roads of bottomless mud, surrounded by a rough people who are + crushed by poverty and disease, his life one continuous struggle, with + never a day's respite; how can a man live like that for forty years and + keep himself sober and unspotted? [Kissing SONIA] I wish you happiness + with all my heart; you deserve it. [She gets up] As for me, I am a + worthless, futile woman. I have always been futile; in music, in love, + in my husband's house—in a word, in everything. When you come to + think of it, Sonia, I am really very, very unhappy. [Walks excitedly up + and down] Happiness can never exist for me in this world. Never. Why do + you laugh? + </p> + <p> + SONIA. [Laughing and covering her face with her hands] I am so happy, so + happy! + </p> + <p> + HELENA. I want to hear music. I might play a little. + </p> + <p> + SONIA. Oh, do, do! [She embraces her] I could not possibly go to sleep + now. Do play! + </p> + <p> + HELENA. Yes, I will. Your father is still awake. Music irritates him + when he is ill, but if he says I may, then I shall play a little. Go, + Sonia, and ask him. + </p> + <p> + SONIA. Very well. + </p> + <p> + [She goes out. The WATCHMAN'S rattle is heard in the garden.] + </p> + <p> + HELENA. It is long since I have heard music. And now, I shall sit and + play, and weep like a fool. [Speaking out of the window] Is that you + rattling out there, Ephim? + </p> + <p> + VOICE OF THE WATCHMAN. It is I. + </p> + <p> + HELENA. Don't make such a noise. Your master is ill. + </p> + <p> + VOICE OF THE WATCHMAN. I am going away this minute. [Whistles a tune.] + </p> + <p> + SONIA. [Comes back] He says, no. + </p> + <p> + The curtain falls. + </p> + <a name="link2H_4_0005" id="link2H_4_0005"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT III + </h2> + <p> + The drawing-room of SEREBRAKOFF'S house. There are three doors: one to + the right, one to the left, and one in the centre of the room. VOITSKI + and SONIA are sitting down. HELENA is walking up and down, absorbed in + thought. + </p> + <p> + VOITSKI. We were asked by the professor to be here at one o'clock. + [Looks at his watch] It is now a quarter to one. It seems he has some + communication to make to the world. + </p> + <p> + HELENA. Probably a matter of business. + </p> + <p> + VOITSKI. He never had any business. He writes twaddle, grumbles, and + eats his heart out with jealousy; that's all he does. + </p> + <p> + SONIA. [Reproachfully] Uncle! + </p> + <p> + VOITSKI. All right. I beg your pardon. [He points to HELENA] Look at + her. Wandering up and down from sheer idleness. A sweet picture, really. + </p> + <p> + HELENA. I wonder you are not bored, droning on in the same key from + morning till night. [Despairingly] I am dying of this tedium. What shall + I do? + </p> + <p> + SONIA. [Shrugging her shoulders] There is plenty to do if you would. + </p> + <p> + HELENA. For instance? + </p> + <p> + SONIA. You could help run this place, teach the children, care for the + sick—isn't that enough? Before you and papa came, Uncle Vanya and + I used to go to market ourselves to deal in flour. + </p> + <p> + HELENA. I don't know anything about such things, and besides, they don't + interest me. It is only in novels that women go out and teach and heal + the peasants; how can I suddenly begin to do it? + </p> + <p> + SONIA. How can you live here and not do it? Wait awhile, you will get + used to it all. [Embraces her] Don't be sad, dearest. [Laughing] You + feel miserable and restless, and can't seem to fit into this life, and + your restlessness is catching. Look at Uncle Vanya, he does nothing now + but haunt you like a shadow, and I have left my work to-day to come here + and talk with you. I am getting lazy, and don't want to go on with it. + Dr. Astroff hardly ever used to come here; it was all we could do to + persuade him to visit us once a month, and now he has abandoned his + forestry and his practice, and comes every day. You must be a witch. + </p> + <p> + VOITSKI. Why should you languish here? Come, my dearest, my beauty, be + sensible! The blood of a Nixey runs in your veins. Oh, won't you let + yourself be one? Give your nature the reins for once in your life; fall + head over ears in love with some other water sprite and plunge down head + first into a deep pool, so that the Herr Professor and all of us may + have our hands free again. + </p> + <p> + HELENA. [Angrily] Leave me alone! How cruel you are! [She tries to go + out.] + </p> + <p> + VOITSKI. [Preventing her] There, there, my beauty, I apologise. [He + kisses her hand] Forgive me. + </p> + <p> + HELENA. Confess that you would try the patience of an angel. + </p> + <p> + VOITSKI. As a peace offering I am going to fetch some flowers which I + picked for you this morning: some autumn roses, beautiful, sorrowful + roses. [He goes out.] + </p> + <p> + SONIA. Autumn roses, beautiful, sorrowful roses! + </p> + <p> + [She and HELENA stand looking out of the window.] + </p> + <p> + HELENA. September already! How shall we live through the long winter + here? [A pause] Where is the doctor? + </p> + <p> + SONIA. He is writing in Uncle Vanya's room. I am glad Uncle Vanya has + gone out, I want to talk to you about something. + </p> + <p> + HELENA. About what? + </p> + <p> + SONIA. About what? + </p> + <p> + [She lays her head on HELENA'S breast.] + </p> + <p> + HELENA. [Stroking her hair] There, there, that will do. Don't, Sonia. + </p> + <p> + SONIA. I am ugly! + </p> + <p> + HELENA. You have lovely hair. + </p> + <p> + SONIA. Don't say that! [She turns to look at herself in the glass] No, + when a woman is ugly they always say she has beautiful hair or eyes. I + have loved him now for six years, I have loved him more than one loves + one's mother. I seem to hear him beside me every moment of the day. I + feel the pressure of his hand on mine. If I look up, I seem to see him + coming, and as you see, I run to you to talk of him. He is here every + day now, but he never looks at me, he does not notice my presence. It is + agony. I have absolutely no hope, no, no hope. Oh, my God! Give me + strength to endure. I prayed all last night. I often go up to him and + speak to him and look into his eyes. My pride is gone. I am not mistress + of myself. Yesterday I told Uncle Vanya I couldn't control myself, and + all the servants know it. Every one knows that I love him. + </p> + <p> + HELENA. Does he? + </p> + <p> + SONIA. No, he never notices me. + </p> + <p> + HELENA. [Thoughtfully] He is a strange man. Listen, Sonia, will you + allow me to speak to him? I shall be careful, only hint. [A pause] + Really, to be in uncertainty all these years! Let me do it! + </p> + <p> + SONIA nods an affirmative. + </p> + <p> + HELENA. Splendid! It will be easy to find out whether he loves you or + not. Don't be ashamed, sweetheart, don't worry. I shall be careful; he + will not notice a thing. We only want to find out whether it is yes or + no, don't we? [A pause] And if it is no, then he must keep away from + here, is that so? + </p> + <p> + SONIA nods. + </p> + <p> + HELENA. It will be easier not to see him any more. We won't put off the + examination an instant. He said he had a sketch to show me. Go and tell + him at once that I want to see him. + </p> + <p> + SONIA. [In great excitement] Will you tell me the whole truth? + </p> + <p> + HELENA. Of course I will. I am sure that no matter what it is, it will + be easier for you to bear than this uncertainty. Trust to me, dearest. + </p> + <p> + SONIA. Yes, yes. I shall say that you want to see his sketch. [She + starts out, but stops near the door and looks back] No, it is better not + to know—and yet—there may be hope. + </p> + <p> + HELENA. What do you say? + </p> + <p> + SONIA. Nothing. [She goes out.] + </p> + <p> + HELENA. [Alone] There is no greater sorrow than to know another's secret + when you cannot help them. [In deep thought] He is obviously not in love + with her, but why shouldn't he marry her? She is not pretty, but she is + so clever and pure and good, she would make a splendid wife for a + country doctor of his years. [A pause] I can understand how the poor + child feels. She lives here in this desperate loneliness with no one + around her except these colourless shadows that go mooning about talking + nonsense and knowing nothing except that they eat, drink, and sleep. + Among them appears from time to time this Dr. Astroff, so different, so + handsome, so interesting, so charming. It is like seeing the moon rise + on a dark night. Oh, to surrender oneself to his embrace! To lose + oneself in his arms! I am a little in love with him myself! Yes, I am + lonely without him, and when I think of him I smile. That Uncle Vanya + says I have the blood of a Nixey in my veins: "Give rein to your nature + for once in your life!" Perhaps it is right that I should. Oh, to be + free as a bird, to fly away from all your sleepy faces and your talk and + forget that you have existed at all! But I am a coward, I am afraid; my + conscience torments me. He comes here every day now. I can guess why, + and feel guilty already; I should like to fall on my knees at Sonia's + feet and beg her forgiveness, and weep. + </p> + <p> + ASTROFF comes in carrying a portfolio. + </p> + <p> + ASTROFF. How do you do? [Shakes hands with her] Do you want to see my + sketch? + </p> + <p> + HELENA. Yes, you promised to show me what you had been doing. Have you + time now? + </p> + <p> + ASTROFF. Of course I have! + </p> + <p> + He lays the portfolio on the table, takes out the sketch and fastens it + to the table with thumb-tacks. + </p> + <p> + ASTROFF. Where were you born? + </p> + <p> + HELENA. [Helping him] In St. Petersburg. + </p> + <p> + ASTROFF. And educated? + </p> + <p> + HELENA. At the Conservatory there. + </p> + <p> + ASTROFF. You don't find this life very interesting, I dare say? + </p> + <p> + HELENA. Oh, why not? It is true I don't know the country very well, but + I have read a great deal about it. + </p> + <p> + ASTROFF. I have my own desk there in Ivan's room. When I am absolutely + too exhausted to go on I drop everything and rush over here to forget + myself in this work for an hour or two. Ivan and Miss Sonia sit rattling + at their counting-boards, the cricket chirps, and I sit beside them and + paint, feeling warm and peaceful. But I don't permit myself this luxury + very often, only once a month. [Pointing to the picture] Look there! + That is a map of our country as it was fifty years ago. The green tints, + both dark and light, represent forests. Half the map, as you see, is + covered with it. Where the green is striped with red the forests were + inhabited by elk and wild goats. Here on this lake, lived great flocks + of swans and geese and ducks; as the old men say, there was a power of + birds of every kind. Now they have vanished like a cloud. Beside the + hamlets and villages, you see, I have dotted down here and there the + various settlements, farms, hermit's caves, and water-mills. This + country carried a great many cattle and horses, as you can see by the + quantity of blue paint. For instance, see how thickly it lies in this + part; there were great herds of them here, an average of three horses to + every house. [A pause] Now, look lower down. This is the country as it + was twenty-five years ago. Only a third of the map is green now with + forests. There are no goats left and no elk. The blue paint is lighter, + and so on, and so on. Now we come to the third part; our country as it + appears to-day. We still see spots of green, but not much. The elk, the + swans, the black-cock have disappeared. It is, on the whole, the picture + of a regular and slow decline which it will evidently only take about + ten or fifteen more years to complete. You may perhaps object that it is + the march of progress, that the old order must give place to the new, + and you might be right if roads had been run through these ruined woods, + or if factories and schools had taken their place. The people then would + have become better educated and healthier and richer, but as it is, we + have nothing of the sort. We have the same swamps and mosquitoes; the + same disease and want; the typhoid, the diphtheria, the burning + villages. We are confronted by the degradation of our country, brought + on by the fierce struggle for existence of the human race. It is the + consequence of the ignorance and unconsciousness of starving, shivering, + sick humanity that, to save its children, instinctively snatches at + everything that can warm it and still its hunger. So it destroys + everything it can lay its hands on, without a thought for the morrow. + And almost everything has gone, and nothing has been created to take its + place. [Coldly] But I see by your face that I am not interesting you. + </p> + <p> + HELENA. I know so little about such things! + </p> + <p> + ASTROFF. There is nothing to know. It simply isn't interesting, that's + all. + </p> + <p> + HELENA. Frankly, my thoughts were elsewhere. Forgive me! I want to + submit you to a little examination, but I am embarrassed and don't know + how to begin. + </p> + <p> + ASTROFF. An examination? + </p> + <p> + HELENA. Yes, but quite an innocent one. Sit down. [They sit down] It is + about a certain young girl I know. Let us discuss it like honest people, + like friends, and then forget what has passed between us, shall we? + </p> + <p> + ASTROFF. Very well. + </p> + <p> + HELENA. It is about my step-daughter, Sonia. Do you like her? + </p> + <p> + ASTROFF. Yes, I respect her. + </p> + <p> + HELENA. Do you like her—as a woman? + </p> + <p> + ASTROFF. [Slowly] No. + </p> + <p> + HELENA. One more word, and that will be the last. You have not noticed + anything? + </p> + <p> + ASTROFF. No, nothing. + </p> + <p> + HELENA. [Taking his hand] You do not love her. I see that in your eyes. + She is suffering. You must realise that, and not come here any more. + </p> + <p> + ASTROFF. My sun has set, yes, and then I haven't the time. [Shrugging + his shoulders] Where shall I find time for such things? [He is + embarrassed.] + </p> + <p> + HELENA. Bah! What an unpleasant conversation! I am as out of breath as + if I had been running three miles uphill. Thank heaven, that is over! + Now let us forget everything as if nothing had been said. You are + sensible. You understand. [A pause] I am actually blushing. + </p> + <p> + ASTROFF. If you had spoken a month ago I might perhaps have considered + it, but now—[He shrugs his shoulders] Of course, if she is + suffering—but I cannot understand why you had to put me through + this examination. [He searches her face with his eyes, and shakes his + finger at her] Oho, you are wily! + </p> + <p> + HELENA. What does this mean? + </p> + <p> + ASTROFF. [Laughing] You are a wily one! I admit that Sonia is suffering, + but what does this examination of yours mean? [He prevents her from + retorting, and goes on quickly] Please don't put on such a look of + surprise; you know perfectly well why I come here every day. Yes, you + know perfectly why and for whose sake I come! Oh, my sweet tigress! + don't look at me in that way; I am an old bird! + </p> + <p> + HELENA. [Perplexed] A tigress? I don't understand you. + </p> + <p> + ASTROFF. Beautiful, sleek tigress, you must have your victims! For a + whole month I have done nothing but seek you eagerly. I have thrown over + everything for you, and you love to see it. Now then, I am sure you knew + all this without putting me through your examination. [Crossing his arms + and bowing his head] I surrender. Here you have me—now, eat me. + </p> + <p> + HELENA. You have gone mad! + </p> + <p> + ASTROFF. You are afraid! + </p> + <p> + HELENA. I am a better and stronger woman than you think me. Good-bye. + [She tries to leave the room.] + </p> + <p> + ASTROFF. Why good-bye? Don't say good-bye, don't waste words. Oh, how + lovely you are—what hands! [He kisses her hands.] + </p> + <p> + HELENA. Enough of this! [She frees her hands] Leave the room! You have + forgotten yourself. + </p> + <p> + ASTROFF. Tell me, tell me, where can we meet to-morrow? [He puts his arm + around her] Don't you see that we must meet, that it is inevitable? + </p> + <p> + He kisses her. VOITSKI comes in carrying a bunch of roses, and stops in + the doorway. + </p> + <p> + HELENA. [Without seeing VOITSKI] Have pity! Leave me, [lays her head on + ASTROFF'S shoulder] Don't! [She tries to break away from him.] + </p> + <p> + ASTROFF. [Holding her by the waist] Be in the forest tomorrow at two + o'clock. Will you? Will you? + </p> + <p> + HELENA. [Sees VOITSKI] Let me go! [Goes to the window deeply + embarrassed] This is appalling! + </p> + <p> + VOITSKI. [Throws the flowers on a chair, and speaks in great excitement, + wiping his face with his handkerchief] Nothing—yes, yes, nothing. + </p> + <p> + ASTROFF. The weather is fine to-day, my dear Ivan; the morning was + overcast and looked like rain, but now the sun is shining again. + Honestly, we have had a very fine autumn, and the wheat is looking + fairly well. [Puts his map back into the portfolio] But the days are + growing short. + </p> + <p> + HELENA. [Goes quickly up to VOITSKI] You must do your best; you must use + all your power to get my husband and myself away from here to-day! Do + you hear? I say, this very day! + </p> + <p> + VOITSKI. [Wiping his face] Oh! Ah! Oh! All right! I—Helena, I saw + everything! + </p> + <p> + HELENA. [In great agitation] Do you hear me? I must leave here this very + day! + </p> + <p> + SEREBRAKOFF, SONIA, MARINA, and TELEGIN come in. + </p> + <p> + TELEGIN. I am not very well myself, your Excellency. I have been limping + for two days, and my head— + </p> + <p> + SEREBRAKOFF. Where are the others? I hate this house. It is a regular + labyrinth. Every one is always scattered through the twenty-six enormous + rooms; one never can find a soul. [Rings] Ask my wife and Madame + Voitskaya to come here! + </p> + <p> + HELENA. I am here already. + </p> + <p> + SEREBRAKOFF. Please, all of you, sit down. + </p> + <p> + SONIA. [Goes up to HELENA and asks anxiously] What did he say? + </p> + <p> + HELENA. I'll tell you later. + </p> + <p> + SONIA. You are moved. [looking quickly and inquiringly into her face] I + understand; he said he would not come here any more. [A pause] Tell me, + did he? + </p> + <p> + HELENA nods. + </p> + <p> + SEREBRAKOFF. [To TELEGIN] One can, after all, become reconciled to being + an invalid, but not to this country life. The ways of it stick in my + throat and I feel exactly as if I had been whirled off the earth and + landed on a strange planet. Please be seated, ladies and gentlemen. + Sonia! [SONIA does not hear. She is standing with her head bowed sadly + forward on her breast] Sonia! [A pause] She does not hear me. [To + MARINA] Sit down too, nurse. [MARINA sits down and begins to knit her + stocking] I crave your indulgence, ladies and gentlemen; hang your ears, + if I may say so, on the peg of attention. [He laughs.] + </p> + <p> + VOITSKI. [Agitated] Perhaps you do not need me—may I be excused? + </p> + <p> + SEREBRAKOFF. No, you are needed now more than any one. + </p> + <p> + VOITSKI. What is it you want of me? + </p> + <p> + SEREBRAKOFF. You—but what are you angry about? If it is anything I + have done, I ask you to forgive me. + </p> + <p> + VOITSKI. Oh, drop that and come to business; what do you want? + </p> + <p> + MME. VOITSKAYA comes in. + </p> + <p> + SEREBRAKOFF. Here is mother. Ladies and gentlemen, I shall begin. I have + asked you to assemble here, my friends, in order to discuss a very + important matter. I want to ask you for your assistance and advice, and + knowing your unfailing amiability I think I can count on both. I am a + book-worm and a scholar, and am unfamiliar with practical affairs. I + cannot, I find, dispense with the help of well-informed people such as + you, Ivan, and you, Telegin, and you, mother. The truth is, <i>manet + omnes una nox,</i> that is to say, our lives are in the hands of God, + and as I am old and ill, I realise that the time has come for me to + dispose of my property in regard to the interests of my family. My life + is nearly over, and I am not thinking of myself, but I have a young wife + and daughter. [A pause] I cannot continue to live in the country; we + were not made for country life, and yet we cannot afford to live in town + on the income derived from this estate. We might sell the woods, but + that would be an expedient we could not resort to every year. We must + find some means of guaranteeing to ourselves a certain more or less + fixed yearly income. With this object in view, a plan has occurred to me + which I now have the honour of presenting to you for your consideration. + I shall only give you a rough outline, avoiding all details. Our estate + does not pay on an average more than two per cent on the money invested + in it. I propose to sell it. If we then invest our capital in bonds, it + will earn us four to five per cent, and we should probably have a + surplus over of several thousand roubles, with which we could buy a + summer cottage in Finland— + </p> + <p> + VOITSKI. Hold on! Repeat what you just said; I don't think I heard you + quite right. + </p> + <p> + SEREBRAKOFF. I said we would invest the money in bonds and buy a cottage + in Finland with the surplus. + </p> + <p> + VOITSKI. No, not Finland—you said something else. + </p> + <p> + SEREBRAKOFF. I propose to sell this place. + </p> + <p> + VOITSKI. Aha! That was it! So you are going to sell the place? Splendid. + The idea is a rich one. And what do you propose to do with my old mother + and me and with Sonia here? + </p> + <p> + SEREBRAKOFF. That will be decided in due time. We can't do everything at + once. + </p> + <p> + VOITSKI. Wait! It is clear that until this moment I have never had a + grain of sense in my head. I have always been stupid enough to think + that the estate belonged to Sonia. My father bought it as a wedding + present for my sister, and I foolishly imagined that as our laws were + made for Russians and not Turks, my sister's estate would come down to + her child. + </p> + <p> + SEREBRAKOFF. Of course it is Sonia's. Has any one denied it? I don't + want to sell it without Sonia's consent; on the contrary, what I am + doing is for Sonia's good. + </p> + <p> + VOITSKI. This is absolutely incomprehensible. Either I have gone mad or—or— + </p> + <p> + MME. VOITSKAYA. Jean, don't contradict Alexander. Trust to him; he knows + better than we do what is right and what is wrong. + </p> + <p> + VOITSKI. I shan't. Give me some water. [He drinks] Go ahead! Say + anything you please—anything! + </p> + <p> + SEREBRAKOFF. I can't imagine why you are so upset. I don't pretend that + my scheme is an ideal one, and if you all object to it I shall not + insist. [A pause.] + </p> + <p> + TELEGIN. [With embarrassment] I not only nourish feelings of respect + toward learning, your Excellency, but I am also drawn to it by family + ties. My brother Gregory's wife's brother, whom you may know; his name + is Constantine Lakedemonoff, and he used to be a magistrate— + </p> + <p> + VOITSKI. Stop, Waffles. This is business; wait a bit, we will talk of + that later. [To SEREBRAKOFF] There now, ask him what he thinks; this + estate was bought from his uncle. + </p> + <p> + SEREBRAKOFF. Ah! Why should I ask questions? What good would it do? + </p> + <p> + VOITSKI. The price was ninety-five thousand roubles. My father paid + seventy and left a debt of twenty-five. Now listen! This place could + never have been bought had I not renounced my inheritance in favour of + my sister, whom I deeply loved—and what is more, I worked for ten + years like an ox, and paid off the debt. + </p> + <p> + SEREBRAKOFF. I regret ever having started this conversation. + </p> + <p> + VOITSKI. Thanks entirely to my own personal efforts, the place is + entirely clear of debts, and now, when I have grown old, you want to + throw me out, neck and crop! + </p> + <p> + SEREBRAKOFF. I can't imagine what you are driving at. + </p> + <p> + VOITSKI. For twenty-five years I have managed this place, and have sent + you the returns from it like the most honest of servants, and you have + never given me one single word of thanks for my work, not one—neither + in my youth nor now. You allowed me a meagre salary of five hundred + roubles a year, a beggar's pittance, and have never even thought of + adding a rouble to it. + </p> + <p> + SEREBRAKOFF. What did I know about such things, Ivan? I am not a + practical man and don't understand them. You might have helped yourself + to all you wanted. + </p> + <p> + VOITSKI. Yes, why did I not steal? Don't you all despise me for not + stealing, when it would have been only justice? And I should not now + have been a beggar! + </p> + <p> + MME. VOITSKAYA. [Sternly] Jean! + </p> + <p> + TELEGIN. [Agitated] Vanya, old man, don't talk in that way. Why spoil + such pleasant relations? [He embraces him] Do stop! + </p> + <p> + VOITSKI. For twenty-five years I have been sitting here with my mother + like a mole in a burrow. Our every thought and hope was yours and yours + only. By day we talked with pride of you and your work, and spoke your + name with veneration; our nights we wasted reading the books and papers + which my soul now loathes. + </p> + <p> + TELEGIN. Don't, Vanya, don't. I can't stand it. + </p> + <p> + SEREBRAKOFF. [Wrathfully] What under heaven do you want, anyway? + </p> + <p> + VOITSKI. We used to think of you as almost superhuman, but now the + scales have fallen from my eyes and I see you as you are! You write on + art without knowing anything about it. Those books of yours which I used + to admire are not worth one copper kopeck. You are a hoax! + </p> + <p> + SEREBRAKOFF. Can't any one make him stop? I am going! + </p> + <p> + HELENA. Ivan, I command you to stop this instant! Do you hear me? + </p> + <p> + VOITSKI. I refuse! [SEREBRAKOFF tries to get out of the room, but + VOITSKI bars the door] Wait! I have not done yet! You have wrecked my + life. I have never lived. My best years have gone for nothing, have been + ruined, thanks to you. You are my most bitter enemy! + </p> + <p> + TELEGIN. I can't stand it; I can't stand it. I am going. [He goes out in + great excitement.] + </p> + <p> + SEREBRAKOFF. But what do you want? What earthly right have you to use + such language to me? Ruination! If this estate is yours, then take it, + and let me be ruined! + </p> + <p> + HELENA. I am going away out of this hell this minute. [Shrieks] This is + too much! + </p> + <p> + VOITSKI. My life has been a failure. I am clever and brave and strong. + If I had lived a normal life I might have become another Schopenhauer or + Dostoieffski. I am losing my head! I am going crazy! Mother, I am in + despair! Oh, mother! + </p> + <p> + MME. VOITSKAYA. [Sternly] Listen, Alexander! + </p> + <p> + SONIA falls on her knees beside the nurse and nestles against her. + </p> + <p> + SONIA. Oh, nurse, nurse! + </p> + <p> + VOITSKI. Mother! What shall I do? But no, don't speak! I know what to + do. [To SEREBRAKOFF] And you will understand me! + </p> + <p> + He goes out through the door in the centre of the room and MME. + VOITSKAYA follows him. + </p> + <p> + SEREBRAKOFF. Tell me, what on earth is the matter? Take this lunatic out + of my sight! I cannot possibly live under the same roof with him. His + room [He points to the centre door] is almost next door to mine. Let him + take himself off into the village or into the wing of the house, or I + shall leave here at once. I cannot stay in the same house with him. + </p> + <p> + HELENA. [To her husband] We are leaving to-day; we must get ready at + once for our departure. + </p> + <p> + SEREBRAKOFF. What a perfectly dreadful man! + </p> + <p> + SONIA. [On her knees beside the nurse and turning to her father. She + speaks with emotion] You must be kind to us, papa. Uncle Vanya and I are + so unhappy! [Controlling her despair] Have pity on us. Remember how + Uncle Vanya and Granny used to copy and translate your books for you + every night—every, every night. Uncle Vanya has toiled without + rest; he would never spend a penny on us, we sent it all to you. We have + not eaten the bread of idleness. I am not saying this as I should like + to, but you must understand us, papa, you must be merciful to us. + </p> + <p> + HELENA. [Very excited, to her husband] For heaven's sake, Alexander, go + and have a talk with him—explain! + </p> + <p> + SEREBRAKOFF. Very well, I shall have a talk with him, but I won't + apologise for a thing. I am not angry with him, but you must confess + that his behaviour has been strange, to say the least. Excuse me, I + shall go to him. + </p> + <p> + [He goes out through the centre door.] + </p> + <p> + HELENA. Be gentle with him; try to quiet him. [She follows him out.] + </p> + <p> + SONIA. [Nestling nearer to MARINA] Nurse, oh, nurse! + </p> + <p> + MARINA. It's all right, my baby. When the geese have cackled they will + be still again. First they cackle and then they stop. + </p> + <p> + SONIA. Nurse! + </p> + <p> + MARINA. You are trembling all over, as if you were freezing. There, + there, little orphan baby, God is merciful. A little linden-tea, and it + will all pass away. Don't cry, my sweetest. [Looking angrily at the door + in the centre of the room] See, the geese have all gone now. The devil + take them! + </p> + <p> + A shot is heard. HELENA screams behind the scenes. SONIA shudders. + </p> + <p> + MARINA. Bang! What's that? + </p> + <p> + SEREBRAKOFF. [Comes in reeling with terror] Hold him! hold him! He has + gone mad! + </p> + <p> + HELENA and VOITSKI are seen struggling in the doorway. + </p> + <p> + HELENA. [Trying to wrest the revolver from him] Give it to me; give it + to me, I tell you! + </p> + <p> + VOITSKI. Let me go, Helena, let me go! [He frees himself and rushes in, + looking everywhere for SEREBRAKOFF] Where is he? Ah, there he is! [He + shoots at him. A pause] I didn't get him? I missed again? [Furiously] + Damnation! Damnation! To hell with him! + </p> + <p> + He flings the revolver on the floor, and drops helpless into a chair. + SEREBRAKOFF stands as if stupefied. HELENA leans against the wall, + almost fainting. + </p> + <p> + HELENA. Take me away! Take me away! I can't stay here—I can't! + </p> + <p> + VOITSKI. [In despair] Oh, what shall I do? What shall I do? + </p> + <p> + SONIA. [Softly] Oh, nurse, nurse! + </p> + <p> + The curtain falls. + </p> + <a name="link2H_4_0006" id="link2H_4_0006"> + <!-- H2 anchor --> </a> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT IV + </h2> + <p> + VOITSKI'S bedroom, which is also his office. A table stands near the + window; on it are ledgers, letter scales, and papers of every + description. Near by stands a smaller table belonging to ASTROFF, with + his paints and drawing materials. On the wall hangs a cage containing a + starling. There is also a map of Africa on the wall, obviously of no use + to anybody. There is a large sofa covered with buckram. A door to the + left leads into an inner room; one to the right leads into the front + hall, and before this door lies a mat for the peasants with their muddy + boots to stand on. It is an autumn evening. The silence is profound. + TELEGIN and MARINA are sitting facing one another, winding wool. + </p> + <p> + TELEGIN. Be quick, Marina, or we shall be called away to say good-bye + before you have finished. The carriage has already been ordered. + </p> + <p> + MARINA. [Trying to wind more quickly] I am a little tired. + </p> + <p> + TELEGIN. They are going to Kharkoff to live. + </p> + <p> + MARINA. They do well to go. + </p> + <p> + TELEGIN. They have been frightened. The professor's wife won't stay here + an hour longer. "If we are going at all, let's be off," says she, "we + shall go to Kharkoff and look about us, and then we can send for our + things." They are travelling light. It seems, Marina, that fate has + decreed for them not to live here. + </p> + <p> + MARINA. And quite rightly. What a storm they have just raised! It was + shameful! + </p> + <p> + TELEGIN. It was indeed. The scene was worthy of the brush of Aibazofski. + </p> + <p> + MARINA. I wish I'd never laid eyes on them. [A pause] Now we shall have + things as they were again: tea at eight, dinner at one, and supper in + the evening; everything in order as decent folks, as Christians like to + have it. [Sighs] It is a long time since I have eaten noodles. + </p> + <p> + TELEGIN. Yes, we haven't had noodles for ages. [A pause] Not for ages. + As I was going through the village this morning, Marina, one of the + shop-keepers called after me, "Hi! you hanger-on!" I felt it bitterly. + </p> + <p> + MARINA. Don't pay the least attention to them, master; we are all + dependents on God. You and Sonia and all of us. Every one must work, no + one can sit idle. Where is Sonia? + </p> + <p> + TELEGIN. In the garden with the doctor, looking for Ivan. They fear he + may lay violent hands on himself. + </p> + <p> + MARINA. Where is his pistol? + </p> + <p> + TELEGIN. [Whispers] I hid it in the cellar. + </p> + <p> + VOITSKI and ASTROFF come in. + </p> + <p> + VOITSKI. Leave me alone! [To MARINA and TELEGIN] Go away! Go away and + leave me to myself, if but for an hour. I won't have you watching me + like this! + </p> + <p> + TELEGIN. Yes, yes, Vanya. [He goes out on tiptoe.] + </p> + <p> + MARINA. The gander cackles; ho! ho! ho! + </p> + <p> + [She gathers up her wool and goes out.] + </p> + <p> + VOITSKI. Leave me by myself! + </p> + <p> + ASTROFF. I would, with the greatest pleasure. I ought to have gone long + ago, but I shan't leave you until you have returned what you took from + me. + </p> + <p> + VOITSKI. I took nothing from you. + </p> + <p> + ASTROFF. I am not jesting, don't detain me, I really must go. + </p> + <p> + VOITSKI. I took nothing of yours. + </p> + <p> + ASTROFF. You didn't? Very well, I shall have to wait a little longer, + and then you will have to forgive me if I resort to force. We shall have + to bind you and search you. I mean what I say. + </p> + <p> + VOITSKI. Do as you please. [A pause] Oh, to make such a fool of myself! + To shoot twice and miss him both times! I shall never forgive myself. + </p> + <p> + ASTROFF. When the impulse came to shoot, it would have been as well had + you put a bullet through your own head. + </p> + <p> + VOITSKI. [Shrugging his shoulders] Strange! I attempted murder, and am + not going to be arrested or brought to trial. That means they think me + mad. [With a bitter laugh] Me! I am mad, and those who hide their + worthlessness, their dullness, their crying heartlessness behind a + professor's mask, are sane! Those who marry old men and then deceive + them under the noses of all, are sane! I saw you kiss her; I saw you in + each other's arms! + </p> + <p> + ASTROFF. Yes, sir, I did kiss her; so there. [He puts his thumb to his + nose.] + </p> + <p> + VOITSKI. [His eyes on the door] No, it is the earth that is mad, because + she still bears us on her breast. + </p> + <p> + ASTROFF. That is nonsense. + </p> + <p> + VOITSKI. Well? Am I not a madman, and therefore irresponsible? Haven't I + the right to talk nonsense? + </p> + <p> + ASTROFF. This is a farce! You are not mad; you are simply a ridiculous + fool. I used to think every fool was out of his senses, but now I see + that lack of sense is a man's normal state, and you are perfectly + normal. + </p> + <p> + VOITSKI. [Covers his face with his hands] Oh! If you knew how ashamed I + am! These piercing pangs of shame are like nothing on earth. [In an + agonised voice] I can't endure them! [He leans against the table] What + can I do? What can I do? + </p> + <p> + ASTROFF. Nothing. + </p> + <p> + VOITSKI. You must tell me something! Oh, my God! I am forty-seven years + old. I may live to sixty; I still have thirteen years before me; an + eternity! How shall I be able to endure life for thirteen years? What + shall I do? How can I fill them? Oh, don't you see? [He presses + ASTROFF'S hand convulsively] Don't you see, if only I could live the + rest of my life in some new way! If I could only wake some still, bright + morning and feel that life had begun again; that the past was forgotten + and had vanished like smoke. [He weeps] Oh, to begin life anew! Tell me, + tell me how to begin. + </p> + <p> + ASTROFF. [Crossly] What nonsense! What sort of a new life can you and I + look forward to? We can have no hope. + </p> + <p> + VOITSKI. None? + </p> + <p> + ASTROFF. None. Of that I am convinced. + </p> + <p> + VOITSKI. Tell me what to do. [He puts his hand to his heart] I feel such + a burning pain here. + </p> + <p> + ASTROFF. [Shouts angrily] Stop! [Then, more gently] It may be that + posterity, which will despise us for our blind and stupid lives, will + find some road to happiness; but we—you and I—have but one + hope, the hope that we may be visited by visions, perhaps by pleasant + ones, as we lie resting in our graves. [Sighing] Yes, brother, there + were only two respectable, intelligent men in this county, you and I. + Ten years or so of this life of ours, this miserable life, have sucked + us under, and we have become as contemptible and petty as the rest. But + don't try to talk me out of my purpose! Give me what you took from me, + will you? + </p> + <p> + VOITSKI. I took nothing from you. + </p> + <p> + ASTROFF. You took a little bottle of morphine out of my medicine-case. + [A pause] Listen! If you are positively determined to make an end to + yourself, go into the woods and shoot yourself there. Give up the + morphine, or there will be a lot of talk and guesswork; people will + think I gave it to you. I don't fancy having to perform a post-mortem on + you. Do you think I should find it interesting? + </p> + <p> + SONIA comes in. + </p> + <p> + VOITSKI. Leave me alone. + </p> + <p> + ASTROFF. [To SONIA] Sonia, your uncle has stolen a bottle of morphine + out of my medicine-case and won't give it up. Tell him that his + behaviour is—well, unwise. I haven't time, I must be going. + </p> + <p> + SONIA. Uncle Vanya, did you take the morphine? + </p> + <p> + ASTROFF. Yes, he took it. [A pause] I am absolutely sure. + </p> + <p> + SONIA. Give it up! Why do you want to frighten us? [Tenderly] Give it + up, Uncle Vanya! My misfortune is perhaps even greater than yours, but I + am not plunged in despair. I endure my sorrow, and shall endure it until + my life comes to a natural end. You must endure yours, too. [A pause] + Give it up! Dear, darling Uncle Vanya. Give it up! [She weeps] You are + so good, I am sure you will have pity on us and give it up. You must + endure your sorrow, Uncle Vanya; you must endure it. + </p> + <p> + VOITSKI takes a bottle from the drawer of the table and hands it to + ASTROFF. + </p> + <p> + VOITSKI. There it is! [To SONIA] And now, we must get to work at once; + we must do something, or else I shall not be able to endure it. + </p> + <p> + SONIA. Yes, yes, to work! As soon as we have seen them off we shall go + to work. [She nervously straightens out the papers on the table] + Everything is in a muddle! + </p> + <p> + ASTROFF. [Putting the bottle in his case, which he straps together] Now + I can be off. + </p> + <p> + HELENA comes in. + </p> + <p> + HELENA. Are you here, Ivan? We are starting in a moment. Go to + Alexander, he wants to speak to you. + </p> + <p> + SONIA. Go, Uncle Vanya. [She takes VOITSKI 'S arm] Come, you and papa + must make peace; that is absolutely necessary. + </p> + <p> + SONIA and VOITSKI go out. + </p> + <p> + HELENA. I am going away. [She gives ASTROFF her hand] Good-bye. + </p> + <p> + ASTROFF. So soon? + </p> + <p> + HELENA. The carriage is waiting. + </p> + <p> + ASTROFF. Good-bye. + </p> + <p> + HELENA. You promised me you would go away yourself to-day. + </p> + <p> + ASTROFF. I have not forgotten. I am going at once. [A pause] Were you + frightened? Was it so terrible? + </p> + <p> + HELENA. Yes. + </p> + <p> + ASTROFF. Couldn't you stay? Couldn't you? To-morrow—in the forest— + </p> + <p> + HELENA. No. It is all settled, and that is why I can look you so bravely + in the face. Our departure is fixed. One thing I must ask of you: don't + think too badly of me; I should like you to respect me. + </p> + <p> + ASTROFF. Ah! [With an impatient gesture] Stay, I implore you! Confess + that there is nothing for you to do in this world. You have no object in + life; there is nothing to occupy your attention, and sooner or later + your feelings must master you. It is inevitable. It would be better if + it happened not in Kharkoff or in Kursk, but here, in nature's lap. It + would then at least be poetical, even beautiful. Here you have the + forests, the houses half in ruins that Turgenieff writes of. + </p> + <p> + HELENA. How comical you are! I am angry with you and yet I shall always + remember you with pleasure. You are interesting and original. You and I + will never meet again, and so I shall tell you—why should I + conceal it?—that I am just a little in love with you. Come, one + more last pressure of our hands, and then let us part good friends. Let + us not bear each other any ill will. + </p> + <p> + ASTROFF. [Pressing her hand] Yes, go. [Thoughtfully] You seem to be + sincere and good, and yet there is something strangely disquieting about + all your personality. No sooner did you arrive here with your husband + than every one whom you found busy and actively creating something was + forced to drop his work and give himself up for the whole summer to your + husband's gout and yourself. You and he have infected us with your + idleness. I have been swept off my feet; I have not put my hand to a + thing for weeks, during which sickness has been running its course + unchecked among the people, and the peasants have been pasturing their + cattle in my woods and young plantations. Go where you will, you and + your husband will always carry destruction in your train. I am joking of + course, and yet I am strangely sure that had you stayed here we should + have been overtaken by the most immense desolation. I would have gone to + my ruin, and you—you would not have prospered. So go! E finita la + comedia! + </p> + <p> + HELENA. [Snatching a pencil off ASTROFF'S table, and hiding it with a + quick movement] I shall take this pencil for memory! + </p> + <p> + ASTROFF. How strange it is. We meet, and then suddenly it seems that we + must part forever. That is the way in this world. As long as we are + alone, before Uncle Vanya comes in with a bouquet—allow me—to + kiss you good-bye—may I? [He kisses her on the cheek] So! + Splendid! + </p> + <p> + HELENA. I wish you every happiness. [She glances about her] For once in + my life, I shall! and scorn the consequences! [She kisses him + impetuously, and they quickly part] I must go. + </p> + <p> + ASTROFF. Yes, go. If the carriage is there, then start at once. [They + stand listening.] + </p> + <p> + ASTROFF. E finita! + </p> + <p> + VOITSKI, SEREBRAKOFF, MME. VOITSKAYA with her book, TELEGIN, and SONIA + come in. + </p> + <p> + SEREBRAKOFF. [To VOITSKI] Shame on him who bears malice for the past. I + have gone through so much in the last few hours that I feel capable of + writing a whole treatise on the conduct of life for the instruction of + posterity. I gladly accept your apology, and myself ask your + forgiveness. [He kisses VOITSKI three times.] + </p> + <p> + HELENA embraces SONIA. + </p> + <p> + SEREBRAKOFF. [Kissing MME. VOITSKAYA'S hand] Mother! + </p> + <p> + MME. VOITSKAYA. [Kissing him] Have your picture taken, Alexander, and + send me one. You know how dear you are to me. + </p> + <p> + TELEGIN. Good-bye, your Excellency. Don't forget us. + </p> + <p> + SEREBRAKOFF. [Kissing his daughter] Good-bye, good-bye all. [Shaking + hands with ASTROFF] Many thanks for your pleasant company. I have a deep + regard for your opinions and your enthusiasm, but let me, as an old man, + give one word of advice at parting: do something, my friend! Work! Do + something! [They all bow] Good luck to you all. [He goes out followed by + MME. VOITSKAYA and SONIA.] + </p> + <p> + VOITSKI [Kissing HELENA'S hand fervently] Good-bye—forgive me. I + shall never see you again! + </p> + <p> + HELENA. [Touched] Good-bye, dear boy. + </p> + <p> + She lightly kisses his head as he bends over her hand, and goes out. + </p> + <p> + ASTROFF. Tell them to bring my carriage around too, Waffles. + </p> + <p> + TELEGIN. All right, old man. + </p> + <p> + ASTROFF and VOITSKI are left behind alone. ASTROFF collects his paints + and drawing materials on the table and packs them away in a box. + </p> + <p> + ASTROFF. Why don't you go to see them off? + </p> + <p> + VOITSKI. Let them go! I—I can't go out there. I feel too sad. I + must go to work on something at once. To work! To work! + </p> + <p> + He rummages through his papers on the table. A pause. The tinkling of + bells is heard as the horses trot away. + </p> + <p> + ASTROFF. They have gone! The professor, I suppose, is glad to go. He + couldn't be tempted back now by a fortune. + </p> + <p> + MARINA comes in. + </p> + <p> + MARINA. They have gone. [She sits down in an arm-chair and knits her + stocking.] + </p> + <p> + SONIA comes in wiping her eyes. + </p> + <p> + SONIA. They have gone. God be with them. [To her uncle] And now, Uncle + Vanya, let us do something! + </p> + <p> + VOITSKI. To work! To work! + </p> + <p> + SONIA. It is long, long, since you and I have sat together at this + table. [She lights a lamp on the table] No ink! [She takes the inkstand + to the cupboard and fills it from an ink-bottle] How sad it is to see + them go! + </p> + <p> + MME. VOITSKAYA comes slowly in. + </p> + <p> + MME. VOITSKAYA. They have gone. + </p> + <p> + She sits down and at once becomes absorbed in her book. SONIA sits down + at the table and looks through an account book. + </p> + <p> + SONIA. First, Uncle Vanya, let us write up the accounts. They are in a + dreadful state. Come, begin. You take one and I will take the other. + </p> + <p> + VOITSKI. In account with [They sit silently writing.] + </p> + <p> + MARINA. [Yawning] The sand-man has come. + </p> + <p> + ASTROFF. How still it is. Their pens scratch, the cricket sings; it is + so warm and comfortable. I hate to go. [The tinkling of bells is heard.] + </p> + <p> + ASTROFF. My carriage has come. There now remains but to say good-bye to + you, my friends, and to my table here, and then—away! [He puts the + map into the portfolio.] + </p> + <p> + MARINA. Don't hurry away; sit a little longer with us. + </p> + <p> + ASTROFF. Impossible. + </p> + <p> + VOITSKI. [Writing] And carry forward from the old debt two seventy-five— + </p> + <p> + WORKMAN comes in. + </p> + <p> + WORKMAN. Your carriage is waiting, sir. + </p> + <p> + ASTROFF. All right. [He hands the WORKMAN his medicine-case, portfolio, + and box] Look out, don't crush the portfolio! + </p> + <p> + WORKMAN. Very well, sir. + </p> + <p> + SONIA. When shall we see you again? + </p> + <p> + ASTROFF. Hardly before next summer. Probably not this winter, though, of + course, if anything should happen you will let me know. [He shakes hands + with them] Thank you for your kindness, for your hospitality, for + everything! [He goes up to MARINA and kisses her head] Good-bye, old + nurse! + </p> + <p> + MARINA. Are you going without your tea? + </p> + <p> + ASTROFF. I don't want any, nurse. + </p> + <p> + MARINA. Won't you have a drop of vodka? + </p> + <p> + ASTROFF. [Hesitatingly] Yes, I might. + </p> + <p> + MARINA goes out. + </p> + <p> + ASTROFF. [After a pause] My off-wheeler has gone lame for some reason. I + noticed it yesterday when Peter was taking him to water. + </p> + <p> + VOITSKI. You should have him re-shod. + </p> + <p> + ASTROFF. I shall have to go around by the blacksmith's on my way home. + It can't be avoided. [He stands looking up at the map of Africa hanging + on the wall] I suppose it is roasting hot in Africa now. + </p> + <p> + VOITSKI. Yes, I suppose it is. + </p> + <p> + MARINA comes back carrying a tray on which are a glass of vodka and a + piece of bread. + </p> + <p> + MARINA. Help yourself. + </p> + <p> + ASTROFF drinks + </p> + <p> + MARINA. To your good health! [She bows deeply] Eat your bread with it. + </p> + <p> + ASTROFF. No, I like it so. And now, good-bye. [To MARINA] You needn't + come out to see me off, nurse. + </p> + <p> + He goes out. SONIA follows him with a candle to light him to the + carriage. MARINA sits down in her armchair. + </p> + <p> + VOITSKI. [Writing] On the 2d of February, twenty pounds of butter; on + the 16th, twenty pounds of butter again. Buckwheat flour—[A pause. + Bells are heard tinkling.] + </p> + <p> + MARINA. He has gone. [A pause.] + </p> + <p> + SONIA comes in and sets the candle stick on the table. + </p> + <p> + SONIA. He has gone. + </p> + <p> + VOITSKI. [Adding and writing] Total, fifteen—twenty-five— + </p> + <p> + SONIA sits down and begins to write. + </p> + <p> + [Yawning] Oh, ho! The Lord have mercy. + </p> + <p> + TELEGIN comes in on tiptoe, sits down near the door, and begins to tune + his guitar. + </p> + <p> + VOITSKI. [To SONIA, stroking her hair] Oh, my child, I am miserable; if + you only knew how miserable I am! + </p> + <p> + SONIA. What can we do? We must live our lives. [A pause] Yes, we shall + live, Uncle Vanya. We shall live through the long procession of days + before us, and through the long evenings; we shall patiently bear the + trials that fate imposes on us; we shall work for others without rest, + both now and when we are old; and when our last hour comes we shall meet + it humbly, and there, beyond the grave, we shall say that we have + suffered and wept, that our life was bitter, and God will have pity on + us. Ah, then dear, dear Uncle, we shall see that bright and beautiful + life; we shall rejoice and look back upon our sorrow here; a tender + smile—and—we shall rest. I have faith, Uncle, fervent, + passionate faith. [SONIA kneels down before her uncle and lays her head + on his hands. She speaks in a weary voice] We shall rest. [TELEGIN plays + softly on the guitar] We shall rest. We shall hear the angels. We shall + see heaven shining like a jewel. We shall see all evil and all our pain + sink away in the great compassion that shall enfold the world. Our life + will be as peaceful and tender and sweet as a caress. I have faith; I + have faith. [She wipes away her tears] My poor, poor Uncle Vanya, you + are crying! [Weeping] You have never known what happiness was, but wait, + Uncle Vanya, wait! We shall rest. [She embraces him] We shall rest. [The + WATCHMAN'S rattle is heard in the garden; TELEGIN plays softly; MME. + VOITSKAYA writes something on the margin of her pamphlet; MARINA knits + her stocking] We shall rest. + </p> + <p> + The curtain slowly falls. + </p> + <br /> + </div> + <p> + <br /><br /><br /><br /> + </p> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of Uncle Vanya, by Anton Checkov + +*** END OF THIS PROJECT GUTENBERG EBOOK UNCLE VANYA *** + +***** This file should be named 1756-h.htm or 1756-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/7/5/1756/ + +Produced by An Anonymous Volunteer, and David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + </body> +</html> |