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+The Project Gutenberg EBook of Redemption and Two Other Plays
+by Leo Tolstoy et al
+
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+Title: Redemption and Two Other Plays
+
+Author: Leo Tolstoy et al
+
+Release Date: January, 2006  [EBook #9792]
+[This file was first posted on October 17, 2003]
+
+Edition: 10
+
+Language: English
+
+Character set encoding: US-ASCII
+
+*** START OF THE PROJECT GUTENBERG EBOOK, REDEMPTION AND TWO OTHER PLAYS ***
+
+
+
+
+E-text prepared by David Starner, Skip Doughty, and Project Gutenberg
+Distributed Proofreaders
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+
+REDEMPTION AND TWO OTHER PLAYS
+
+By LEO TOLSTOY
+
+Introduction By ARTHUR HOPKINS
+
+
+
+
+
+
+
+CONTENTS
+
+INTRODUCTION BY ARTHUR HOPKINS
+REDEMPTION
+THE POWER OF DARKNESS
+FRUITS OF CULTURE
+
+
+
+
+INTRODUCTION
+
+After making a production of _Redemption_, the chief feeling of the
+producer is one of deep regret that Tolstoi did not make more use of
+the theatre as a medium. His was the rare gift of vitalization: the
+ability to breathe life into word-people which survives in them so
+long as there is any one left to turn up the pages they have made
+their abode.
+
+In the world of writing, many terms that should be illuminative have
+become meaningless. So often has the barren been called "pregnant,"
+the chill of death "the breath of life," the atrophied "pulsating,"
+that when we really come upon a work with beating heart we find it
+difficult to give it place that has not already been stuffed to
+suffocation with misplaced dummies.
+
+We seat it at table with staring wax figures and bid it to join the
+feast. There is no exclusion act in art, no passport bureau, not even
+hygienic segregation.
+
+In writing the briefest introduction to Tolstoi's work, I am appointed
+by the publisher, a sort of reception committee of one to escort the
+work to some fitting place where it may enjoy the surroundings and
+deference it deserves.
+
+The place to which I escort it is built of words, but what words have
+been left me by the long procession of previous committees? Where they
+have been truthfully used they have been glorified, and offer all the
+rarer material for my structure, but how often have they been
+subjected to base use. Perhaps some day we will learn the proper
+respect of such simple words as love and truth and life, and then when
+we meet them in books we shall know how to greet them.
+
+The study of _Redemption_ is so simple that it needs no illumination
+from me. The characters may walk in strange lands without
+introduction. They are part of us. Fedya is in all of us. His one cry
+"There has always been so much lacking between what I felt and what I
+could do" instantly makes him brother to all mankind. His simultaneous
+physical degeneration and spiritual regeneration is the glory that all
+people have invested in death. Tolstoi's cry against convention that
+disregards spiritual struggle, and system that ignores human growth,
+will find answering cries in many breasts in many lands.
+
+Utterly disregarding effect, technique or method, Tolstoi has explored
+his own soul and there touched hands with countless other souls, and
+since he has trod the path of countless millions who will come after
+him, the mementos of his journey will long be sought.
+
+ARTHUR HOPKINS.
+
+
+The translation of _Redemption_ here published is the one produced by
+Mr. Arthur Hopkins at the Plymouth Theatre, New York, in the season of
+1918-1919. The part of FEDYA was played by Mr. John Barrymore.
+
+
+
+
+
+
+REDEMPTION
+
+
+
+
+CHARACTERS
+
+THEODORE VASILYEVICH PROTOSOV (FEDYA).
+ELISABETH ANDREYEVNA PROTOSOVA (LISA). His wife.
+MISHA. Their son.
+ANNA PAVLOVNA. Lisa's mother.
+SASHA. Lisa's younger, unmarried sister.
+VICTOR MICHAELOVITCH KARENIN.
+SOPHIA DMITRIEVNA KARENINA.
+PRINCE SERGIUS DMITRIEVICH ABRESKOV.
+MASHA. A gypsy girl.
+IVAN MAKAROVICH. An old gypsy man. Masha's parent.
+NASTASIA IVANOVNA. An old gypsy woman. Masha's parent.
+OFFICER.
+MUSICIAN.
+FIRST GYPSY MAN.
+SECOND GYPSY MAN.
+GYPSY WOMAN.
+GYPSY CHOIR.
+DOCTOR.
+MICHAEL ALEXANDROVICH AFREMOV.
+STAKHOV. One of Fedya's boon companions.
+BUTKEVICH. One of Fedya's boon companions.
+KOROTKOV. One of Fedya's boon companions.
+IVAN PETROVICH ALEXANDROV.
+VOZNESENSKY. Karenin's secretary.
+PETUSHKOV. An artist.
+ARTIMIEV.
+WAITER IN THE PRIVATE ROOM AT THE RESTAURANT.
+WAITER IN A LOW-CLASS RESTAURANT.
+MANAGER OF THE SAME.
+POLICEMAN.
+INVESTIGATING MAGISTRATE.
+MELNIKOV.
+CLERK.
+USHER.
+YOUNG LAWYER.
+PETRUSHIN. A lawyer.
+LADY.
+ANOTHER OFFICER.
+ATTENDANT AT LAW COURTS.
+PROTOSOVS' NURSE.
+PROTOSOVS' MAID.
+AFREMOV'S FOOTMAN.
+KARENINS' FOOTMAN.
+
+
+
+
+ACT I
+
+SCENE I
+
+Protosovs' flat in Moscow. The scene represents a small dining room.
+ANNA PAVLOVNA, a stout, gray-haired lady, tightly laced, is sitting
+alone at the tea-table on which is a samovar.
+
+Enter NURSE carrying a tea-pot.
+
+NURSE (enters R. I, over to table C.). Please, Madam, may I have some
+water?
+
+ANNA PAVLOVNA (sitting R. of table C.). Certainly. How is the baby
+now?
+
+NURSE. Oh, restless, fretting all the time. There's nothing worse than
+for a lady to nurse her child. She has her worries and the baby
+suffers for them. What sort of milk could she have, not peeping all
+night, and crying and crying?
+
+     [SASHA enters R. I, strolls to L. of table C.
+
+ANNA PAVLOVNA. But I thought she was more calm now?
+
+NURSE. Fine calm! It makes me sick to look at her. She's just been
+writing something and crying all the time.
+
+SASHA (to nurse). Lisa's looking for you.
+
+     [Sits in chair L. of table C.
+
+NURSE. I'm going.
+
+     [Exits R. I.
+
+ANNA PAVLOVNA. Nurse says she's always crying. Why can't she try and
+calm herself a little?
+
+SASHA. Well, really, Mother, you're amazing. How can you expect her to
+behave as if nothing had happened when she's just left her husband and
+taken her baby with her?
+
+ANNA PAVLOVNA. Well, I don't exactly, but that's all over. If I
+approve of my daughter's having left her husband, if I'm ever glad,
+well, you may be quite sure he deserved it. She has no reason to be
+miserable--on the contrary, she ought to be delighted at being freed
+from such a wretch.
+
+SASHA. Mother! Why do you go on like this? It's not the truth and you
+know it. He's not a wretch, he's wonderful. Yes, in spite of all his
+weakness.
+
+ANNA PAVLOVNA. I suppose you'd like her to wait till he'd spent every
+kopec they had, and smile sweetly when be brought his gypsy mistresses
+home with him.
+
+SASHA. He hasn't any mistresses.
+
+ANNA PAVLOVNA. There you go again. Why, the man's simply bewitched
+you, but I can see through him, and he knows it. If I'd been Lisa, I'd
+left him a year ago.
+
+SASHA. Oh, how easily you speak of these serious things.
+
+ANNA PAVLOVNA. Not easily, not easily at all. Do you suppose it's
+agreeable for me to have my daughter admit her marriage a failure? But
+anything's better than for her to throw away her life in a lie. Thank
+God, she's made up her mind to finish with him for good.
+
+SASHA. Maybe it won't be for good.
+
+ANNA PAVLOVNA. It would be if only he'd give her a divorce.
+
+SASHA. To what end?
+
+ANNA PAVLOVNA. Because she's young and has the right to look for
+happiness.
+
+SASHA. It's awful to listen to you. How could she love some one else?
+
+ANNA PAVLOVNA. Why not? There are thousands better than your Fedya,
+and they'd be only too happy to marry Lisa.
+
+SASHA. Oh, it's not nice of you. I feel, I can tell, you're thinking
+about Victor Karenin.
+
+ANNA PAVLOVNA. Why not? He loved her for ten years, and she him, I
+believe.
+
+SASHA. Yes, but she doesn't love him as a husband. They grew up
+together; they've just been friends.
+
+ANNA PAVLOVNA. Ah, those friendships! How should you know what keeps
+them warm! If only they were both free!
+
+     [Enter a MAID L. U.
+
+Well?
+
+MAID. The porter's just come back with an answer to the note.
+
+ANNA PAVLOVNA. What note?
+
+MAID. The note Elizaveta Protosova sent to Victor Karenin.
+
+ANNA PAVLOVNA. Well? What answer?
+
+MAID. Victor Karenin told the porter he'd be here directly.
+
+ANNA PAVLOVNA. Very well.
+
+     [MAID exits L. U.
+
+     [To SASHA.
+
+Why do you suppose she sent for him? Do you know?
+
+SASHA. Maybe I do and maybe I don't.
+
+ANNA PAVLOVNA. You're always so full of secrets.
+
+SASHA. Ask Lisa, she'll tell you.
+
+ANNA PAVLOVNA. Just as I thought! She sent for him at once.
+
+SASHA. Yes, but maybe not for the reason you think.
+
+ANNA PAVLOVNA. Then what for?
+
+SASHA. Why, Mother, Lisa cares just about as much for Victor Karenin
+as she does for her old nurse.
+
+ANNA PAVLOVNA. You'll see. She wants consolation, a special sort of
+consolation.
+
+SASHA. Really, it shows you don't know Lisa at all to talk like this.
+
+ANNA PAVLOVNA. You'll see. Sasha. Yes, I shall see.
+
+ANNA PAVLOVNA (alone to herself). And I am very glad. I'm very, very
+glad.
+
+     [Enter MAID.
+
+MAID. Victor Karenin.
+
+ANNA PAVLOVNA. Show him here and tell your mistress.
+
+     [MAID shows in KARENIN and exits door R. I.
+
+KARENIN (goes C. and stands behind table C.). (Shaking hands with Anna
+Pavlovna.) Elizaveta Andreyevna sent me a note to come at once. I
+should have been here to-night anyway. How is she? Well, I hope.
+
+ANNA PAVLOVNA. Not very. The baby has been upset again. However,
+she'll be here in a minute. Will you have some tea?
+
+KARENIN. No, thank you.
+
+     [Sits chair R.
+
+ANNA PAVLOVNA. Tell me, do you know that he and she--.
+
+KARENIN. Yes, I was here two days ago when she got this letter. Is she
+positive now about their separating?
+
+ANNA PAVLOVNA. Oh, absolutely. It would be impossible to begin it all
+over again.
+
+KARENIN. Yes. To cut into living things and then draw back the knife
+is terrible. But are you sure she knows her mind?
+
+ANNA PAVLOVNA. I should think so. To come to this decision has caused
+her much pain. But now it's final, and he understands perfectly that
+his behavior has made it impossible for him to come back on any terms.
+
+KARENIN. Why?
+
+ANNA PAVLOVNA. After breaking every oath he swore to decency, how
+could he come back? And so why shouldn't he give her her freedom?
+
+KARENIN. What freedom is there for a woman still married?
+
+ANNA PAVLOVNA. Divorce. He promised her a divorce and we shall insist
+upon it.
+
+KARENIN. But your daughter was so in love with him?
+
+ANNA PAVLOVNA. Her love has been tried out of existence. Remember she
+had everything to contend with: drunkenness, gambling, infidelity--
+what was there to go on loving in such a person?
+
+KARENIN. Love can do anything.
+
+ANNA PAVLOVNA. How can one love a rag torn by every wind? Their
+affairs were in dreadful shape; their estate mortgaged; no money
+anywhere. Finally his uncle sends them two thousand rubles to pay the
+interest on the estate. He takes it, disappears, leaves Lisa home and
+the baby sick--when suddenly she gets a note asking her to send him
+his linen.
+
+KARENIN. I know.
+
+     [Enter LISA R.I. KARENIN crosses to LISA.
+
+I'm sorry to have been a little detained.
+
+     [Shakes hands with LISA.
+
+LISA. Oh, thank you so much for coming. I have a great favor to ask of
+you. Something I couldn't ask of anybody else.
+
+KARENIN. I'll do everything I can.
+
+     [LISA moves away a few steps down R.
+
+LISA. You know all about this.
+
+     [Sits chair R.
+
+KARENIN. Yes, I know.
+
+ANNA PAVLOVNA. Well, I think I'll leave you two young people to
+yourselves. (To SASHA.) Come along, dear, you and I will be just in
+the way.
+
+     [Exit L. U. ANNA PAVLOVNA and SASHA.
+
+LISA. Fedya wrote to me saying it was all over between us. (She begins
+to cry.) That hurt me so, bewildered me so, that--well, I agreed to
+separate. I wrote to him saying I was willing to give him up if he
+wanted me to.
+
+KARENIN. And now you're sorry?
+
+LISA (nodding). I feel I oughtn't to have said yes. I can't. Anything
+is better than not to see him again. Victor dear, I want you to give
+him this letter and tell him what I've told you, and--and bring him
+back to me.
+
+     [Gives VICTOR a letter.
+
+KARENIN. I'll do what I can.
+
+     [Takes letter, turns away and sits chair R. of table C.
+
+LISA. Tell him I will forget everything if only he will come back. I
+thought of mailing this, only I know him: he'd have a good impulse,
+first thwarted by some one, some one who would finally make him act
+against himself.
+
+     [Pause.
+
+Are you--are you surprised I asked you?
+
+KARENIN. No. (He hesitates.) But--well, candidly, yes. I am rather
+surprised.
+
+LISA. But you are not angry?
+
+KARENIN. You know I couldn't be angry with you.
+
+LISA. I ask you because I know you're so fond of him.
+
+KARENIN. Of him--and of you too. Thank you for trusting me. I'll do
+all I can.
+
+LISA. I know you will. Now I'm going to tell you everything. I went
+to-day to Afremov's, to find out where he was. They told me he was
+living with the gypsies. Of course that's what I was afraid of. I know
+he'll be swept off his feet if he isn't stopped in time. So you'll go,
+won't you?
+
+KARENIN. Where's the place?
+
+LISA. It's that big tenement where the gypsy orchestra lives, on the
+left bank below the bridge. I went there myself. I went as far as the
+door, and was just going to send up the letter, but somehow I was
+afraid. I don't know why. And then I thought of you. Tell him, tell
+him I've forgotten everything and that I'm here waiting for him to
+come home. (Crosses to KARENIN--a little pause.) Do it out of love for
+him, Victor, and out of friendship for me.
+
+     [Another pause.
+
+KARENIN. I'll do all I can.
+
+     [He bows to her and goes out L.U. Enter SASHA L.U., goes L. over
+      near table C.
+
+SASHA. Has the letter gone? (LISA nods.) He had no objections to
+taking it himself?
+
+     [LISA, R. C., shakes head.
+
+SASHA (L.C.). Why did you ask him? I don't understand it.
+
+LISA. Who else was there?
+
+SASHA. But you know he's in love with you.
+
+LISA. Oh, that's all past. (Over to table C.) Do you think Fedya will
+come back?
+
+SASHA. I'm sure he will, but--
+
+     [Enter ANNA PAVLOVNA.
+
+ANNA PAVLOVNA. Where's Victor Karenin?
+
+LISA. Gone.
+
+ANNA PAVLOVNA. Gone?
+
+LISA. I've asked him to do something for me.
+
+ANNA PAVLOVNA. What was it? Another secret?
+
+LISA. No, not a secret. I simply asked him to take a letter to Fedya.
+
+ANNA PAVLOVNA. To Fedor Protosov?
+
+LISA. Oh, to Fedya, Fedya.
+
+ANNA PAVLOVNA. Then it's not going to be over?
+
+LISA. I can't let him leave me.
+
+ANNA PAVLOVNA. Oh, so we shall commence all over again?
+
+LISA. I'll do anything you like, but I can't give him up.
+
+ANNA PAVLOVNA. You don't mean you want him to come back?
+
+LISA. Yes, yes.
+
+ANNA PAVLOVNA. Let that reptile into the house again!
+
+LISA. Please don't talk like that. He's my husband.
+
+ANNA PAVLOVNA. Was your husband.
+
+LISA. No. He's still my husband.
+
+ANNA PAVLOVNA. Spendthrift. Drunkard. Reprobate. And you'll not part
+from him!
+
+LISA. Oh, Mother, why do you keep on hurting me! You seem to enjoy it.
+
+ANNA PAVLOVNA. Hurt you, do I? Enjoy it, do I? Very well, then, if
+that's the case, I'd better go.
+
+     [Pause.
+
+I see I'm in your way. You want me to go. Well, all I can say is I
+can't make you out. I suppose you're being "modern" and all that. But
+to me, it's just plain disgusting. First, you make up your mind to
+separate from your husband, and then you up and send for another man
+who's in love with you--
+
+LISA. Mother, he's not.
+
+ANNA PAVLOVNA. You know Karenin proposed to you, and he's the man you
+pick out to bring back your husband. I suppose you do it just to make
+him jealous.
+
+LISA. Oh, Mother, stop it. Leave me alone.
+
+ANNA PAVLOVNA. That's right. Send off your mother. Open the door to
+that awful husband. Well, I can't stand by and see you do it. I'll go.
+I'm going. And God be with you and your extraordinary ways.
+
+     [Exit L. U. with suppressed rage.
+
+LISA (sinking into a chair R. of table C.). That's the last straw.
+
+SASHA. Oh, she'll come back. We'll make her understand. (Going to the
+door and following after her mother.) Now, Mother darling, listen--
+listen--
+
+     [Exit L. U.
+
+     [All lights dim to black out.
+
+CURTAIN
+
+
+
+SCENE II
+
+A room at the gypsies', dark but beautifully lit. The actual room is
+scarcely seen, and although at first it appears squalid, there are
+flaring touches of Byzantine luxury. Gypsies are singing. FEDYA is
+lying on the sofa, his eyes closed, coat off. An OFFICER sits at the
+table, on which there are bottles of champagne and glasses. Beside him
+sits a musician taking down the song.
+
+AFREMOV (standing L. U.). Asleep?
+
+FEDYA (on couch L. Raising his hand warningly). Sh! Don't talk! Now
+let's have "No More at Evening."
+
+GYPSY LEADER. Impossible, Fedor Protosov. Masha must have her solo
+first.
+
+FEDYA. Afterwards. Now let's have "No More at Evening."
+
+     [Gypsies sing.
+
+GYPSY WOMAN (R. C., when they finish singing, turning to Musician who
+is sitting at table R., with his back to audience). Have you got it?
+
+MUSICIAN. It's impossible to take it down correctly. They change the
+tune each time, and they seem to have a different scale, too. (He
+calls a gypsy woman.) Is this it?
+
+     [He hums a bar or two.
+
+GYPSY WOMAN (clapping her hands). Splendid! Wonderful! How can you do
+it?
+
+FEDYA (rising. Goes to table L. back of couch and pours out glass of
+wine). He'll never get it. And even if he did and shovelled it into an
+opera, he'd make it seem absolutely meaningless.
+
+AFREMOV. Now we'll have "The Fatal Hour."
+
+     [Gypsies sing quartette. During this song, FEDYA is standing down
+      R., keeping time with the wine glass from which he has drunk.
+      When they finish he returns to the couch and falls into MASHA'S
+      arms.
+
+FEDYA. God! That's it! That's it! That's wonderful. What lovely things
+that music says. And where does it all come from, what does it all
+mean?
+
+     [Another pause.
+
+To think that men can touch eternity like that, and then--nothing--
+nothing at all.
+
+MUSICIAN. Yes, it's very original.
+
+     [Taking notes.
+
+FEDYA. Original be damned. It's real.
+
+MUSICIAN. It's all very simple, except the rhythm. That's very
+strange.
+
+FEDYA. Oh, Masha, Masha! You turn my soul inside out.
+
+     [Gypsies hum a song softly.
+
+MASHA (sitting on couch L. with FEDYA). Do I? But what was it I asked
+you for?
+
+FEDYA. What? Oh, money. Voila, mademoiselle.
+
+     [He takes money front his trousers pocket. MASHA laughs, takes
+      the money, counts it swiftly, and hides it in her dress.
+
+FEDYA. Look at this strange creature. When she sings she rushes me
+into the sky and all she asks for is money, little presents of money
+for throwing open the Gates of Paradise. You don't know yourself, at
+all, do you?
+
+MASHA. What's the use of me wondering about myself? I know when I'm in
+love, and I know that I sing best when my love is singing.
+
+FEDYA. Do you love me?
+
+MASHA (murmuring). I love you.
+
+FEDYA. But I am a married man, and you belong to this gypsy troupe.
+They wouldn't let you leave it, and--
+
+MASHA (interrupting). The troupe's one thing, and my heart's another.
+I love those I love, and I hate those I hate.
+
+FEDYA. Oh, you must be happy to be like that.
+
+MASHA. I'm always happy when handsome gentlemen come and say nice
+things to me. (Gypsies stop singing.)
+
+     [A GYPSY entering speaks to FEDYA.
+
+GYPSY. Some one asking for you.
+
+FEDYA. Who?
+
+Gypsy. Don't know. He's rich, though. Fur coat.
+
+FEDYA. Fur coat? O my God, show him in.
+
+AFREMOV. Who the devil wants to see you here?
+
+FEDYA (carelessly). God knows, I don't. (Begins to hum a song.)
+
+     [KARENIN comes in, looking around the room.
+
+(Exclaiming). Ha! Victor! You're the last man in the world I expected
+to break into this enchanting milieu. Take off your coat, and they'll
+sing for you.
+
+KARENIN. Je voudrais vous parler sans temoins.
+
+     [MASHA rises and joins the group R.
+
+FEDYA. Oh.... What about?
+
+KARENIN. Je viens de chez vous. Votre femme ma charge de cette lettre,
+et puis--
+
+     [FEDYA takes the letter, opens it, reads. He frowns, then smiles
+      affectionately at KARENIN.
+
+FEDYA. You know what's in this letter, Victor?
+
+     [He is smiling gently all the time.
+
+KARENIN (looking at FEDYA rather severely). Yes, I know. But really,
+Fedya, you're in no--
+
+FEDYA (interrupting). Please, please don't think I'm drunk and don't
+realize what I'm saying. Of course I'm drunk, but I see everything
+very clearly. Now go ahead. What were you told to tell me?
+
+KARENIN (is standing L. C. Shrugging his shoulders). Your wife asked
+me to find you and to tell you she's waiting for you. She wants you to
+forget everything and come back.
+
+     [Pause.
+
+KARENIN (stiffly). Elizaveta Protosova sent for me and suggested that
+I--
+
+FEDYA (as he hesitates). Yes.
+
+KARENIN (finishing rather lamely). But I ask you not so much for her
+as for myself--Fedya, come home.
+
+FEDYA (looking up at him, smiling rather whimsically). You're a much
+finer person than I am, Victor. Of course that's not saying much. I'm
+not very much good, am I? (Laughing gently.) But that's exactly why
+I'm not going to do what you want me to. It's not the only reason,
+though. The real reason is that I just simply can't. How could I?
+
+KARENIN (persuasively). Come along to my rooms, Fedya, and I'll tell
+her you'll be back to-morrow.
+
+FEDYA (wistfully). To-morrows can't change what we are. She'll still
+be she, and I will still be I to-morrow. (Goes to the table and
+drinks.) No, it's better to have the tooth out in one pull. Didn't I
+say that if I broke my word she was to leave me? Well, I've broken it,
+and that's enough.
+
+KARENIN. Yes. For you, but not for her.
+
+FEDYA (down L. Politely insolent). You know ... it's rather odd, that
+you, of all men, should take so much trouble to keep our marriage from
+going to pieces.
+
+KARENIN (revolted). Good God, Fedya! You don't think--
+
+     [MASHA crosses L., goes to FEDYA. FEDYA interrupting him with a
+      return of his former friendliness.
+
+FEDYA. Come now, my dear Victor, you shall hear them sing.
+
+MASHA (whispering to FEDYA). What's his name? We must honor him with a
+song.
+
+FEDYA (laughing). O good God, yes! Honor him by all means. His name is
+Victor Michaelovitch. (Saluting Karenin.) Victor, my lord! son of
+Michael!
+
+     [The gypsies sing a song of greeting and laudation. As they begin
+      to sing, MASHA and FEDYA sit on couch L.
+
+(When song is finished.)
+
+KARENIN (in an imploring tone). Fedya!
+
+     [Exits quietly L. U.
+
+FEDYA (business with MASHA). Where's the fur coat? Gone, eh? All
+right. May the devil go with it.
+
+FEDYA. Do you know who that was?
+
+MASHA. I heard his name.
+
+FEDYA. Ah, he's a splendid fellow. He came to take me home to my wife.
+You see she loves even a fool like me, (caressing her hair) and look
+what I'm doing.
+
+MASHA. You should go back to her and be very sorry.
+
+FEDYA. Do you think I should? (He kisses her.) Well, I think I
+shouldn't.
+
+MASHA. Of course, you needn't go back to her if you don't love her.
+Love is all that counts.
+
+FEDYA (smiling). How do you know that?
+
+MASHA (looking at him timidly). I don't know, but I do.
+
+FEDYA. Now, let's have "No More at Evening." (As the gypsies sing,
+MASHA lies on her back across his lap, looking up into his face, which
+she draws down to her, and they kiss until the music begins to cease.)
+That's wonderful! Divine! If I could only lie this way forever, with
+my arms around the heart of joy, and sleep ... and die.... (He closes
+his eyes; his voice trails away.)
+
+     [Lights dim and out, then the
+
+CURTAIN
+
+
+
+SCENE III
+
+SOPHIA KARENINA'S boudoir. SOPHIA KARENINA, VICTOR'S mother, is
+reading a book. She is a great lady, over fifty, but tries to look
+younger. She likes to interlard her conversation with French words. A
+servant enters.
+
+SERVANT (enters R., announcing). Prince Sergius Abreskov.
+
+SOPHIA KARENINA (on sofa over L.). Show him in, please.
+
+     [She turns and picks up hand mirror from table back of couch,
+      arranging her hair.
+
+PRINCE SERGIUS (enters R. I. Entering). J'espere que je ne force pas
+la consigne.
+
+     [Crossing to sofa L. He kisses her hand. He is a charming old
+      diplomat of seventy.
+
+SOPHIA KARENINA. Ah, you know well que vous etes toujours le bien
+venu.... Tell me, you have received my letter?
+
+PRINCE SERGIUS. I did. Me voila. (Sits L. on sofa L.) Sophia Karenina
+(working up to distress). Oh, my dear friend, I begin to lose hope.
+She's bewitched him, positively bewitched him. Il est ensorcele. I
+never knew he could be so obstinate, so heartless, and so indifferent
+to me. He's changed completely since that woman left her husband.
+
+PRINCE SERGIUS. How do matters actually stand?
+
+SOPHIA KARENINA. Well, he's made up his mind to marry her at any cost.
+
+PRINCE SERGIUS. And her husband?
+
+SOPHIA KARENINA. He agrees to a divorce.
+
+PRINCE SERGIUS. Really?
+
+SOPHIA KARENINA. And Victor is willing to put up with all the
+sordidness, the vulgarity of the divorce court, the lawyers, evidences
+of guilt ... tout ca est degoutant. I can't understand his sensitive
+nature not being repelled by it.
+
+PRINCE SERGIUS (smiling). He's in love, and when a man's really in
+love--
+
+SOPHIA KARENINA (interrupting). In our time love could remain pure,
+coloring one's whole life with a romantic friendship. Such love I
+understand and value.
+
+PRINCE SERGIUS (sighing). However, the present generation refuses to
+live on dreams. (He coughs delicately.) La possession de l'ame ne leur
+suffit plus. So what is the alternative? But tell me more of Victor.
+
+SOPHIA KARENINA. There's not very much to say. He seems bewitched,
+hardly my son. Did you know I'd called upon her? Victor pressed me so
+it was impossible to refuse. But Dieu merci, I found her out. So I
+merely left my card, and now she has asked me if I could receive her
+to-day, and I am expecting her (she glances at her watch) any moment
+now. I am doing all this to please Victor, but conceive my feelings. I
+know you always can. Really, really, I need your help.
+
+PRINCE SERGIUS (bowing). Thank you for the honor you do me.
+
+SOPHIA KARENINA. You realize this visit decides Victor's fate. I must
+refuse my consent, or---- But that's impossible.
+
+PRINCE SERGIUS. Have you met her?
+
+SOPHIA KARENINA. I've never seen her, but I'm afraid of her. No good
+woman leaves her husband, especially when there's nothing obviously
+intolerable about him. Why, I've seen Protosov often with Victor, and
+found him even quite charming.
+
+PRINCE SERGIUS (murmurs). So I've heard. So I've heard.
+
+SOPHIA KARENINA (continuing). She should bear her cross without
+complaint. And Victor must cease trying to persuade himself that his
+happiness lies in defying his principles. What I don't understand is
+how Victor, with his religious views, can think of marrying a divorced
+woman. I've heard him say over and over again--once quite lately--
+that divorce is totally inconsistent with true Christianity. If she's
+been able to fascinate him to that point, I am afraid of her.--But how
+stupid of me to talk all the time! Have you spoken to him at all? What
+does he say? And don't you thoroughly agree with me?
+
+PRINCE SERGIUS. Yes, I've spoken to Victor. I think he really loves
+her, has grown accustomed to the idea of loving her, pour ainsi dire.
+(Shaking his head.) I don't believe he could ever now care for another
+woman.
+
+SOPHIA KARENINA (sighing). And Varia Casanzeva would have made him
+such a charming wife. She's so devoted already.
+
+PRINCE SERGIUS (smiling). I am afraid I hardly see her in the present
+... tableau. (Earnestly.) Why not submit to Victor's wish and help
+him?
+
+SOPHIA KARENINA. To marry a divorcee? And afterwards have him running
+into his wife's husband? How can you calmly suggest that a mother
+accept such a situation for her son?
+
+PRINCE SERGIUS. But, chere amie, why not approve of the inevitable?
+And you might console yourself by regarding the dangers he'll avoid by
+marrying this gentle, lovely woman. After all, suppose he conceived a
+passion for some one----
+
+     [Convey the word "disreputable".
+
+SOPHIA KARENINA. How can a good woman leave her husband?
+
+PRINCE SERGIUS. Ah, that's not like you. You're unkind and you're
+harsh. Her husband is the sort of man--well, he's his own worst enemy.
+A weakling, a ne'er-do-well--he's spent all his money and hers too.
+She has a child. Do you think you can condemn her for leaving him? As
+a matter of fact she didn't leave him, he left her.
+
+SOPHIA KARENINA (faintly). Oh what a mud-pen I'm slipping into!
+
+PRINCE SERGIUS (amused). Could your religion aid you?
+
+SOPHIA KARENINA (smelling her salts). In this instance, religion would
+require of me the impossible. C'est plus fort que moi.
+
+PRINCE SERGIUS. Fedya himself--you know what a charming clever
+creature he is when he's in his senses--he advised her to leave him.
+
+     [Enter VICTOR who kisses his mother's hand and greets PRINCE SERGIUS.
+
+KARENIN. Ah, Prince Sergius! (Shakes hands with Prince--formally.)
+Maman, I've come to tell you that Elizaveta Protosova will be here
+directly. There's only one thing I ask you: do you still refuse your
+consent to my marriage----
+
+SOPHIA KARENINA (interrupting). And I most assuredly do.
+
+KARENIN (continuing. Frowning). In that case all I ask is for you not
+to speak to her about it.
+
+SOPHIA KARENINA. I don't suppose we shall even mention the subject. I
+certainly shan't.
+
+KARENIN (standing at head of sofa L.). If you don't, she won't.
+(Pleadingly.) Mother dear, I just want you to know her.
+
+SOPHIA KARENINA. One thing I can't understand. How is it you want to
+marry Lisa Protosova, a woman with a living husband, and at the same
+time believe divorce is a crime against Christianity?
+
+KARENIN. Oh, Maman, that's cruel of you. Life is far too complex to be
+managed by a few formulas. Why are you so bitter about it all?
+
+SOPHIA KARENINA (honestly). I love you. I want you to be happy.
+
+KARENIN (imploringly to PRINCE SERGIUS) Sergius Abreskov!
+
+PRINCE SERGIUS (to SOPHIA KARENINA). Naturally you want him happy. But
+it's difficult for our hearts, wearied from the weight of years, to
+feel the pulse of youth and sympathize, especially is it difficult for
+you, my friend, who have schooled yourself to view Victor's happiness
+in a single way....
+
+SOPHIA KARENINA. Oh, you're all against me. Do as you like. Vous etes
+majeur. (Sniffing into her pocket handkerchief.) But you'll kill me.
+
+KARENIN (deeply distressed). Ah, Mother, please. It's worse than cruel
+to say things like that.
+
+PRINCE SERGIUS (smiling to VICTOR). Come, come, Victor, you know your
+mother speaks more severely than she could ever act.
+
+SOPHIA KARENINA. I shall tell her exactly what I think and feel, and I
+hope I can do it without offending her.
+
+PRINCE SERGIUS. I am sure of it.
+
+     [Enter FOOTMAN.
+
+Here she is.
+
+KARENIN. I'll go. (Goes to back of sofa.)
+
+FOOTMAN (announcing). Elizaveta Andreyevna Protosova.
+
+KARENIN (warningly). Now, Mother.
+
+     [He goes out L. PRINCE SERGIUS rises.
+
+SOPHIA KARENINA (majestically). Show her in. (To PRINCE SERGIUS.)
+Please remain.
+
+PRINCE SERGIUS. I thought you might prefer a tete-a-tete?
+
+SOPHIA KARENINA. No, no. I rather dread it. And if I want to be left
+alone in the room with her, I'll drop my handkerchief. Ca dependra.
+
+PRINCE SERGIUS. I'm sure you're going to like her immensely.
+
+SOPHIA KARENINA. Oh you're all against me.
+
+     [Enter LISA R. and crosses to R. C.
+
+(Rising) How do you do? I was so sorry not to find you at home and it
+is most kind of you to come to see me.
+
+LISA (R.C.). I never expected the honor of your visit, and I am so
+grateful that you permit me to come and see you.
+
+SOPHIA KARENINA (C.). You know Prince Sergius Abreskov?
+
+PRINCE SERGIUS (L.--Heartily). Yes, I have had the pleasure. (Crossing
+to her, he shakes hands.) My niece Nellie has spoken often of you to
+me.
+
+     [Goes to L.C.
+
+LISA. Yes, we were great friends. (She glances shyly around her.) And
+still are. (To SOPHIA.) I never hoped that you would wish to see me.
+
+SOPHIA KARENINA. I knew your husband quite well. He was a great friend
+of Victor's and used frequently to visit us in Tambov, (politely)
+where you were married, I believe.
+
+LISA (looking down). Yes.
+
+SOPHIA KARENINA. But when you returned to Moscow we were deprived of
+the pleasure of his visit.
+
+LISA. Yes, then he stopped going anywhere.
+
+SOPHIA KARENINA. Ah, that explains our missing him.
+
+     [Awkward pause.
+
+PRINCE SERGIUS (to LISA). The last time I'd the pleasure of seeing you
+was in those tableaux at the Dennishovs. You were charming in your
+part.
+
+LISA. How good of you to think so! Yes, I remember perfectly.
+
+     [Another awkward silence.
+
+(To SOPHIA KARENINA.) Sophia Karenina, please forgive me if what I am
+going to say offends you, but I don't know how to cover up what's in
+my heart. I came here to-day because Victor Karenin said--because he
+said that--because he--I mean because you wanted to see me. (With a
+catch in her voice.) It's rather difficult--but you're so sweet.
+
+PRINCE SERGIUS (very sympathetic). There, there, my dear child, I
+assure you there's nothing in the world to---- (He breaks off when he
+sees SOPHIA KARENINA pointing impatiently to the floor. She has
+dropped her handkerchief.) Permit me. (He picks it up, presenting it
+to her with a smile and a bow; then looks casually at his watch.) Ah,
+five o'clock already. (To SOPHIA KARENINA.) Madame, in your salon
+pleasure destroys the memory of time. You will excuse me.
+
+     [He kisses her hand.
+
+SOPHIA KARENINA (smiling). Au revoir, mon ami.
+
+PRINCE SERGIUS (bowing and shaking hands with LISA). Elizaveta
+Protosova, au revoir.
+
+     [He goes out R.
+
+SOPHIA KARENINA. Now listen, my child. Please believe how truly sorry
+for you I am and that you are most sympathetique to me. But I love my
+son alone in this world, and I know his soul as I do my own. He's very
+proud--oh I don't mean of his position and money--but of his high
+ideals, his purity. It may sound strange to you, but you must believe
+me when I tell you that at heart he is as pure as a young girl.
+
+LISA. I know.
+
+SOPHIA KARENINA. He's never loved a woman before. You're the first. I
+don't say I'm not a little jealous. I am. But that's something we
+mothers have to face. Oh, but your son's still a baby, you don't know.
+I was ready to give him up, though--but I wanted his wife to be as
+pure as himself.
+
+LISA (flushing hotly). And I, am I not----
+
+SOPHIA KARENINA (interrupting her kindly). Forgive me, my dear. I know
+it's not your fault and that you've been most unhappy. And also I know
+my son. He will bear anything, and he'll bear it without saying a
+word, but his hurt pride will suffer and bring you infinite remorse.
+You must know how strongly he has always felt that the bond of
+marriage is indissoluble.
+
+LISA. Yes. I've thought of all that.
+
+SOPHIA KARENINA. Lisa, my dear, you're a wise woman and you're a good
+woman too. If you love him, you must want his happiness more than you
+want your own. You can't want to cripple him so that he'll be sorry
+all his life--yes, sorry even though he never says a word.
+
+LISA. I've thought about it so much. I've thought about it and I've
+talked to him about it. But what can I do when he says he can't live
+without me? I said to him only the other day, "Victor, let's just be
+friends. Don't spoil your life. Don't ruin yourself by trying to help
+me." And do you know what he did? He laughed.
+
+SOPHIA KARENINA. Of course he would, at the time.
+
+LISA. If you could persuade him not to marry me, you know I'll agree,
+don't you? I just want him to be happy. I don't care about myself.
+Only please help me. Please don't hate me. Let's do all we can for
+him, because, after all, we both love him.
+
+SOPHIA KARENINA. Yes, I know. And I think I love you too. I really do.
+(She kisses her. LISA begins to cry.) Oh, it's all so dreadful. If
+only he had fallen in love with you before you were married!
+
+LISA (sobbing). He--he says he did--but he had to be loyal to his
+friend.
+
+SOPHIA KARENINA. Alas, it's all very heart-breaking. But let us love
+each other, and God will help us to find what we are seeking.
+
+KARENIN (entering L. I). Mother darling. I've heard what you just
+said. I knew you'd love her. And now everything must come right.
+
+SOPHIA KARENINA (hastily). But nothing's decided. All I can say is,
+had things been different, I should have been very glad. (Tenderly.)
+So very glad.
+
+     [She kisses LISA.
+
+KARENIN (smiling). Please don't change. That's all I ask.
+
+     [Lights down and out.
+
+CURTAIN
+
+
+
+SCENE IV
+
+A plainly furnished room, bed, table and stove. FEDYA alone writing.
+
+At rise MASHA is heard outside calling "FEDYA! FEDYA!" MASHA enters R.
+I, crosses to FEDYA on bed C. and embraces him.
+
+FEDYA. Ah, thank Heaven you've come. I was wasting away in boredom.
+
+MASHA. Then why didn't you come over to us? (Sees wine glass on chair
+near bed.) So, you've been drinking again? And after all your
+promises!
+
+FEDYA (embarrassed). I didn't come over because I had no money.
+
+MASHA. Oh, why is it I love you so.
+
+FEDYA. Masha!
+
+MASHA (imitating him). Masha! Masha! What's that mean? If you loved
+me, by now you'd have your divorce. You say you don't love your wife.
+(FEDYA winces.) But you stick to her like grim death.
+
+FEDYA (interrupting her). You know why I don't want to.
+
+MASHA. Nonsense. They're right when they say you're no good. It's your
+mind that you can never make up comfortably causing you all the worry.
+
+FEDYA. You know perfectly well that the only joy I've got in life is
+being in love with you.
+
+MASHA. Oh, it's always "My joy," "Your love." Where's your love and my
+joy?
+
+FEDYA (a little wearily). Well, Masha, after all, you've got all I can
+give, the best I've ever had to give, perhaps, because you're so
+strong, so beautiful, that sometimes you've made me know how to make
+you glad. So why torture yourself?
+
+MASHA (kneels and puts her arms around his neck). I won't if you're
+sure you love me.
+
+FEDYA (coming closer to her). My beautiful young Masha.
+
+MASHA (tearfully, searching his face). You do love me?
+
+FEDYA. Of course, of course.
+
+MASHA. Only me, only me?
+
+FEDYA (kissing her). Darling, only you.
+
+MASHA (with a return to brightness). Now read me what you've written.
+
+FEDYA. It may bore you.
+
+MASHA (reproachfully). How could it?
+
+FEDYA (reads).
+
+     "The snow was flooded in moonlight and the birch trees wavered
+      their stark shadows across it like supplicating arms. Suddenly
+      I heard the soft padded sound of snow falling upon snow, to
+      slowly perceive a figure, the slender figure of a young child
+      attempting to arouse itself almost at my feet--I----"
+
+     [Enter IVAN and NASTASIA. They are two old gypsies, MASHA'S
+      parents.
+
+NASTASIA (stepping up to MASHA). So here you are--you cursed little
+stray sheep. No disrespect to you, sir. (To MASHA.) You black-hearted,
+ungrateful little snake. How dare you treat us like this, how dare
+you, eh?
+
+Ivan (to FEDYA). It's not right, sir, what you've done, bringing to
+her ruin our only child. It's against God's law.
+
+NASTASIA (to MASHA). Come and get out of here with me. You thought
+you'd skip, didn't you? And what was I supposed to tell the troupe
+while you dangled around here with this tramp? What can you get out of
+him, tell me that? Did you know he hasn't got a kopek to his name,
+didn't you?
+
+     [During scene with parents, FEDYA sits dumbly on the bed, bewildered.
+He puts his forehead against MASHA'S face and clings to her like a
+child.
+
+MASHA (sullenly). I haven't done anything wrong. I love this
+gentleman, that's all. I didn't leave the troupe either. I'll go on
+singing just the same.
+
+Ivan. If you talk any more, I'll pull your hair all out for you, you
+loose little beast, you. (To FEDYA, reproachfully.) And you, sir, when
+we were so fond of you--why, often and often we used to sing for you
+for nothing and this is how you pay us back.
+
+NASTASIA (rocking herself to and fro). You've ruined our daughter, our
+very own, our only one, our best beloved, our diamond, our precious
+one, (with sudden fury). You've stamped her into the dirt, you have.
+Where's your fear of God?
+
+FEDYA. Nastasia, Nastasia, you've made a mistake. Your daughter is
+like a sister to me. I haven't harmed her at all. I love her, that's
+true. But how can I help it?
+
+IVAN. Well, why didn't you love her when you had some money? If you'd
+paid us ten thousand rubles, you could have owned her, body and soul.
+That's what respectable gentlemen do. But you--you throw away every
+kopek you've got and then you steal her like you'd steal a sack of
+meal. You ought to be ashamed, sir.
+
+MASHA (rising, puts her arm around his neck). He didn't steal me. I
+went to him myself, and if you take me away now, I'll come right back.
+If you take me away a thousand times, I'll come back to him. I love
+him and that's enough. My love will break through anything--through
+anything. Through anything in the whole damn world.
+
+NASTASIA (trying to soothe her). Now, Mashenka darling, don't get
+cross. You know you haven't behaved well to your poor old parents.
+There, there, come along with us now.
+
+     [With greedy fingers that pretend to caress, NASTASIA seizes her
+      savagely and suddenly at the end of this speech and draws her to
+      the door. MASHA cries out "FEDYA! FEDYA!" as she exits R.
+
+IVAN (alongside). You open your mouth again and I'll smash you dumb.
+(To FEDYA.) Good-bye, your worship.
+
+     [All exit R. I.
+
+     [FEDYA sits as though stupefied. The gypsies exit noisily. There
+      is a pause. He drinks; then PRINCE SERGIUS appears, very quiet
+      and dignified, at the door.
+
+PRINCE. Excuse me. I'm afraid I'm intruding upon a rather painful
+scene.
+
+FEDYA (getting up). With whom have I the honor---- (recognizing the
+Prince). Ah, Prince Sergius, how do you do?
+
+     [They shake hands.
+
+PRINCE (in a distinguished manner). I repeat that I am afraid to be
+most inopportune. I would rather not have heard, but since I have,
+it's my duty to say so. When I arrived I knocked several times, but I
+presume you could not have heard through such uproar.
+
+FEDYA. Do sit down. (PRINCE sits chair R.C.) Thanks for telling me you
+heard. (Sits on bed up C.) It gives me a chance to explain it all.
+Forgive me for saying your opinion of me can't concern me, but I want
+to tell you that the way her parents talked to that young girl, that
+gypsy singer, was absolutely unjust. She's as pure as your own mother.
+My relations with her are simply friendly ones. Possibly there is a
+ray of poetry in them, but that could hardly degrade her. However,
+what can I do for you?
+
+PRINCE SERGIUS. Well, to begin----
+
+FEDYA (interrupting). Excuse me, Prince, but my present social
+position hardly warrants a visit from you.
+
+     [Smiling.
+
+PRINCE SERGIUS. I know that, but I ask you to believe that your
+changed position does not influence me in what I am about to tell you.
+
+FEDYA (interrogatively). Then?
+
+PRINCE SERGIUS. To be as brief as possible, Victor Karenin, the son of
+my old friend, Sophia Karenina, and she herself, have asked me to
+discover from you personally what your present relations are with your
+wife, and what intentions you have regarding them.
+
+FEDYA. My relations with my wife--I should say my former wife--are
+several.
+
+PRINCE SERGIUS. As I thought, and for this reason accepted my somewhat
+difficult mission.
+
+FEDYA (quickly). I wish to say first of all that the fault was
+entirely mine. She is, just as she always was, absolutely stainless,
+faultless.
+
+PRINCE SERGIUS. Victor Karenin and especially his mother are anxious
+to know your exact intentions regarding the future.
+
+FEDYA. I've got no intentions. I've given her full freedom. I know she
+loves Victor Karenin, let her. Personally, I think he is a bore, but
+he is a good bore. So they'll probably be very happy together, at
+least in the ordinary sense and que le bon Dieu les benisse.
+
+PRINCE SERGIUS. Yes, but we----
+
+FEDYA (rising, goes L., leans on table). Please don't think I'm
+jealous. If I just said Victor was dull, I take it back. He's
+splendid, very decent, in fact the opposite of myself, and he's loved
+her since her childhood (slowly) and maybe she loved him even when we
+were married. After all, that happens, and the strongest love is
+perhaps unconscious love. Yes, I think she's always loved him far, far
+down beneath what she would admit to herself, and this feeling of nine
+has been a black shadow across our married life. But--I--I really
+don't suppose I ought to be talking to you like this, ought I?
+
+PRINCE SERGIUS. Please go on. My only object in coming was to
+understand this situation completely, and I begin to see how the
+shadow--as you charmingly express it--could have been----
+
+FEDYA (looking strangely ahead of him). Yes, no brightness could suck
+up that shadow. And so I suppose I never was satisfied with what my
+wife gave me, and I looked for every kind of distraction, sick at
+heart because I did so. I see it more and more clearly since we've
+been apart. Oh, but I sound as if I were defending myself. God knows I
+don't want to do that. No, I was a shocking bad husband. I say was,
+because now I don't consider myself her husband at all. She's
+perfectly free. There, does that satisfy you?
+
+PRINCE SERGIUS. Yes, but you know how strictly orthodox Victor and his
+family are. Of course I don't agree with them--perhaps I have broader
+views--(with a shrug) but I understand how they feel. They consider
+that any union without a church marriage is--well, to put it mildly,
+unthinkable.
+
+FEDYA. Yes, I know he's very stu--I mean strict. (With a slight
+smile.) "Conservative" is the word, isn't it? But what in God's name
+(crossing to C.) do they want, a divorce? I told them long ago I was
+perfectly willing. But the business of hiring a street-woman and
+taking her to a shady hotel and arranging to be caught by competent
+witnesses--ugh--it's all so--so loathsome.
+
+     [He shudders--pauses; and sits on bed.
+
+PRINCE SERGIUS. I know. I know. I assure you, I can sympathize with
+such a repugnance, but how can one avoid it? You see, it's the only
+way out. But, my dear boy, you mustn't think I don't sympathize with
+you. It's a horrible situation for a sensitive man and I quite
+understand how you must hate it.
+
+FEDYA. Thank you, Prince Sergius. I always knew you were kind and
+just. Now tell me what to do. Put yourself in my place. I don't
+pretend to be any better than I really am. I am a blackguard but there
+are some things that even I can't do. (With a smile and helpless
+gesture.) I can't tell lies.
+
+     [A pause.
+
+PRINCE SERGIUS. I must confess that you bewilder me. You with your
+gifts and charm and really au fond--a wonderful sense of what's right.
+How could you have permitted yourself to plunge into such tawdry
+distractions? How could you have forgotten so far what you owed to
+yourself? Tell me, why did you let your life fall into this ruin?
+
+FEDYA (suppressing emotion). I've led this sort of life for ten years
+and you're the first real person to show me sympathy. Of course, I've
+been pitied by the degraded ones but never before by a sensible, kind
+man like you. Thanks more than it's possible to say. (He seems to
+forget his train of thought and suddenly to recall it.) Ah, yes, my
+ruin. Well, first, drink, not because it tasted well, but because
+everything I did disappointed me so, made me so ashamed of myself. I
+feel ashamed now, while I talk to you. Whenever I drank, shame was
+drowned in the first glass, and sadness. Then music, not opera or
+Beethoven, but gypsy music; the passion of it poured energy into my
+body, while those dark bewitching eyes looked into the bottom of my
+soul. (He sighs.) And the more alluring it all was, the more shame I
+felt afterwards.
+
+     [Pause.
+
+PRINCE SERGIUS. But what about your career?
+
+FEDYA. My career? This seems to be it. Once I was a director of a
+bank. There was something terribly lacking between what I felt and
+what I could do. (Abruptly.) But enough, enough of myself. It makes me
+rather nervous to think about myself.
+
+     [Rises.
+
+PRINCE SERGIUS. What answer am I to take back?
+
+FEDYA (very nervous). Oh, tell them I'm quite at their disposal.
+(Walking up and down) They want to marry, and there mustn't be
+anything in their way (pause); is that it? (Stops walking very
+suddenly. Repeats.) There mustn't be anything in their way--is that
+it?
+
+PRINCE SERGIUS (pause. FEDYA sits on table L.). Yes. When do you--when
+do you think--you'll--you'll have it ready? The evidence?
+
+FEDYA (turns and looks at the PRINCE, suppressing a slight, strained
+smile). Will a fortnight do?
+
+PRINCE SERGIUS (rising). Yes, I am sure it will. (Rises and crosses to
+FEDYA.) May I say that you give them your word?
+
+FEDYA (with some impatience). Yes. Yes. (PRINCE offers his hand.)
+Good-bye, Prince Sergius. And again thanks.
+
+     [Exit PRINCE SERGIUS, R. I. FEDYA sits down in an attitude of
+      deep thought.
+
+Why not? Why not? And it's good not to be ashamed----
+
+     [Lights dim and out.
+
+CURTAIN
+
+
+
+SCENE V
+
+Private room in a cheap restaurant. FEDYA is shown in by a shabby
+waiter.
+
+WAITER. This way, sir. No one will disturb you here. Here's the
+writing paper.
+
+     [Starts to exit.
+
+FEDYA (as waiter starts to exit). Bring me a bottle of champagne.
+
+WAITER. Yes, sir.
+
+     [Exits R. C.
+
+     [FEDYA sits at table L. C., and begins to write. IVAN PETROVICH
+      appearing in the doorway R. C.
+
+IVAN PETROVICH. I'll come in, shall I?
+
+FEDYA (sitting L. of table L. C. Very serious). If you want to, but
+I'm awfully busy, and--(seeing he has already entered) Oh, all right,
+do come in.
+
+IVAN PETROVICH (C.). You're going to write an answer to their demand.
+I'll help you. I'll tell you what to say Speak out. Say what you mean.
+It's straight from the shoulder. That's my system. (Picks up box that
+FEDYA has placed on table--opens it and takes out a revolver.) Hallo!
+What's this? Going to shoot yourself. Of course, why not? I
+understand. They want to humiliate you, and you show them where the
+courage is--put a bullet through your head and heap coals of fire on
+theirs. I understand perfectly. (The waiter enters with champagne on
+tray, pours a glass for FEDYA, then exits. PETROVICH takes up the
+glass of wine and starts to drink. FEDYA looks up from his writing.) I
+understand everything and everybody, because I'm a genius.
+
+FEDYA. So you are, but----
+
+IVAN PETROVICH (filling and lifting his glass). Here's to your
+immortal journey. May it be swift and pleasant. Oh, I see it from your
+point of view. So why should I stop you? Life and death are the same
+to genius. I'm dead during life and I live after death. You kill
+yourself in order to make a few people miss you, but I--but I--am
+going to kill myself to make the whole world know what it lost. I
+won't hesitate or think about it. I'll just take the revolver--one,
+two--and all is over--um. But I am premature. My hour is not yet
+struck. (He puts the revolver down.) But I shall write nothing. The
+world will have to understand all by itself. (FEDYA continues to
+write.) The world, what is it but a mass of preposterous creatures,
+who crawl around through life, understanding nothing--nothing at all
+--do you hear me? (FEDYA looks up, rather exasperated.) Oh, I'm not
+talking to you. All this is between me and the cosmos. (Pours himself
+out another drink.) After all, what does humanity most lack?
+Appreciation for its geniuses. As it is, we're persecuted, tortured,
+racked, through a lifetime of perpetual agony, into the asylum or the
+grave. But no longer will I be their bauble. Humanity, hypocrite that
+you are--to hell with you.
+
+     [Drinks wine.
+
+FEDYA (having finished his letter). Oh, go away, please.
+
+IVAN PETROVICH. Away? (With a gesture.) Away? Me? (With profound
+resolve.) So be it. (He leans over the table, faces FEDYA.) I shall
+away. I'll not deter you from accomplishing what I also shall commit--
+all in its proper moment, however. Only I should like to say this----
+
+FEDYA. Later. Later. But now, listen, old man, give this to the head
+waiter. (Handing him some money.) You understand?
+
+IVAN PETROVICH. Yes, but for God's sake wait for me to come back.
+(Moves away.) I've something rare to tell you, something you'll never
+hear in the next world--at least not till I get there---- Look here,
+shall I give him all this money?
+
+FEDYA. No, just what I owe him.
+
+     [Exit IVAN PETROVICH, whistling. FEDYA sighs with a sense of
+      relief, takes the revolver, cocks it, stands at mirror on wall
+      up R., and puts it close to his temple. Then shivers, and lets
+      his hand drop.
+
+I can't do it. I can't do it.
+
+     [Pause. MASHA is heard singing. MASHA bursts into the room.
+
+MASHA (breathless). I've been everywhere looking for you. To Popov's,
+Afremov's, then I guessed you'd be here. (Crosses to him. Sees
+revolver, turns, faces him quickly, concealing it with her body,
+stands very tense and taut, looking at him.) Oh, you fool! You hideous
+fool! Did you think you'd----
+
+FEDYA (still completely unnerved). Awful! It's been awful! I tried----
+(With a gesture of despair.) I couldn't----
+
+     [Crosses to table L. C.--leans against it.
+
+MASHA (puts her hand to her face as if terribly hurt). As if I didn't
+exist. (Crosses over to table L. C., puts down revolver.) As if I
+weren't in your life at all. Oh, how godless you are! (Brokenly.) Tell
+me, tell me, what about all my love for you?
+
+FEDYA (as if suddenly aware of a great fatigue). I wanted to set them
+free. I promised to--and when the time came I couldn't.
+
+MASHA. And what about me? What about me?
+
+FEDYA. I thought you'd be free, too. Surely my torturing you can't
+make you happy.
+
+MASHA. Oh, I can look out for myself. Maybe I'd rather be unhappy,
+miserable, wretched with you every minute than even think of living
+without you.
+
+FEDYA (up R.--half to himself). If I'd finished just now, you would
+have cried bitterly perhaps, my Masha, but you would have lived past
+it.
+
+MASHA. Oh, damn you, don't be so sure I'd cry at all. Can't you even
+be sorry for me?
+
+     [She tries to conceal her tears.
+
+FEDYA. Oh God, I only wanted to make everybody happier.
+
+MASHA. Yourself happier, you mean.
+
+FEDYA (smiling). Would I have been happier to be dead now?
+
+MASHA (sulkily). I suppose you would. (Suddenly in a tender voice,
+crossing to him.) But, Fedya, do you know what you want? Tell me, what
+do you want?
+
+FEDYA (R). I want so many things.
+
+MASHA (impatiently and clinging to him). But what? What?
+
+FEDYA. First of all, I want to set them free. How can I lie? How can I
+crawl through the muck and filth of a divorce? I can't. (Moves to end
+of table and stands there facing front.) But I must set them free
+somehow. They're such good people, my wife and Victor. I can't bear
+having them suffer.
+
+MASHA (R. of table L. C.--scornfully). Where's the good in her if she
+left you?
+
+FEDYA. She didn't. I left her.
+
+MASHA. She made you think she'd be happier without you. But go on----
+(Impatiently.) Blame yourself, what else.
+
+FEDYA. There's you, Masha. Young, lovely, awfully dear to me. If I
+stay alive, ah, where will you be?
+
+MASHA. Don't bother about me. You can't hurt me.
+
+FEDYA (sighing). But the big reason, the biggest reason of all, is
+myself. I'm just lost. Your father is right, my dear. I'm no good.
+
+MASHA (crossing to him, at once tenderly and savagely). I won't
+unfasten myself from you. I'll stick to you, no matter where you take
+me, no matter what you do. You're alive, terribly alive, and I love
+you. Fedya, drop all this horror.
+
+FEDYA. How can I?
+
+MASHA (trying to project the very essence of her vitality into him).
+Oh, you can, you can.
+
+FEDYA (slowly). When I look at you, I feel as though I could do
+anything.
+
+MASHA (proudly, fondly). My love, my love. You can do anything, get
+anywhere you want to. (FEDYA moves away impatiently up R. She sees
+letter.) So you have been writing to them--to tell them you'll kill
+yourself. You just told them you'd kill yourself, is that it? But you
+didn't say anything about a revolver. Oh, Fedya, let me think, there
+must be some way. Fedya--listen to me. Do you remember the day we all
+went to the picnic to the White Lakes with Mama and Afremov and the
+young Cossack officer? And you buried the bottles of wine in the sand
+to keep them cool while we went in bathing? Do you remember how you
+took my hands and drew me out beyond the waves till the water was
+quite silent and flashing almost up to our throats, and then suddenly
+it seemed as if there were nothing under our feet? We tried to get
+back. We couldn't and you shouted out, "Afremov," and if he hadn't
+been almost beside us and pulled us in--and how cross he was with you
+for forgetting that you couldn't swim, and after, how wonderful it was
+to stretch out safely on the sands in the sunlight. Oh, how nice every
+one was to us that day and you kept on being so sorry for forgetting
+you couldn't swim! And, Fedya, don't you see? Of course, she must know
+you can't swim. Oh, it's all getting as clear as daylight. You will
+send her this beautiful letter. Your clothes will be found on the
+river bank--but instead of being in the river you will be far away
+with me--Fedya, don't you see, don't you see? You will be dead to her,
+but alive for me. (Embraces FEDYA.)
+
+     [The lights down and out.
+
+CURTAIN
+
+
+
+SCENE VI
+
+The PROTOSOVS' drawing-room.
+
+KARENIN and LISA.
+
+KARENIN (sitting chair R.). He's promised me
+definitely, and I'm sure he'll keep to it.
+
+LISA (sitting chair R. C.). I'm rather ashamed to confess it, Victor,
+but since I found out about this--this gypsy, I feel completely free
+of him. Of course, I am not in the least jealous, but knowing this
+makes me see that I owe him nothing more. Am I clear to you, I wonder?
+
+KARENIN (coming closer to her). Yes, dear, I think I'll always
+understand you.
+
+LISA (smiling). Don't interrupt me, but let me speak as I think. The
+thing that tortured me most was I seemed to love both of you at once,
+and that made me seem so indecent to myself.
+
+KARENIN (incredulously amused). You indecent?
+
+LISA (continuing). But since I've found out that there's another
+woman, that he doesn't need me any more, I feel free, quite free of
+him. And now I can say truthfully, I love you. Because everything is
+clear in my soul. My only worry is the divorce, and all the waiting to
+be gone through before we can---- Ah, that's torturing.
+
+KARENIN. Dearest, everything will be settled soon. After all, he's
+promised, and I've asked my secretary to go to him with the petition
+and not to leave until he's signed it. Really, sometimes, if I didn't
+know him as I do, I'd think he was trying on purpose to discomfort us.
+
+LISA. No. No. It's, only the same weakness and honesty fighting
+together in him. He doesn't want to lie. However, I'm sorry you sent
+him money.
+
+KARENIN. If I hadn't, it might have delayed things. Lisa. I know, but
+money seems so ugly.
+
+KARENIN (slightly ruffled). I hardly think it's necessary to be so
+delicate with Fedya.
+
+LISA. Perhaps, perhaps. (Smiling.) But don't you think we are becoming
+very selfish?
+
+KARENIN. Maybe. But it's all your fault, dear. After all, this
+hopelessness and waiting, to think of being happy at last! I suppose
+happiness does make us selfish.
+
+LISA. Don't believe you're alone in your happiness or selfishness. I
+am so filled with joy it makes me almost afraid. Misha's all right,
+your mother loves me, and above all, you are here, close to me, loving
+me as I love you.
+
+KARENIN (bending over her and searching her eyes). You're sure you've
+no regret?
+
+LISA. From the day I found out about that gypsy woman, my mind
+underwent a change that has set me free.
+
+KARENIN. You're sure?
+
+     [Kissing her hands.
+
+LISA (passionately). Darling, I've only one desire now, and that is to
+have you forget the past and love as I do.
+
+     [Her little boy toddles in R., sees them and stops.
+
+     [To the child.
+
+Come here, my sweetheart.
+
+     [He goes to her and she takes him on her knees.
+
+KARENIN. What strange contradictory instincts and desires make up our
+beings!
+
+LISA. Why?
+
+KARENIN (slowly). I don't know. When I came back from abroad, knew I'd
+lost you, I was unhappy, terribly. Yet, it was enough for me to learn
+that you at least remembered me. Afterward, when we became friends,
+and you were kind to me, and into our friendship wavered a spark of
+something more than friendship, ah, I was almost happy! Only one thing
+tormented me: fear that such a feeling wronged Fedya. Afterwards, when
+Fedya tortured you so, I saw I could help. Then a certain definite
+hope sprang up in me. And later, when he became impossible and you
+decided to leave him, and I showed you my heart for the first time,
+and you didn't say no, but went away in tears--then I was happy through
+and through. Then came the possibility of joining our lives. Mamma
+loved you. You told me you loved me, that Fedya was gone out of your
+heart, out of your life forever, and there was only, only me.... Ah,
+Lisa, for what more could I ask! Yet the past tortured me. Awful
+fancies would flush up into my happiness, turning it all into hatred
+for your past.
+
+LISA (interrupting reproachfully). Victor!
+
+KARENIN. Forgive me, Lisa. I only tell you this because I don't want
+to hide a single thought from you. I want you to know how bad I am,
+and what a weakness I've got to fight down. But don't worry, I'll get
+past it. It's all right, dear. (He bends over, kissing the child on
+the head.) And I love him, too.
+
+LISA. Dearest, I'm so happy. Everything has happened in my heart to
+make it as you'd wish.
+
+KARENIN. All?
+
+LISA. All, beloved, or I never could say so.
+
+     [Enter the NURSE L. U.
+
+NURSE. Your secretary has come back.
+
+     [LISA and KARENIN exchange glances.
+
+LISA. Show him in here, nurse, and take Misha, will you?
+
+NURSE. Come along, my pet. It's time for your rest.
+
+     [Exit NURSE with the little boy, R.
+
+KARENIN (gets up, walks to the door). This will be Fedya's answer.
+
+LISA (kissing Karenin). At last, at last we shall know when. (She
+kisses him.)
+
+     [Enter VOZNESENSKY L. U.
+
+KARENIN. Well?
+
+SECRETARY. He's not there, sir.
+
+KARENIN. Not there? He's not signed the petition, then?
+
+SECRETARY. No. But here is a letter addressed to you and Elizaveta
+Protosova.
+
+     [Takes letter from his pocket and gives it to KARENIN.
+
+KARENIN (interrupting angrily). More excuses, more excuses. It's
+perfectly outrageous. How without conscience he is. Really, he has
+lost every claim to----
+
+LISA. But read the letter, dear; see what he says.
+
+     [KARENIN opens the letter.
+
+SECRETARY. Shall you need me, sir?
+
+Karenin. No. That's all. Thank you.
+
+     [Exit SECRETARY. KARENIN reads the letter growing astonishment
+      and concern. LISA watches his face.
+
+(Reading.)
+
+     "Lisa, Victor, I write you both without using terms of
+      endearment, since I can't feel them, nor can I conquer a sense
+      of bitterness and reproach, self-reproach principally, when I
+      think of you together in your love. I know, in spite of being
+      the husband, I was also the barrier, preventing you from coming
+      earlier to one another. C'est moi qui suis l'intrue. I stood in
+      your way, I worried you to death. Yet I can't help feeling
+      bitterly, coldly, toward you. In one way I love both of you,
+      especially Lisa Lizenska, but in reality I am more than cold
+      toward you. Yes, it's unjust, isn't it, but to change is
+      impossible."
+
+LISA. What's all that for?
+
+KARENIN (standing L. of table C., continuing).
+
+     "However, to the point. I am going to fulfill your wishes in
+      perhaps a little different way from what you desire. To lie, to
+      act a degrading comedy, to bribe women of the streets for
+      evidence--the ugliness of it all disgusts me. I am a bad man,
+      but this despicable thing I am utterly unable to do. My solution
+      is after all the simplest. You must marry to be happy. I am the
+      obstacle, consequently that obstacle must be removed."
+
+LISA (R. of table). Victor!
+
+KARENIN (reading). Must be removed? "By the time this letter reaches
+you, I shall no longer exist. All I ask you is to be happy, and
+whenever you think of me, think tender thoughts. God bless you both.
+Good-bye. FEDYA."
+
+LISA. He's killed himself!
+
+KARENIN (going hurriedly up stage L. and calls of). My secretary! Call
+back my secretary!
+
+LISA. Fedya! Fedya, darling!
+
+KARENIN. Lisa!
+
+LISA. It's not true! It's not true that I've stopped loving him! He's
+the only man in all the world I love! And now I've killed him! I've
+killed him as surely as if I'd murdered him with my own two hands!
+
+KARENIN. Lisa, for God's sake!
+
+LISA. Stop it! Don't come near me! Don't be angry with me, Victor. You
+see I, too, cannot lie!
+
+CURTAIN
+
+
+
+
+ACT II
+
+SCENE I
+
+A dirty, ill-lighted underground dive; people are lying around
+drinking, sleeping, playing cards and making love. Near the front a
+small table at which FEDYA sits; he is in rags and has fallen very
+low. By his side is PETUSHKOV, a delicate spiritual man, with long
+yellow hair and beard. Both are rather drunk.
+
+Candle light is the only lighting in this Scene.
+
+PETUSHKOV (R.C. of table C.). I know. I know. Well, that's real love.
+So what happened then?
+
+FEDYA (L. C. of table C., pensively). You might perhaps expect a girl
+of our own class, tenderly brought up, to be capable of sacrificing
+for the man she loved, but this girl was a gypsy, reared in greed, yet
+she gave me the purest sort of self-sacrificing love. She'd have done
+anything for nothing. Such contrasts are amazing.
+
+PETUSHKOV. I see. In painting we call that value. Only to realize
+bright red fully when there is green around it. But that's not the
+point. What happened?
+
+FEDYA. Oh, we parted. I felt it wasn't right to go on taking, taking
+where I couldn't give. So one night we were having dinner in a little
+restaurant, I told her we'd have to say good-bye. My heart was so
+wrung all the time I could hardly help crying.
+
+PETUSHKOV. And she?
+
+FEDYA. Oh, she was awfully unhappy, but she knew I was right. So we
+kissed each other a long while, and she went back to her gypsy troupe
+--(Slowly.) Maybe she was glad to go----
+
+     [A pause.
+
+PETUSHKOV. I wonder.
+
+FEDYA. Yes. The single good act of my soul was not ruining that girl.
+
+PETUSHKOV. Was it from pity?
+
+FEDYA. I sorry for her? Oh, never. Quite the contrary. I worshipped
+her unclouded sincerity, the energy of her clear, strong will, and God
+in Heaven, how she sang. And probably she is singing now, for some one
+else. Yes, I always looked up at her from beneath, as you do at some
+radiance in the sky. I loved her really. And now it's a tender
+beautiful memory.
+
+PETUSHKOV. I understand. It was ideal, and you left it like that.
+
+FEDYA (ruminatingly). And I've been attracted often, you know. Once I
+was in love with a grande dame, bestially in love, dog-like. Well,
+she gave me a rendezvous, and I didn't, couldn't, keep it, because
+suddenly I thought of her husband, and it made me feel sick. And you
+know, it's queer, that now, when I look back, instead of being glad
+that I was decent, I am as sorry as if I had sinned. But with Masha
+it's so different; I'm filled with joy that I've never soiled the
+brightness of my feeling for her. (He points his finger at the floor.)
+I may go much further down.
+
+PETUSHKOV (interrupting). I know so well what you mean. But where is
+she now?
+
+FEDYA. I don't know. I don't want to know. All that belongs to another
+life, and I couldn't bear to mix that life and this life.
+
+     [A POLICE OFFICER enters from up R., kicks a man who is lying on
+      the floor--walks down stage, looks at FEDYA and PETUSHKOV, then
+      exits.
+
+PETUSHKOV. Your life's wonderful. I believe you're a real idealist.
+
+FEDYA. No. It's awfully simple. You know among our class--I mean the
+class I was born in--there are only three courses: the first, to go
+into the civil service or join the army and make money to squander
+over your sensual appetites. And all that was appalling to me--perhaps
+because I couldn't do it. The second thing is to live to clear out, to
+destroy what is foul, to make way for the beautiful. But for that
+you've got to be a hero, and I'm not a hero. And the third is to
+forget it all--overwhelm it with music, drown it with wine. That's
+what I did. And look (he spreads his arms out) where my singing led me
+to.
+
+     [He drinks.
+
+PETUSHKOV. And what about family life? The sanctity of the home and
+all that--I would have been awfully happy if I'd had a decent wife. As
+it was, she ruined me.
+
+FEDYA. I beg your pardon. Did you say marriage? Oh, yes, of course.
+Well, I've been married, too. Oh, my wife was quite an ideal woman. I
+don't know why I should say was, by the way, because she's still
+living. But there's something--I don't know; it's rather difficult to
+explain--But you know how pouring champagne into a glass makes it
+froth up into a million iridescent little bubbles? Well, there was
+none of that in our married life. There was no fizz in it, no sparkle,
+no taste, phew! The days were all one color--flat and stale and gray
+as the devil. And that's why I wanted to get away and forget. You
+can't forget unless you play. So trying to play I crawled in every
+sort of muck there is. And you know, it's a funny thing, but we love
+people for the good we do them, and we hate them for the harm. That's
+why I hated Lisa. That's why she seemed to love me.
+
+PETUSHKOV. Why do you say seemed?
+
+FEDYA (wistfully). Oh, she couldn't creep into the center of my being
+like Masha. But that's not what I mean. Before the baby was born, and
+afterwards, when she was nursing him, I used to stay away for days and
+days, and come back drunk, drunk, and love her less and less each
+time, because I was wronging her so terribly. (Excitedly.) Yes. That's
+it, I never realized it before. The reason why I loved Masha was
+because I did her good, not harm. But I crucified my wife, and her
+contortions filled me almost with hatred.
+
+     [FEDYA drinks.
+
+PETUSHKOV. I think I understand. Now in my case----
+
+     [ARTIMIEV enters R. U., approaches with a cockade on his cap,
+      dyed mustache, and shabby, but carefully mended clothes.
+
+ARTIMIEV (stands L. of table). Good appetite, gentlemen! (Bowing to
+FEDYA.) I see you've made the acquaintance of our great artist.
+
+FEDYA (coolly). Yes, I have.
+
+ARTIMIEV (to PETUSHKOV). Have you finished your portrait?
+
+PETUSHKOV. No, they didn't give me the commission, after all.
+
+ARTIMIEV (sitting down on end of table). I'm not in your way, am I?
+
+     [FEDYA and PETUSHKOV don't answer.
+
+PETUSHKOV. This gentleman was telling me about his life.
+
+ARTIMIEV. Oh, secrets? Then I won't disturb you. Pardon me for
+interrupting. (To himself as he moves away.) Damn swine!
+
+     [He goes to the next table, sits down and in the dim candlelight
+      he can just be seen listening to the conversation.
+
+FEDYA. I don't like that man.
+
+PETUSHKOV. I think he's offended.
+
+FEDYA. Let him be. I can't stand him. If he'd stayed I shouldn't have
+said a word. Now, it's different with you. You make me feel all
+comfortable, you know. Well, what was I saying?
+
+PETUSHKOV. You were talking about your wife. How did you happen to
+separate?
+
+FEDYA. Oh, that? (A pause.) It's a rather curious story. My wife's
+married.
+
+PETUSHKOV. Oh, I see! You're divorced.
+
+FEDYA. No. (Smiling.) She's a widow.
+
+PETUSHKOV. A widow? What do you mean?
+
+FEDYA. I mean exactly what I say. She's a widow. I don't exist.
+
+PETUSHKOV (puzzled). What?
+
+FEDYA (smiling drunkenly). I'm dead. You're talking to a corpse.
+
+     [ARTIMIEV leans towards them and listens intently.
+
+Funny, I seem to be able to say anything to you. And it's so long ago,
+so long ago. And what is it after all to you but a story? Well, when I
+got to the climax of torturing my wife, when I'd squandered everything
+I had or could get, and become utterly rotten, then, there appeared a
+protector.
+
+PETUSHKOV. The usual thing, I suppose?
+
+FEDYA. Don't think anything filthy about it. He was just her friend,
+mine too, a very good, decent fellow; in fact the opposite of myself.
+He'd known my wife since she was a child, and I suppose he'd loved her
+since then. He used to come to our house a lot. First I was very glad
+he did, then I began to see they were falling in love with each other,
+and then--an odd thing began to happen to me at night. Do you know
+when she lay there asleep beside me (he laughs shrilly) I would hear
+him, pushing open the door, crawling into the room, coming to me on
+his hands and knees, grovelling, whining, begging me (he is almost
+shouting) for her, for her, imagine it! And I, I had to get up and
+give my place to him. (He covers his eyes with his hands in a.
+convulsive moment.) Phew! Then I'd come to myself.
+
+PETUSHKOV. God! It must have been horrible.
+
+FEDYA (wearily). Well, later on I left her--and after a while, they
+asked me for a divorce. I couldn't bear all the lying there was to be
+got through. Believe me it was easier to think of killing myself. And
+so I tried to commit suicide, and I tried and I couldn't. Then a kind
+friend came along and said, "Now, don't be foolish!" And she arranged
+the whole business for me. I sent my wife a farewell letter--and the
+next day my clothes and pocketbook were found on the bank of the
+river. Everybody knew I couldn't swim. (Pause.) You understand, don't
+you?
+
+PETUSHKOV. Yes, but what about the body? They didn't find that?
+
+FEDYA (smiling drunkenly). Oh yes, they did! You just listen! About a
+week afterwards some horror was dragged out of the water. My wife was
+called in to identify it. It was in pretty bad shape, you know. She
+took one glance. "Is that your husband?" they asked her. And she said,
+"Yes." Well, that settled it! I was buried, they were married, and
+they're living very happily right here in this city. I'm living here,
+too! We're all living here together! Yesterday I walked right by their
+house. The windows were lit and somebody's shadow went across the
+blind. (A pause.) Of course there're times when I feel like hell about
+it, but they don't last. The worst is when there's no money to buy
+drinks with.
+
+     [He drinks.
+
+ARTIMIEV. (rising and approaching them). Excuse me, but you know I've
+been listening to that story of yours? It's a very good story, and
+what's more a very useful one. You say you don't like being without
+money, but really there's no need of your ever finding yourself in
+that position.
+
+FEDYA. (interrupting). Look here, I wasn't talking to you and I don't
+need your advice!
+
+ARTIMIEV. But I'm going to give it to you just the same. Now you're a
+corpse. Well, suppose you come to life again!
+
+FEDYA. What?
+
+ARTIMIEV. Then your wife and that fellow she's so happy with--they'd
+be arrested for bigamy. The best they'd get would be ten years in
+Siberia. Now you see where you can have a steady income, don't you?
+
+FEDYA. (furiously). Stop talking and get out of here!
+
+ARTIMIEV. The best way is to write them a letter. If you don't know
+how I'll do it for you. Just give me their address and afterwards when
+the ruble notes commence to drop in, how grateful you'll be!
+
+FEDYA. Get out! Get out, I say! I haven't told you anything!
+
+ARTIMIEV. Oh, yes, you have! Here's my witness! This waiter heard you
+saying you were a corpse!
+
+FEDYA. (beside himself). You damn blackmailing beast----
+
+     [Rising.
+
+ARTIMIEV. Oh, I'm a beast, am I? We'll see about that! (FEDYA rises to
+go, ARTIMIEV seizes him.) Police! Police! (FEDYA struggles frantically
+to escape.)
+
+     [The POLICE enter and drag him away.
+
+CURTAIN
+
+
+
+SCENE II
+
+In the country. A veranda covered by a gay awning; sunlight; flowers;
+SOPHIA KARENINA, LISA, her little boy and nurse.
+
+LISA (standing C. in door. To the little boy, smiling), Who do you
+think is on his way from the station?
+
+MISHA (excitedly). Who? Who?
+
+LISA. Papa.
+
+MISHA (rapturously). Papa's coming! Papa's coming!
+
+     [Exits L. through C. door.
+
+LISA (contentedly, to SOPHIA KARENINA). How much he loves Victor! As
+if he were his real father!
+
+SOPHIA KARENINA (on sofa L. knitting--back to audience). Tant mieux.
+Do you think he ever remembers his father?
+
+LISA (sighing). I can't tell. Of course I've never said anything to
+him. What's the use of confusing his little head? Yet sometimes I feel
+as though I ought. What do you think, Mamma?
+
+SOPHIA KARENINA. I think it's a matter of feeling. If you can trust
+your heart, let it guide you. What extraordinary adjustments death
+brings about! I confess I used to think very unkindly of Fedya, when
+he seemed a barrier to all this. (She makes a gesture with her hand.)
+But now I think of him as that nice boy who was my son's friend, and a
+man who was capable of sacrificing himself for those he loved. (She
+knits.) I hope Victor hasn't forgotten to bring me some wool.
+
+LISA. Here he comes. (LISA runs to the edge of the veranda.) There's
+some one with him--a lady in a bonnet! Oh, it's mother! How splendid!
+I haven't seen her for an age!
+
+     [Enter ANNA PAVLOVNA up C.
+
+ANNA PAVLOVNA (kissing LISA). My darling. (To SOPHIA KARENINA.) How do
+you do? Victor met me and insisted on my coming down.
+
+     [Sits bench L. C. beside SOPHIA.
+
+SOPHIA KARENINA. This is perfectly charming!
+
+     [Enter VICTOR and MISHA.
+
+ANNA PAVLOVNA. I did want to see Lisa and the boy. So now, if you
+don't turn me out, I'll stay till the evening train.
+
+KARENIN. (L. C., kissing his wife, his mother and the boy).
+Congratulate me--everybody--I've a bit of luck, I don't have to go to
+town again for two days. Isn't that wonderful?
+
+LISA. (R. C.). Two days! That's glorious! We'll drive over to the
+Hermitage to-morrow and show it to mother.
+
+ANNA PAVLOVNA. (holding the boy). He's so like his father, isn't he? I
+do hope he hasn't inherited his father's disposition.
+
+SOPHIA KARENINA. After all, Fedya's heart was in the right place.
+LISA. Victor thinks if he'd only been brought up more carefully
+everything would have been different.
+
+ANNA PAVLOVNA. Well, I'm not so sure about that, but I do feel sorry
+for him. I can't think of him without wanting to cry.
+
+LISA. I know. That's how Victor and I feel. All the bitterness is
+gone. There's nothing left but a very tender memory.
+
+ANNA PAVLOVNA. (sighing). I'm sure of it. Lisa. Isn't it funny? It all
+seemed so hopeless back there, and now see how beautifully
+everything's come out!
+
+SOPHIA KARENINA. Oh, by the way, Victor, did you get my wool?
+
+KARENIN. I certainly did. (Brings a bag and takes out parcels.) Here's
+the wool, here's the eau-de-cologne, here are the letters--one on
+"Government Service" for you, Lisa---- (Hands her the letter. LISA
+opens letter, then strolls R, reading it, suddenly stops.) Well, Anna
+Pavlovna, I know you want to make yourself beautiful! I must tidy up,
+too. It's almost dinner time. Lisa, you've put your another in the
+Blue Room, haven't you?
+
+     [Pause.
+
+     [LISA is pale. She holds the letter with trembling hands and
+      reads it, KARENIN seeing her.
+
+What's the matter, Lisa? What is it?
+
+LISA. He's alive. He's alive. My God! I shall never be free from him.
+(VICTOR crosses to LISA.) What does this mean? What's going to happen
+to us?
+
+KARENIN (taking the letter and reading). I don't believe it.
+
+SOPHIA KARENINA. What is it? (Rising.) What's the matter? Why don't
+you tell us?
+
+KARENIN. He's alive! They're accusing us of bigamy! It's a summons for
+Lisa to go before the Examining Magistrate.
+
+ANNA PAVLOVNA. No--no! It can't be!
+
+SOPHIA KARENINA. Oh, that horrible man!
+
+KARENIN. So it was all a lie!
+
+LISA (with a cry of rage). Oh! I hate him so! Victor!--Fedya!--My God!
+I don't know what I'm saying. I don't know what I'm saying.
+
+     [Sinks in chair down R.
+
+ANNA PAVLOVNA (rising). He's not really alive?
+
+     [Lights dim and out.
+
+CURTAIN
+
+
+
+SCENE III
+
+The room of the examining magistrate, who sits at a table talking to
+MELNIKOV, a smartly dressed, languid, man-about-town.
+
+At a side-table a CLERK is sorting papers.
+
+MAGISTRATE. (sitting R. of table R. C.). Oh, I never said so. It's her
+own notion. And now she is reproaching me with it.
+
+MELNIKOV. (sitting C. back to audience). She's not reproaching you,
+only her feelings are awfully hurt.
+
+MAGISTRATE. Are they? Oh, well, tell her I'll come to supper after the
+performance. But you'd better wait on. I've rather an interesting
+case. (To the CLERK.) Here, you, show them in.
+
+Clerk. (sitting C. facing audience). Both? Excellency. Magistrate. No,
+only Madame Karenina.
+
+     [CLERK exits L. I.
+
+CLERK (calling off stage). Madame Protosova, Madame Protosova.
+
+MAGISTRATE. Or, to dot my i's, Madame Protosova.
+
+MELNIKOV (starting to go out). Ah, it's the Karenin case.
+
+MAGISTRATE. Yes, and an ugly one. I'm just beginning the
+investigation. But I assure you it's a first-rate scandal already.
+Must you go? Well, see you at supper. Good-bye.
+
+     [Exit MELNIKOV, R.
+
+     [The CLERK shows in LISA; she wears a black dress and veil.
+
+MAGISTRATE. Please sit down, won't you? (He points to a chair L. C.
+LISA sits down.) I am extremely sorry that it's necessary to ask you
+questions.
+
+     [LISA appears very much agitated. MAGISTRATE appears unconcerned
+      and is reading a newspaper as he speaks.
+
+But please be calm. You needn't answer them unless you wish. Only in
+the interest of every one concerned, I advise you to help me reach the
+entire truth.
+
+LISA. I've nothing to conceal.
+
+MAGISTRATE (looking at papers). Let's see. Your name, station,
+religion. I've got all that. You are accused of contracting a marriage
+with another man, knowing your first husband to be alive.
+
+LISA. But I did not know it.
+
+MAGISTRATE (continuing). And also you are accused of having persuaded
+with bribes your first husband to commit a fraud, a pretended suicide,
+in order to rid yourself of him.
+
+LISA. All that's not true.
+
+MAGISTRATE. Then permit me to ask you these questions: Did you or did
+you not send him 1200 rubles in July of last year?
+
+LISA. That was his own money obtained from selling his things, which I
+sent to him during our separation, while I was waiting for my divorce.
+
+MAGISTRATE. Just so. Very well. When the police asked you to identify
+the corpse, how were you sure it was your husband's?
+
+LISA. Oh, I was so terribly distressed that I couldn't bear to look at
+the body. Besides, I felt so sure it was he, and when they asked me, I
+just said yes.
+
+MAGISTRATE. Very good indeed. I can well understand your distraction,
+and permit me to observe, Madame, that although servants of the law,
+we remain human beings, and I beg you to be assured that I sympathize
+with your situation. You were bound to a spendthrift, a drunkard, a
+man whose dissipation caused you infinite misery.
+
+LISA (interrupting). Please, I loved him.
+
+MAGISTRATE (tolerantly). Of course. Yet naturally you desired to be
+free, and you took this simple course without counting the
+consequence, which is considered a crime, or bigamy. I understand you,
+and so will both judges and jury. And it's for this reason, Madam, I
+urge you to disclose the entire truth.
+
+LISA. I've nothing to disclose. I never have lied. (She begins to
+cry.) Do you want me any longer?
+
+MAGISTRATE. Yes. I must ask you to remain a few minutes longer. No
+more questions, however. (To the CLERK.) Show in Victor Karenin. (To
+LISA.) I think you'll find that a comfortable chair. (Sits L. C.)
+
+     [Enter KARENIN, stern and solemn.
+
+Please, sit down.
+
+KARENIN. Thank you. (He remains standing L. U.) What do you want from
+me?
+
+MAGISTRATE. I have to take your deposition.
+
+KARENIN. In what capacity?
+
+MAGISTRATE (smiling). In my capacity of investigating magistrate. You
+are here, you know, because you are charged with a crime.
+
+KARENIN. Really? What crime?
+
+MAGISTRATE. Bigamy, since you've married a woman already married. But
+I'll put the questions to you in their proper order. Sure you'll not
+sit down?
+
+KARENIN. Quite sure.
+
+MAGISTRATE (writing). Your name?
+
+KARENIN. Victor Karenin.
+
+MAGISTRATE. Rank?
+
+KARENIN. Chamberlain of the Imperial Court.
+
+MAGISTRATE. Your age?
+
+KARENIN. Thirty-eight.
+
+MAGISTRATE. Religion?
+
+KARENIN. Orthodox, and I've never been tried before of any charge.
+(Pause.) What else?
+
+MAGISTRATE. Did you know that Fedor Protosov was alive when you
+married his wife?
+
+KARENIN. No, we were both convinced that he was drowned.
+
+MAGISTRATE. All right. And why did you send 1200 rubles to him a few
+days before he simulated death on July 17th?
+
+KARENIN. That money was given me by my wife.
+
+MAGISTRATE (interrupting him). Excuse me, you mean by Madame
+Protosova.
+
+KARENIN. By my wife to send to her husband. She considered this money
+his property, and having broken off all relations with him, felt it
+unjust to withhold it. What else do you want?
+
+MAGISTRATE. I don't want anything, except to do my official duty, and
+to aid you in doing yours, through causing you to tell me the whole
+truth, in order that your innocence be proved. You'd certainly better
+not conceal things which are sure to be found out, since Protosov is
+in such a weakened condition, physically and mentally, that he is
+certain to come out with the entire truth as soon as he gets into
+court, so from your point of view I advise....
+
+KARENIN. Please don't advise me, but remain within the limits of your
+official capacity. Are we at liberty to leave?
+
+     [He goes to LISA who takes his arm.
+
+MAGISTRATE. Sorry, but it's necessary to detain you. (KARENIN looks
+around in astonishment.) No, I've no intention of arresting you,
+although it might be a quicker way of reaching the truth. I merely
+want to take Protosov's deposition in your presence, to confront him
+with you, that you may facilitate your chances by proving his
+statements to be false. Kindly sit down. (To CLERK.) Show in Fedor
+Protosov.
+
+     [There is a pause. The CLERK shows in FEDYA in rags, a total
+      wreck. He enters slowly, dragging his feet. He catches sight of
+      his wife, who is bowed in grief. For a moment he is about to
+      take her in his arms--he hesitates--then stands before the
+      MAGISTRATE.
+
+MAGISTRATE. I shall ask you to answer some questions.
+
+FEDYA. (rises, confronting the MAGISTRATE). Ask them.
+
+MAGISTRATE. Your name?
+
+FEDYA. You know it.
+
+MAGISTRATE. Answer my questions exactly, please.
+
+     [Rapping on his desk.
+
+FEDYA (shrugs). Fedor Protosov.
+
+MAGISTRATE. Your rank, age, religion?
+
+FEDYA. (silent for a moment). Aren't you ashamed to ask me these
+absurd questions? Ask me what you need to know, only that.
+
+MAGISTRATE. I shall ask you to take care how you express yourself.
+
+FEDYA. Well, since you're not ashamed. My rank, graduate of the
+University of Moscow; age 40; religion orthodox. What else?
+
+MAGISTRATE. Did Victor Karenin and Elizaveta Andreyevna know you were
+alive when you left your clothes on the bank of the river and
+disappeared?
+
+FEDYA. Of course not. I really wished to commit suicide. But--
+however, why should I tell you? The fact's enough. They knew nothing
+of it.
+
+MAGISTRATE. You gave a somewhat different account to the police
+officer. How do you explain that?
+
+FEDYA. Which police officer? Oh yes, the one who arrested me in that
+dive. I was drunk, and I lied to him--about what, I don't remember.
+But I'm not drunk now and I'm telling you the whole truth. They knew
+nothing; they thought I was dead, and I was glad of it. Everything
+would have stayed all right except for that damned beast Artimiev. So
+if any one's guilty, it's I.
+
+MAGISTRATE. I perceive you wish to be generous. Unfortunately the law
+demands the truth. Come, why did you receive money from them?
+
+     [FEDYA is silent.
+
+Why don't you answer me? Do you realize that it will be stated in your
+deposition that the accused refused to answer these questions, and
+that will harm (he includes LISA and VICTOR in a gesture) all of you?
+
+     [FEDYA remains silent.
+
+Aren't you ashamed of your stubborn refusal to aid these others and
+yourself by telling the entire truth?
+
+FEDYA (breaking out passionately). The truth--Oh, God! what do you
+know about the truth? Your business is crawling up into a little
+power, that you may use it by tantalizing, morally and physically,
+people a thousand times better than you.... You sit there in your smug
+authority torturing people.
+
+MAGISTRATE. I must ask you----
+
+FEDYA (interrupts him). Don't ask me for I'll speak as I feel.
+(Turning to CLERK.) And you write it down. So for once some human
+words will get into a deposition.
+
+     [Raising his voice, which ascends to a climax during this speech.
+
+There were three human beings alive: I, he, and she.
+
+     [He turns to his wife with a gesture indicating his love for her.
+      He pauses, then proceeds.
+
+We all bore towards one another a most complex relation. We were all
+engaged in a spiritual struggle beyond your comprehension: the
+struggle between anguish and peace; between falsehood and truth.
+Suddenly this struggle ended in a way that set us free. Everybody was
+at peace. They loved my memory, and I was happy even in my downfall,
+because I'd done what should have been done, and cleared away my weak
+life from interfering with their strong good lives. And yet we're all
+alive. When suddenly a bastard adventurer appears, who demands that I
+abet his filthy scheme. I drive him off as I would a diseased dog, but
+he finds you, the defender of public justice, the appointed guardian
+of morality, to listen to him. And you, who receive on the 20th of
+each month a few kopeks' gratuity for your wretched business, you get
+into your uniform, and in good spirits proceed to torture--bully
+people whose threshold you're not clean enough to pass. Then when
+you've had your fill of showing off your wretched power, oh, then you
+are satisfied, and sit and smile there in your damned complacent
+dignity. And....
+
+MAGISTRATE (raising his voice. Rising excitedly). Be silent or I'll
+have you turned out.
+
+FEDYA. God! Who should I be afraid of! I'm dead, dead, and away out of
+your power. (Suddenly overcome with the horror of the situation.) What
+can you do to me? How can you punish me--a corpse?
+
+     [Beating his breast.
+
+MAGISTRATE. Be silent! (To CLERK, who is down L.) Take him out!
+
+     [FEDYA turns, seeing his wife, he falls on his knees before
+      her ... kisses the hem of her dress, crying bitterly.
+
+     [Slowly he rises, pulls himself together with a great effort,
+      then exits L.
+
+     [The lights dim and out.
+
+CURTAIN
+
+
+
+SCENE IV
+
+A corridor at the lower courts; in the background a door opposite
+which stands a GUARD; to the right is another door through which the
+PRISONERS are conducted to the court. IVAN PETROVICH in rags enters
+L., goes to this last door, trying to pass through it.
+
+GUARD (at door R. C.). Where do you think you're going, shoving in
+like that?
+
+IVAN PETROVICH. Why shouldn't I? The law says these sessions are
+public.
+
+GUARD. You can't get by and that's enough.
+
+IVAN PETROVICH (in pity). Wretched peasant, you have no idea to whom
+you are speaking.
+
+GUARD. Be silent!
+
+     [Enter a YOUNG LAWYER from R. I.
+
+LAWYER (to Petrovich). Are you here on business?
+
+IVAN PETROVICH. No. I'm the public. But this wretched peasant won't
+let me pass.
+
+LAWYER. There's no room for the public at this trial.
+
+IVAN PETROVICH. Perhaps, but I am above the general rule.
+
+LAWYER. Well, you wait outside; they'll adjourn presently.
+
+     [He is just going into courtroom through door R. C. when PRINCE
+      SERGIUS enters L. and stops him.
+
+PRINCE SERGIUS. How does the case stand?
+
+LAWYER. The defense has just begun. Petrushin is speaking now.
+
+PRINCE SERGIUS. Are the Karenins bearing up well?
+
+LAWYER. Yes, with extraordinary dignity. They look as if they were the
+judges instead of the accused. That's felt all the way through, and
+PETRUSHIN is taking advantage of it.
+
+PRINCE SERGIUS. What of Protosov?
+
+LAWYER. He's frightfully unnerved, trembling all over, but that's
+natural considering the sort of life he's led. Yes, he's all on edge,
+and he's interrupted, both judge and jury several times already.
+
+PRINCE SERGIUS. How do you think it will end?
+
+LAWYER. Hard to say. The jury are mixed. At any rate I don't think
+they'll find the Karenins guilty of premeditation. Do you want to go
+in?
+
+PRINCE SERGIUS. I should very much like to.
+
+LAWYER. Excuse me, you're Prince Sergius Abreskov, aren't you? (To the
+Prince.) There's an empty chair just at the left.
+
+     [The guard lets PRINCE SERGIUS pass.
+
+IVAN PETROVICH. Prince! Bah! I am an aristocrat of the soul, and
+that's a higher title.
+
+LAWYER. Excuse me.
+
+     [And exits down R. C. into courtroom.
+
+     [PETUSHKOV, FEDYA'S companion in the dive, enters approaching
+      IVAN PETROVICH.
+
+PETUSHKOV (R.). Oh, there you are. Well, how're things going?
+
+IVAN PETROVICH (L.). The speeches for the defense have begun, but this
+ignorant rascal won't let us in. Curse his damned petty soul.
+
+GUARD (C.) Silence! Where do you think you are?
+
+     [Further applause is heard; door of the court opens, and there is
+      a rush of lawyers and the general public into the corridor.
+
+A LADY. Oh, it's simply wonderful! When he spoke I felt as if my heart
+were breaking.
+
+AN OFFICER. It's all far better than a novel. But I don't see how she
+could ever have loved him. Such a sinister, horrible figure.
+
+     [The other door opens over L.; the accused comes out.
+
+THE LADY (this group is down R.). Hush! There he is. See how wild he
+looks.
+
+FEDYA (seeing IVAN PETROVICH). Did you bring it?
+
+     [Goes to PETROVICH.
+
+PETROVICH. There.
+
+     [He hands FEDYA something; FEDYA hides it in his pocket.
+
+FEDYA (seeing PETUSHKOV). How foolish! How vulgar and how boring all
+this is, isn't it?
+
+     [Men and women enter door L. and stand down L. watching.
+
+     [Enter PETRUSHIN, from R. C., FEDYA'S counsel, a stout man with
+      red cheeks; very animated.
+
+PETRUSHIN (rubbing his hands). Well, well, my friend. It's going along
+splendidly. Only remember, don't go and spoil things for me in your
+last speech.
+
+FEDYA (takes him by the arm). Tell me, what'll the worst be?
+
+PETRUSHIN. I've already told you. Exile to Siberia.
+
+FEDYA. Who'll be exiled to Siberia?
+
+PETRUSHIN. You and your wife, naturally.
+
+FEDYA. And at the best?
+
+PETRUSHIN. Religious pardon and the annulment of the second marriage.
+
+FEDYA. You mean--that we should be bound again--to one another----
+
+PETRUSHIN. Yes. Only try to collect yourself. Keep up your courage.
+After all, there's no occasion for alarm.
+
+FEDYA. There couldn't be any other sentence, you're sure?
+
+PETRUSHIN. None other. None other.
+
+     [Exits R. I. FEDYA stands motionless.
+
+GUARD (crosses and exits L. I. Calling). Pass on. Pass on. No
+loitering in the corridor.
+
+     [VICTOR and LISA enter from door L. Start to go off L. when pistol
+      shot stops them.
+
+FEDYA (He turns his back to the audience, and from beneath his ragged
+coat shoots himself in the heart. There is a muffled explosion, smoke.
+He crumples up in a heap on the floor. All the people in the passage
+rush to him.) (In a very low voice.) This time--it's well done...
+Lisa....
+
+     [People are crowding in from all the doors, judges, etc. LISA
+      rushes to FEDYA, KARENIN, IVAN PETROVICH and PRINCE SERGIUS
+      follow.
+
+LISA. Fedya!... Fedya!... What have you done? Oh why!... why!...
+
+FEDYA. Forgive me---- No other way---- Not for you--but for myself----
+
+LISA. You will live. You must live.
+
+FEDYA. No--no---- Good-bye---- (He seems to smile, then he mutters
+just under his breath.) Masha.
+
+     [In the distance the gypsies are heard singing "No More at
+      Evening." They sing until the curtain.
+
+You're too late----
+
+     [Suddenly he raises his head from LISA'S knees, and barely utters
+      as if he saw something in front of him.
+
+Ah.... Happiness!...
+
+     [His head falls from LISA'S knees to the ground. She still clings
+      to it, in grief and horror. He dies.
+
+     [The lights dim and out.
+
+CURTAIN
+
+END OF _REDEMPTION_
+
+*       *       *       *       *
+
+THE POWER OF DARKNESS
+
+OR
+
+IF A CLAW IS CAUGHT THE BIRD IS LOST
+
+
+
+
+CHARACTERS
+
+PETER IGNATITCH. A well-to-do peasant, 42 years old, married for the
+second time, and sickly.
+
+ANISYA. His wife, 32 years old, fond of dress.
+
+AKOULINA. Peter's daughter by his first marriage, 16 years old, hard
+of hearing, mentally undeveloped.
+
+NAN (ANNA PETROVNA). His daughter by his second marriage, 10 years old
+
+NIKITA. Their laborer, 25 years old, fond of dress.
+
+AKIM. Nikita's father, 50 years old, a plain-looking, God-fearing
+peasant.
+
+MATRYONA. His wife and Nikita's mother, 50 years old.
+
+MARINA An orphan girl, 22 years old.
+
+MARTHA. Peter's sister.
+
+MITRITCH An old laborer, ex-soldier.
+
+SIMON. Marina's husband.
+
+BRIDEGROOM. Engaged to Akoulina.
+
+IVAN. His father.
+
+A NEIGHBOR.
+
+FIRST GIRL.
+
+SECOND GIRL.
+
+POLICE OFFICER.
+
+DRIVER.
+
+BEST MAN
+
+MATCHMAKER.
+
+VILLAGE ELDER.
+
+VISITORS, WOMEN, GIRLS, AND PEOPLE come to see the wedding
+
+N.B.--The "oven" mentioned is the usual large, brick, Russian
+baking-oven. The top of it outside is flat, so that more than one
+person can lie on it.
+
+
+
+
+ACT I
+
+The Act takes place in autumn in a large village. The Scene represents
+PETER'S roomy hut. PETER is sitting on a wooden bench, mending a
+horse-collar. ANISYA and AKOULINA are spinning, and singing a
+part-song.
+
+PETER (looking out of the window). The horses have got loose again. If
+we don't look out they'll be killing the colt. Nikita! Hey, Nikita! Is
+the fellow deaf? (Listens. To the women.) Shut up, one can't hear
+anything.
+
+NIKITA (from outside). What?
+
+PETER. Drive the horses in.
+
+NIKITA. We'll drive 'em in. All in good time.
+
+PETER (shaking his head). Ah, these laborers! If I were well, I'd not
+keep one on no account. There's nothing but bother with 'em. (Rises
+and sits down again.) Nikita!.... It's no good shouting. One of you'd
+better go. Go, Akoul, drive 'em in.
+
+AKOULINA. What? The horses?
+
+PETER. What else?
+
+AKOULINA. All right.
+
+     [Exit.
+
+PETER. Ah, but he's a loafer, that lad ... no good at all. Won't stir
+a finger if he can help it.
+
+ANISYA. You're so mighty brisk yourself. When you're not sprawling on
+the top of the oven you're squatting on the bench. To goad others to
+work is all you're fit for.
+
+PETER. If one weren't to goad you on a bit, one'd have no roof left
+over one's head before the year's out. Oh, what people!
+
+ANISYA. You go shoving a dozen jobs on to one's shoulders, and then do
+nothing but scold. It's easy to lie on the oven and give orders.
+
+PETER (sighing). Oh, if 'twere not for this sickness that's got hold
+of me, I'd not keep him on another day.
+
+AKOULINA (off the scene). Gee up, gee, woo.
+
+     [A colt neighs, the stamping of horses' feet and the creaking of
+      the gate are heard.
+
+PETER. Bragging, that's what he's good at. I'd like to sack him, I
+would indeed.
+
+ANISYA (mimicking him). "Like to sack him." You buckle to yourself,
+and then talk.
+
+AKOULINA (enters). It's all I could do to drive 'em in. That piebald
+always will....
+
+PETER. And where's Nikita?
+
+AKOULINA. Where's Nikita? Why, standing out there in the street.
+
+PETER. What's he standing there for?
+
+AKOULINA. What's he standing there for? He stands there jabbering.
+
+PETER. One can't get any sense out of her! Who's he jabbering with?
+
+AKOULINA (does not hear). Eh, what?
+
+     [PETER waves her off. She sits down to her spinning.
+
+NAN (running in to her mother). Nikita's father and mother have come.
+They're going to take him away. It's true!
+
+ANISYA. Nonsense!
+
+NAN. Yes. Blest if they're not! (Laughing.) I was just going by, and
+Nikita, he says, "Good-bye, Anna Petrovna," he says, "you must come
+and dance at my wedding. I'm leaving you," he says, and laughs.
+
+ANISYA (to her husband). There now. Much he cares. You see, he wants
+to leave of himself. "Sack him" indeed!
+
+PETER. Well, let him go. Just as if I couldn't find somebody else.
+
+ANISYA. And what about the money he's had in advance?
+
+     [NAN stands listening at the door for awhile, and then exit.
+
+PETER (frowning). The money? Well, he can work it off in summer,
+anyhow.
+
+ANISYA. Well, of course you'll be glad if he goes and you've not got
+to feed him. It's only me as'll have to work like a horse all the
+winter. That lass of yours isn't over fond of work either. And you'll
+be lying up on the oven. I know you.
+
+PETER. What's the good of wearing out one's tongue before one has the
+hang of the matter?
+
+ANISYA. The yard's full of cattle. You've not sold the cow, and have
+kept all the sheep for the winter: feeding and watering 'em alone
+takes all one's time, and you want to sack the laborer. But I tell you
+straight, I'm not going to do a man's work! I'll go and lie on the top
+of the oven same as you, and let everything go to pot! You may do what
+you like.
+
+PETER (to Akoulina). Go and see about the feeding, will you? it's
+time.
+
+AKOULINA. The feeding? All right.
+
+     [Puts on a coat and takes a rope.
+
+ANISYA. I'm not going to work for you. You go and work yourself. I've
+had enough of it, so there!
+
+PETER. That'll do. What are you raving about? Like a sheep with the
+staggers!
+
+ANISYA. You're a crazy cur, you are! One gets neither work nor
+pleasure from you. Eating your fill, that's all you do; you palsied
+cur, you!
+
+PETER (spits and puts on coat). Faugh! The Lord have mercy! I'd better
+go myself and see what's up.
+
+     [Exit.
+
+ANISYA (after him). Scurvy long-nosed devil!
+
+AKOULINA. What are you swearing at dad for?
+
+ANISYA. Hold your noise, you idiot!
+
+AKOULINA (going to the door). I know why you're swearing at him.
+You're an idiot yourself, you bitch. I'm not afraid of you.
+
+ANISYA. What do you mean? (Jumps up and looks round for something to
+hit her with.) Mind, or I'll give you one with the poker.
+
+AKOULINA (opening the door). Bitch! devil! that's what you are! Devil!
+bitch! bitch! devil!
+
+     [Runs off.
+
+ANISYA (ponders). "Come and dance at my wedding!" What new plan is
+this? Marry? Mind. Nikita, if that's your intention, I'll go and....
+No, I can't live without him. I won't let him go.
+
+NIKITA (enters, looks round, and, seeing Anisya alone, approaches
+quickly. In a low tone). Here's a go; I'm in a regular fix! That
+governor of mine wants to take me away,--tells me I'm to come home.
+Says quite straight I'm to marry and live at home.
+
+ANISYA. Well, go and marry! What's that to me?
+
+NIKITA. Is that it? Why, here am I reckoning how best to consider
+matters, and just hear her! She tells me to go and marry. Why's that?
+(Winking.) Has she forgotten?
+
+ANISYA. Yes, go and marry! What do I care?
+
+NIKITA. What are you spitting for? Just see, she won't even let me
+stroke her.... What's the matter?
+
+ANISYA. This! That you want to play me false.... If you do,--why, I
+don't want you either. So now you know!
+
+NIKITA. That'll do, Anisya. Do you think I'll forget you? Never while
+I live! I'll not play you false, that's flat. I've been thinking that
+supposing they do go and make me marry, I'd still come back to you. If
+only he don't make me live at home.
+
+ANISYA. Much need I'll have of you, once you're married.
+
+NIKITA. There's a go now. How is it possible to go against one's
+father's will?
+
+ANISYA. Yes, I daresay, shove it all on your father. You know it's
+your own doing. You've long been plotting with that slut of yours,
+MARINA. It's she has put you up to it. She didn't come here for
+nothing t'other day.
+
+NIKITA. Marina? What's she to me? Much I care about her!... Plenty of
+them buzzing around.
+
+ANISYA. Then what has made your father come here? It's you have told
+him to. You've gone and deceived me.
+
+     [Cries.
+
+NIKITA. Anisya, do you believe in a God or not? I never so much as
+dreamt of it. I know nothing at all about it. I never even dreamt of
+it--that's flat. My old dad has got it all out of his own pate.
+
+ANISYA. If you don't wish it yourself who can force you? He can't
+drive you like an ass.
+
+NIKITA. Well, I reckon it's not possible to go against one's parent.
+But it's not by my wish.
+
+ANISYA. Don't you budge, that's all about it!
+
+NIKITA. There was a fellow wouldn't budge, and the village elder gave
+him such a hiding.... That's what it might come to! I've no great wish
+for that sort of thing. They say it touches one up....
+
+ANISYA. Shut up with your nonsense. Nikita, listen to me: if you marry
+that Marina I don't know what I won't do to myself.... I shall lay
+hands on myself! I have sinned, I have gone against the law, but I
+can't go back now. If you go away I'll....
+
+NIKITA. Why should I go? Had I wanted to go--I should have gone long
+ago. There was Ivan Semyonitch t'other day--offered me a place as his
+coachman.... Only fancy what a life that would have been! But I did
+not go. Because, I reckon, I am good enough for any one. Now if you
+did not love me it would be a different matter.
+
+ANISYA. Yes, and that's what you should remember. My old man will die
+one of these fine days, I'm thinking; then we could cover our sin,
+make it all right and lawful, and then you'll be master here.
+
+NIKITA. Where's the good of making plans? What do I care? I work as
+hard as if I were doing it for myself. My master loves me, and his
+missus loves me. And if the wenches run after me, it's not my fault,
+that's flat.
+
+ANISYA. And you'll love me?
+
+NIKITA (embracing her). There, as you have ever been in my heart....
+
+MATRYONA (enters and crosses herself a long time before the icon.
+NIKITA and ANISYA step apart). What I saw I didn't perceive, what I
+heard, I didn't hearken to. Playing with the lass, eh? Well,--even a
+calf will play. Why shouldn't one have some fun when one's young? But
+your master is out in the yard a-calling you, sonny.
+
+NIKITA. I only came to get the axe.
+
+MATRYONA. I know, sonny, I know; them sort of axes are mostly to be
+found where the women are.
+
+NIKITA (stooping to pick up axe). I say, mother, is it true you want
+me to marry? As I reckon, that's quite unnecessary. Besides, I've got
+no wish that way.
+
+MATRYONA. Eh, honey! why should you marry? Go on as you are. It's all
+the old man. You'd better go, sonny; we can talk these matters over
+without you.
+
+NIKITA. It's a queer go! One moment I'm to be married, the next, not.
+I can't make head or tail of it.
+
+     [Exit.
+
+ANISYA. What's it all about, then? Do you really wish him to get
+married?
+
+MATRYONA. Eh, why should he marry, my jewel? It's all nonsense, all my
+old man's drivel. "Marry, marry." But he's reckoning without his host.
+You know the saying, "From oats and hay, why should horses stray?"
+When you've enough to spare, why look elsewhere? And so in this case.
+(Winks.) Don't I see which way the wind blows?
+
+ANISYA. Where's the good of my pretending to you, Mother Matryona? You
+know all about it. I have sinned. I love your son.
+
+MATRYONA. Dear me, here's news! D'you think Mother Matryona didn't
+know? Eh, lassie,--Mother Matryona's been ground, and ground again,
+ground fine! This much I can tell you, my jewel: Mother Matryona can
+see through a brick wall three feet thick. I know it all, my jewel! I
+know what young wives need sleeping draughts for, so I've brought some
+along.
+
+     [Unties a knot in her handkerchief and brings out paper-packets.
+
+As much as is wanted, I see, and what's not wanted I neither see nor
+perceive! There! Mother Matryona has also been young. I had to know a
+thing or two to live with my old fool. I know seventy-and-seven
+dodges. But I see your old man's quite seedy, quite seedy! How's one
+to live with such as him? Why, if you pricked him with a hayfork it
+wouldn't fetch blood. See if you don't bury him before the spring.
+Then you'll need some one in the house. Well, what's wrong with my
+son? He'll do as well as another. Then where's the advantage of my
+taking him away from a good place? Am I my child's enemy?
+
+ANISYA. Oh, if only he does not go away!
+
+MATRYONA. He won't go away, birdie. It's all nonsense. You know my old
+man. His wits are always wool-gathering; yet sometimes he takes a
+thing into his pate, and it's as if it were wedged in, you can't knock
+it out with a hammer.
+
+ANISYA. And what started this business?
+
+MATRYONA. Well, you see, my jewel, you yourself know what a fellow
+with women the lad is,--and he's handsome too, though I say it as
+shouldn't. Well, you know, he was living at the railway, and they had
+an orphan wench there to cook for them. Well, that same wench took to
+running after him.
+
+ANISYA. Marina?
+
+MATRYONA. Yes, the plague seize her! Whether anything happened or not,
+anyhow something got to my old man's ears. Maybe he heard from the
+neighbors, maybe she's been and blabbed....
+
+ANISYA. Well, she is a bold hussy!
+
+MATRYONA. So my old man--the old blockhead--off he goes: "Marry,
+marry," he says, "he must marry her and cover the sin," he says. "We
+must take the lad home," he says, "and he shall marry," he says. Well,
+I did my best to make him change his mind, but, dear me, no. So, all
+right, thinks I,--I'll try another dodge. One always has to entice
+them fools in this way, just pretend to be of their mind, and when it
+comes to the point one goes and turns it all one's own way. You know,
+a woman has time to think seventy-and-seven thoughts while falling off
+the oven, so how's such as he to see through it? "Well, yes," says I,
+"it would be a good job,--only we must consider well beforehand. Why
+not go and see our son, and talk it over with Peter Ignatitch and hear
+what he has to say?" So here we are.
+
+ANISYA. Oh dear, oh dear, how will it all end? Supposing his father
+just orders him to marry her?
+
+MATRYONA. Orders, indeed! Chuck his orders to the dogs! Don't you
+worry; that affair will never come off. I'll go to your old man
+myself, and sift and strain this matter clear--there will be none of
+it left. I have come here only for the look of the thing. A very
+likely thing! Here's my son living in happiness and expecting
+happiness, and I'll go and match him with a slut! No fear, I'm not a
+fool!
+
+ANISYA. And she--this Marina--came dangling after him here! Mother,
+would you believe, when they said he was going to marry, it was as if
+a knife had gone right through my heart. I thought he cared for her.
+
+MATRYONA. Oh, my jewel! Why, you don't think him such a fool, that he
+should go and care for a homeless baggage like that? Nikita is a
+sensible fellow, you see. He knows whom to love. So don't you go and
+fret, my jewel. We'll not take him away, and we won't marry him. No,
+we'll let him stay on, if you'll only oblige us with a little money.
+
+ANISYA. All I know is, that I could not live if Nikita went away.
+
+MATRYONA. Naturally, when one's young it's no easy matter! You, a
+wench in full bloom, to be living with the dregs of a man like that
+husband of yours.
+
+ANISYA. Mother Matryona, would you believe it? I'm that sick of him,
+that sick of this long-nosed cur of mine, I can hardly bear to look at
+him.
+
+MATRYONA. Yes, I see, it's one of them cases. Just look here. (Looks
+round and whispers.) I've been to see that old man, you know he's
+given me simples of two kinds. This, you see, is a sleeping draught.
+"Just give him one of these powders," he says, "and he'll sleep so
+sound you might jump on him!" And this here, "This is that kind of
+simple," he says, "that if you give one some of it to drink it has no
+smell whatever, but its strength is very great. There are seven doses
+here, a pinch at a time. Give him seven pinches," he says, "and she
+won't have far to look for freedom," he says.
+
+ANISYA. O-o-oh! What's that?
+
+MATRYONA. "No sign whatever," he says. He's taken a rouble for it.
+"Can't sell it for less," he says. Because it's no easy matter to get
+'em, you know. I paid him, dearie, out of my own money. If she takes
+them, thinks I, it's all right; if she don't, I can let old Michael's
+daughter have them.
+
+ANISYA. O-o-oh! But mayn't some evil come of them? I'm frightened!
+
+MATRYONA. What evil, my jewel? If your old man was hale and hearty,
+'twould be a different matter, but he's neither alive nor dead as it
+is. He's not for this world. Such things often happen.
+
+ANISYA. O-o-oh, my poor head! I'm afeared, Mother Matryona, lest some
+evil come of them. No. That won't do.
+
+MATRYONA. Just as you like. I might even return them to him.
+
+ANISYA. And are they to be used in the same way as the others? Mixed
+in water?
+
+MATRYONA. Better in tea, he says. "You can't notice anything," he says,
+"no smell nor nothing." He's a cute old fellow, too.
+
+ANISYA (taking the powder). O-oh, my poor head! Could I have ever
+thought of such a thing if my life were not a very hell?
+
+MATRYONA. You'll not forget that rouble? I promised to take it to the
+old man. He's had some trouble, too.
+
+ANISYA. Of course?
+
+     [Goes to her box and hides the powders.
+
+MATRYONA. And now, my jewel, keep it as close as you can, so that no
+one should find it out. Heaven defend that it should happen, but if
+any one notices it, tell 'em it's for the black-beetles. (Takes the
+rouble.) It's also used for beetles. (Stops short.)
+
+     [Enter AKIM, who crosses himself in front of the icon, and then
+      PETER, who sits down.
+
+PETER. Well, then, how's it to be, Daddy Akim?
+
+AKIM. As it's best, Peter Ignatitch, as it's best.... I mean--as it's
+best. 'Cos why? I'm afeared of what d'you call 'ems, some tomfoolery,
+you know. I'd like to, what d'you call it.... to start, you know,
+start the lad honest, I mean. But supposing you'd rather, what d'you
+call it, we might, I mean, what's name? As it's best....
+
+PETER. All right. All right. Sit down and let's talk it over. (Akim
+sits down.) Well, then, what's it all about? You want him to marry?
+
+MATRYONA. As to marrying, he might bide a while, Peter Ignatitch. You
+know our poverty, Peter Ignatitch. What's he to marry on? We've hardly
+enough to eat ourselves. How can he marry then?...
+
+PETER. You must consider what will be best.
+
+MATRYONA. Where's the hurry for him to get married? Marriage is not
+that sort of thing, it's not like ripe raspberries that drop off if
+not picked in time.
+
+PETER. If he were to get married, 'twould be a good thing in a way.
+
+AKIM. We'd like to ... what d'you call it? 'Cos why, you see. I've
+what d'you call it ... a job. I mean, I've found a paying job in town,
+you know.
+
+MATRYONA. And a fine job too--cleaning out cesspools. The other day
+when he came home, I could do nothing but spew and spew. Faugh!
+
+AKIM. It's true, at first it does seem what d'you call it ... "knocks
+one clean over," you know,--the smell, I mean. But one gets used to
+it, and then it's nothing, no worse than malt grain, and then it's,
+what d'you call it, ... pays, pays, I mean. And as to the smell being,
+what d'you call it, it's not for the likes of us to complain. And one
+changes one's clothes. So we'd like to take what's his name ...
+NIKITA, I mean, home. Let him manage things at home while I, what
+d'you call it,--earn something in town.
+
+PETER. You want to keep your son at home? Yes, that would be well: but
+how about the money he has had in advance?
+
+AKIM. That's it, that's it! It's just as you Say, Ignatitch, it's just
+what d'you call it. 'Cos why? If you go into service, it's as good as
+if you had sold yourself, they say. That will be all right. I mean he
+may stay and serve his time, only he must, what d'you call it, get
+married. I mean--so: you let him off for a little while, that he may,
+what d'you call it?
+
+PETER. Yes, we could manage that.
+
+MATRYONA. Ah, but it's not yet settled between ourselves, Peter
+Ignatitch. I'll speak to you as I would before God, and you may judge
+between my old man and me. He goes on harping on that marriage. But
+just ask--who it is he wants him to marry. If it were a girl of the
+right sort now--I am not my child's enemy, but the wench is not
+honest.
+
+AKIM. No, that's wrong! Wrong, I say. 'Cos why? She, that same girl--
+it's my son as has offended, offended the girl I mean.
+
+PETER. How offended?
+
+AKIM. That's how. She's what d'you call it, with him, with my son,
+NIKITA. With Nikita, what d'you call it, mean.
+
+MATRYONA. You wait a bit, my tongue runs smoother--let me tell it. You
+know, this lad of ours lived at the railway before he came to you.
+There was a girl there as kept dangling after him. A girl of no
+account, you know; her name's Marina. She used to cook for the men. So
+now this same girl accuses our son, Nikita, that he, so to say,
+deceived her.
+
+PETER. Well, there's nothing good in that.
+
+MATRYONA. But she's no honest girl herself; she runs after the fellows
+like a common slut.
+
+AKIM. There you are again, old woman, and it's not at all what d'you
+call it, it's all not what d'you call it, I mean....
+
+MATRYONA. There now, that's all the sense one gets from my old owl--
+"what d'you call it, what d'you call it," and he doesn't know himself
+what he means. Peter Ignatitch, don't listen to me, but go yourself
+and ask any one you like about the girl, everybody will say the same.
+She's just a homeless good-for-nothing.
+
+PETER. You know, Daddy Akim, if that's how things are, there's no
+reason for him to marry her. A daughter-in-law's not like a shoe, you
+can't kick her off.
+
+AKIM (excitedly). It's false, old woman, it's what d'you call it,
+false; I mean, about the girl; false! 'Cos why? The lass is a good
+lass, a very good lass, you know. I'm sorry, sorry for the lassie, I
+mean.
+
+MATRYONA. It's an old saying: "For the wide world old Miriam grieves,
+and at home without bread her children she leaves." He's sorry for the
+girl, but not sorry for his own son! Sling her round your neck and
+carry her about with you! That's enough of such empty cackle!
+
+AKIM. No, it's not empty.
+
+MATRYONA. There, don't interrupt, let me have my say.
+
+AKIM (interrupts). No, not empty! I mean, you twist things your own
+way, about the lass or about yourself. Twist them, I mean, to make it
+better for yourself; but God, what d'you call it, turns them His way.
+That's how it is.
+
+MATRYONA. Eh! One only wears out one's tongue with you.
+
+AKIM. The lass is hard-working and spruce, and keeps everything round
+herself ... what d'you call it. And in our poverty, you know, it's a
+pair of hands, I mean; and the wedding needn't cost much. But the
+chief thing's the offence, the offence to the lass, and she's a what
+d'you call it, an orphan, you know; that's what she is, and there's
+the offence.
+
+MATRYONA. Eh! they'll all tell you a tale of that sort....
+
+ANISYA. Daddy Akim, you'd better listen to us women; we can tell you a
+thing or two.
+
+AKIM. And God, how about God? Isn't she a human being, the lass? A
+what d'you call it,--also a human being I mean, before God. And how do
+you look at it?
+
+MATRYONA. Eh! ... started off again?...
+
+PETER. Wait a bit, Daddy Akim. One can't believe all these girls say,
+either. The lad's alive, and not far away; send for him, and find out
+straight from him if it's true. He won't wish to lose his soul. Go and
+call the fellow, (Anisya rises) and tell him his father wants him.
+
+     [Exit ANISYA.
+
+MATRYONA. That's right, dear friend; you've cleared the way clean, as
+with water. Yes, let the lad speak for himself. Nowadays, you know,
+they'll not let you force a son to marry; one must first of all ask
+the lad. He'll never consent to marry her and disgrace himself, not
+for all the world. To my thinking, it's best he should go on living
+with you and serving you as his master. And we need not take him home
+for the summer either; we can hire a help. If you would only give us
+ten roubles now, we'll let him stay on. Peter. All in good time. First
+let us settle one thing before we start another. Akim. You see, Peter
+Ignatitch, I speak. 'Cos why? you know how it happens. We try to fix
+things up as seems best for ourselves, you know; and as to God, we
+what d'you call it, we forget Him. We think it's best so, turn it our
+own way, and lo! we've got into a fix, you know. We think it will be
+best, I mean; and lo! it turns out much worse--without God, I mean.
+
+PETER. Of course one must not forget God.
+
+AKIM. It turns out worse! But when it's the right way--God's way--it
+what d'you call it, it gives one joy; seems pleasant, I mean. So I
+reckon, you see, get him, the lad, I mean, get him to marry her, to
+keep him from sin, I mean, and let him what d'you call it at home, as
+it's lawful, I mean, while I go and get the job in town. The work is
+of the right sort--it's payin', I mean. And in God's sight it's what
+d'you call it--it's best, I mean. Ain't she an orphan? Here, for
+example, a year ago some fellows went and took timber from the
+steward,--thought they'd do the steward, you know. Yes, they did the
+steward, but they couldn't what d'you call it--do God, I mean. Well,
+and so....
+
+     [Enter NIKITA and NAN.
+
+NIKITA. You called me?
+
+     [Sits down and takes out his tobacco-pouch.
+
+PETER (in a low, reproachful voice). What are you thinking about--have
+you no manners? Your father is going to speak to you, and you sit down
+and fool about with tobacco. Come, get up!
+
+     [NIKITA rises, leans carelessly with his elbow on the table, and
+smiles.
+
+AKIM. It seems there's a complaint, you know, about you, Nikita--a
+complaint, I mean, a complaint.
+
+NIKITA. Who's been complaining?
+
+AKIM. Complaining? It's a maid, an orphan maid, complaining, I mean.
+It's her, you know--a complaint against you, from Marina, I mean.
+
+NIKITA (laughs). Well, that's a good one. What's the complaint? And
+who's told you--she herself?
+
+AKIM. It's I am asking you, and you must now, what d'you call it, give
+me an answer. Have you got mixed up with the lass, I mean--mixed up,
+you know?
+
+NIKITA. I don't know what you mean. What's up?
+
+AKIM. Foolin', I mean, what d'you call it? foolin'. Have you been
+foolin' with her, I mean?
+
+NIKITA. Never mind what's been! Of course one does have some fun with
+a cook now and then to while away the time. One plays the concertina
+and gets her to dance. What of that?
+
+PETER. Don't shuffle, Nikita, but answer your father straight out.
+
+AKIM (solemnly). You can hide it from men but not from God, Nikita.
+You, what d'you call it--think, I mean, and don't tell lies. She's an
+orphan; so, you see, any one is free to insult her. An orphan, you
+see. So you should say what's rightest.
+
+NIKITA. But what if I have nothing to say? I have told you everything
+--because there isn't anything to tell, that's flat! (Getting excited.)
+She can go and say anything about me, same as if she was speaking of
+one as is dead. Why don't she say anything about Fedka Mikishin?
+Besides, how's this, that one mayn't even have a bit of fun nowadays?
+And as for her, well, she's free to say anything she likes.
+
+AKIM. Ah, Nikita, mind! A lie will out. Did anything happen?
+
+NIKITA (aside). How he sticks to it; it's too bad. (To Akim.) I tell
+you, I know nothing more. There's been nothing between us. (Angrily.)
+By God! and may I never leave this spot (crosses himself) if I know
+anything about it. (Silence. Then still more excitedly.) Why! have you
+been thinking of getting me to marry her? What do you mean by it?--
+it's a confounded shame. Besides, nowadays you've got no such rights
+as to force a fellow to marry. That's plain enough. Besides, haven't I
+sworn I know nothing about it?
+
+MATRYONA (to her husband). There now, that's just like your silly
+pate, to believe all they tell you. He's gone and put the lad to shame
+all for nothing. The best thing is to let him live as he is living,
+with his master. His master will help us in our present need, and give
+us ten roubles, and when the time comes....
+
+PETER. Well, Daddy Akim, how's it to be?
+
+AKIM (looks at his son, clicking his tongue disapprovingly). Mind,
+Nikita, the tears of one that's been wronged never, what d'you call
+it--never fall beside the mark but always on, what's name--the head of
+the man as did the wrong. So mind, don't what d'you call it.
+
+NIKITA (sits down). What's there to mind? mind yourself.
+
+NAN (aside). I must run and tell mother.
+
+     [Exit.
+
+MATRYONA (to Peter). That's always the way with this old mumbler of
+mine, Peter Ignatitch. Once he's got anything wedged in his pate
+there's no knocking it out. We've gone and troubled you all for
+nothing. The lad can go on living as he has been. Keep him; he's your
+servant.
+
+PETER. Well, Daddy Akim, what do you say?
+
+AKIM. Why, the lad's his own master, if only he what d'you call it....
+I only wish that, what d'you call it, I mean.
+
+MATRYONA. You don't know yourself what you're jawing about. The lad
+himself has no wish to leave. Besides, what do we want with him at
+home? We can manage without him.
+
+PETER. Only one thing, Daddy Akim--if you are thinking of taking him
+back in summer, I don't want him here for the winter. If he is to stay
+at all, it must be for the whole year.
+
+MATRYONA. And it's for a year he'll bind himself. If we want help when
+the press of work comes, we can hire help, and the lad shall remain
+with you. Only give us ten roubles now....
+
+PETER. Well then, is it to be for another year?
+
+AKIM (sighing). Yes, it seems, it what d'you call it ... if it's so, I
+mean, it seems that it must be what d'you call it.
+
+MATRYONA. For a year, counting from St. Dimitry's day. We know you'll
+pay him fair wages. But give us ten roubles now. Help us out of our
+difficulties. (Gets up and bows to Peter.)
+
+     [Enter NAN and ANISYA. The latter sits down at one side.
+
+PETER. Well, if that's settled we might step across to the inn and
+have a drink. Come, Daddy Akim, what do you say to a glass of vodka?
+
+AKIM. No, I never drink that sort of thing.
+
+PETER. Well, you'll have some tea?
+
+AKIM. Ah, tea! yes, I do sin that way. Yes, tea's the thing.
+
+PETER. And the women will also have some tea. Come. And you, Nikita,
+go and drive the sheep in and clear away the straw.
+
+NIKITA. All right. (Exeunt all but NIKITA. NIKITA lights a cigarette.
+It grows darker.) Just see how they bother one. Want a fellow to tell
+'em how he larks about with the wenches! It would take long to tell
+'em all those stories--"Marry her," he says. Marry them all! One would
+have a good lot of wives! And what need have I to marry? Am as good as
+married now! There's many a chap as envies me. Yet how strange it felt
+when I crossed myself before the icon. It was just as if some one
+shoved me. The whole web fell to pieces at once. They say it's
+frightening to swear what's not true. That's all humbug. It's all
+talk, that is. It's simple enough.
+
+AKOULINA (enters with a rope, which she puts down. She takes off her
+outdoor things and goes into closet). You might at least have got a
+light.
+
+NIKITA. What, to look at you? I can see you well enough without.
+
+AKOULINA. Oh, bother you!
+
+     [NAN enters and whispers to NIKITA.
+
+NAN. Nikita, there's a person wants you. There is!
+
+NIKITA. What person?
+
+NAN. Marina from the railway; she's out there, round the corner.
+
+NIKITA. Nonsense!
+
+NAN. Blest if she isn't! Nikita. What does she want?
+
+NAN. She wants you to come out. She says, "I only want to say a word
+to Nikita." I began asking, but she won't tell, but only says, "Is it
+true he's leaving you?" And I say, "No, only his father wanted to take
+him away and get him to marry, but he won't, and is going to stay with
+us another year." And she says, "For goodness' sake send him out to
+me. I must see him," she says, "I must say a word to him somehow."
+She's been waiting a long time. Why don't you go?
+
+NIKITA. Bother her! What should I go for?
+
+NAN. She says, "If he don't come, I'll go into the hut to him." Blest
+if she didn't say she'd come in!
+
+NIKITA. Not likely. She'll wait a bit and then go away.
+
+NAN. "Or is it," she says, "that they want him to marry Akoulina?"
+
+     [Re-enter AKOULINA, passing near NIKITA to take her distaff.
+
+AKOULINA. Marry whom to Akoulina?
+
+NAN. Why, Nikita. Akoulina. A likely thing! Who says it?
+
+NIKITA (looks at her and laughs). It seems people do say it. Would you
+marry me, Akoulina?
+
+AKOULINA. Who, you? Perhaps I might have afore, but I won't now.
+
+NIKITA. And why not now? Akoulina. 'Cos you wouldn't love me.
+
+NIKITA. Why not? Akoulina. 'Cos you'd be forbidden to.
+
+     [Laughs.
+
+NIKITA. Who'd forbid it?
+
+AKOULINA. Who? My step-mother. She does nothing but grumble, and is
+always staring at you.
+
+NIKITA (laughing). Just hear her! Ain't she cute?
+
+AKOULINA. Who? Me? What's there to be cute about? Am I blind? She's
+been rowing and rowing at dad all day. The fat-muzzled witch!
+
+     [Goes into closet.
+
+NAN (looking out of the window). Look, Nikita, she's coming! I'm blest
+if she isn't! I'll go away.
+
+     [Exit.
+
+MARINA (enters). What are you doing with me?
+
+NIKITA. Doing? I'm not doing anything.
+
+MARINA. You mean to desert me.
+
+NIKITA (gets up angrily). What does this look like, your coming here?
+
+MARINA. Oh, Nikita!
+
+NIKITA. Well, you are strange! What have you come for?
+
+MARINA. Nikita!
+
+NIKITA. That's my name. What do you want with Nikita? Well, what next?
+Go away, I tell you!
+
+MARINA. I see, you do want to throw me over.
+
+NIKITA. Well, and what's there to remember? You yourself don't know.
+When you stood out there round the corner and sent Nan for me, and I
+didn't come, wasn't it plain enough that you're not wanted? It seems
+pretty simple. So there--go!
+
+MARINA. Not wanted! So now I'm not wanted! I believed you when you
+said you would love me. And now that you've ruined me, I'm not wanted.
+
+NIKITA. Where's the good of talking? This is quite improper. You've
+been telling tales to father. Now, do go away, will you?
+
+MARINA. You know yourself I never loved any one but you. Whether you
+married me or not, I'd not have been angry. I've done you no wrong,
+then why have you left off caring for me? Why?
+
+NIKITA. Where's the use of baying at the moon? You go away. Goodness
+me! what a duffer!
+
+MARINA. It's not that you deceived me when you promised to marry me
+that hurts, but that you've left off loving. No, it's not that you've
+stopped loving me either, but that you've changed me for another,
+that's what hurts. I know who it is!
+
+NIKITA (comes up to her viciously). Eh! what's the good of talking to
+the likes of you, that won't listen to reason? Be off, or you'll drive
+me to do something you'll be sorry for.
+
+MARINA. What, will you strike me, then? Well then, strike me! What are
+you turning away for? Ah, Nikita!
+
+NIKITA. Supposing some one came in. Of course, it's quite improper.
+And what's the good of talking?
+
+MARINA. So this is the end of it! What has been has flown. You want me
+to forget it? Well then, Nikita, listen. I kept my maiden honor as the
+apple of my eye. You have ruined me for nothing, you have deceived me.
+You have no pity on a fatherless and motherless girl! (Weeping.) You
+have deserted, you have killed me, but I bear you no malice. God
+forgive you! If you find a better one you'll forget me, if a worse one
+you'll remember me. Yes, you will remember, Nikita! Good-bye, then, if
+it is to be. Oh, how I loved you! Good-bye for the last time.
+
+     [Takes his head in her hands and tries to kiss him.
+
+NIKITA (tossing his head back). I'm not going to talk with the likes
+of you. If you won't go away I will, and you may stay here by
+yourself.
+
+MARINA (screams). You are a brute. (In the doorway.) God will give you
+no joy.
+
+     [Exit, crying.
+
+AKOULINA (comes out of closet). You're a dog, Nikita!
+
+NIKITA. What's up?
+
+AKOULINA. What a cry she gave!
+
+     [Cries.
+
+NIKITA. What's up with you?
+
+AKOULINA. What's up? You've hurt her, ... That's the way you'll hurt
+me also. You're a dog.
+
+     [Exit into closet.
+
+     [Silence.
+
+NIKITA. Here's a fine muddle. I'm as sweet as honey on the lasses, but
+when a fellow's sinned with 'em it's a bad look-out!
+
+CURTAIN
+
+
+
+
+ACT II
+
+The scene represents the village street. To the left the outside of
+PETER'S hut, built of logs, with a porch in the middle; to the right
+of the hut the gates and a corner of the yard buildings. ANISYA is
+beating hemp in the street near the corner of the yard. Six months
+have elapsed since the First Act.
+
+ANISYA (stops and listens). Mumbling something again. He's probably
+got off the stove.
+
+     [AKOULINA enters, carrying two pails on a yoke.
+
+ANISYA. He's calling. You go and see what he wants, kicking up such a
+row.
+
+AKOULINA. Why don't you go?
+
+ANISYA. Go, I tell you!
+
+     [Exit AKOULINA into hut.
+
+He's bothering me to death. Won't let out where the money is, and
+that's all about it. He was out in the passage the other day. He must
+have been hiding it there. Now, I don't know myself where it is. Thank
+goodness he's afraid of parting with it, so that at least it will stay
+in the house. If only I could manage to find it. He hadn't it on him
+yesterday. Now I don't know where it can be. He has quite worn the
+life out of me.
+
+     [Enter AKOULINA, tying her kerchief over her head.
+
+ANISYA. Where are you off to?
+
+AKOULINA. Where? Why, he's told me to go for Aunt Martha. "Fetch my
+sister," he says. "I am going to die," he says. "I have a word to say
+to her."
+
+ANISYA (aside). Asking for his sister? Oh, my poor head! Sure he wants
+to give it her. What shall I do? Oh! (To AKOULINA.) Don't go! Where
+are you off to?
+
+AKOULINA. To call Aunt.
+
+ANISYA. Don't go I tell you, I'll go myself. You go and take the
+clothes to the river to rinse. Else you'll not have finished by the
+evening.
+
+AKOULINA. But he told me to go.
+
+ANISYA. You go and do as you're bid. I tell you I'll fetch Martha
+myself. Take the shirts off the fence.
+
+AKOULINA. The shirts? But maybe you'll not go. He's given the order.
+
+ANISYA. Didn't I say I'd go? Where's Nan?
+
+AKOULINA. Nan? Minding the calves.
+
+ANISYA. Send her here. I dare say they'll not run away.
+
+     [AKOULINA collects the clothes, and exit.
+
+ANISYA. If one doesn't go he'll scold. If one goes he'll give the
+money to his sister. All my trouble will be wasted. I don't myself
+know what I'm to do. My poor head's splitting.
+
+     [Continues to work.
+
+     [Enter MATRYONA, with a stick and a bundle, in outdoor clothes.
+
+MATRYONA. May the Lord help you, honey.
+
+ANISYA (looks round, stops working, and claps her hands with joy).
+Well, I never expected this! Mother Matryona, God has sent the right
+guest at the right time.
+
+MATRYONA. Well, how are things?
+
+ANISYA. Ah, I'm driven well-nigh crazy. It's awful!
+
+MATRYONA. Well, still alive, I hear?
+
+ANISYA. Oh, don't talk about it. He doesn't live and doesn't die!
+
+MATRYONA. But the money--has he given it to anybody?
+
+ANISYA. He's just sending for his sister Martha--probably about the
+money.
+
+MATRYONA. Well, naturally! But hasn't he given it to any one else?
+
+ANISYA. To no one. I watch like a hawk.
+
+MATRYONA. And where is it?
+
+ANISYA. He doesn't let out. And I can't find out in any way. He hides
+it now here, now there, and I can't do anything because of Akoulina.
+Idiot though she is, she keeps watch, and is always about. Oh my poor
+head! I'm bothered to death.
+
+MATRYONA. Oh, my jewel, if he gives the money to any one but you,
+you'll never cease regretting it as long as you live! They'll turn you
+out of house and home without anything. You've been worriting, and
+worriting all your life with one you don't love, and will have to go
+a-begging when you are a widow.
+
+ANISYA. No need to tell me, mother. My heart's that weary, and I don't
+know what to do. No one to get a bit of advice from. I told Nikita,
+but he's frightened of the job. The only thing he did was to tell me
+yesterday it was hidden under the floor.
+
+MATRYONA. Well, and did you look there?
+
+ANISYA. I couldn't. The old man himself was in the room. I notice that
+sometimes he carries it about on him, and sometimes he hides it.
+
+MATRYONA. But you, my lass, must remember that if once he gives you
+the slip there's no getting it right again! (Whispering.) Well, and
+did you give him the strong tea?
+
+ANISYA. Oh! oh!...
+
+     [About to answer, but sees neighbor and stops.
+
+     [The NEIGHBOR (a woman) passes the hut, and listens to a call from
+      within.
+
+NEIGHBOR (to Anisya). I say, Anisya! Oh, Anisya! There's your old man
+calling, I think.
+
+ANISYA. That's the way he always coughs,--just as if he were screaming.
+He's getting very bad.
+
+NEIGHBOR (approaches MATRYONA). How do you do, granny? Have you come
+far?
+
+MATRYONA. Straight from home, dear. Come to see my son. Brought him
+some shirts--can't help thinking of these things, you see, when it's
+one's own child.
+
+NEIGHBOR. Yes, that's always so. (To Anisya.) And I was thinking of
+beginning to bleach the linen, but it is a bit early, no one has begun
+yet.
+
+ANISYA. Where's the hurry?
+
+MATRYONA. Well, and has he had communion?
+
+ANISYA. Oh, dear, yes, the priest was here yesterday.
+
+NEIGHBOR. I had a look at him yesterday. Dearie me! one wonders his
+body and soul keep together. And, O Lord, the other day he seemed just
+at his last gasp, so that they laid him under the holy icons.[1] They
+started lamenting and got ready to lay him out.
+
+ANISYA. He came to, and creeps about again.
+
+MATRYONA. Well, and is he to have extreme unction?
+
+ANISYA. The neighbors advise it. If he lives till to-morrow we'll send
+for the priest.
+
+NEIGHBOR. Oh, Anisya dear, I should think your heart must be heavy. As
+the saying goes, "Not he is sick that's ill in bed, but he that sits
+and waits in dread."
+
+ANISYA. Yes, if it were only over one way or other!
+
+NEIGHBOR. Yes, that's true, dying for a year, it's no joke. You're
+bound hand and foot like that.
+
+MATRYONA. Ah, but a widow's lot is also bitter. It's all right as long
+as one's young, but who'll care for you when you're old? Oh yes, old
+age is not pleasure. Just look at me. I've not walked very far, and
+yet am so footsore I don't know how to stand. Where's my son?
+
+ANISYA. Ploughing. But you come in and we'll get the samovar ready;
+the tea'll set you up again.
+
+MATRYONA (sitting down). Yes, it's true, I'm quite done up, my dears.
+As to extreme unction, that's absolutely necessary. Besides, they say
+it's good for the soul.
+
+ANISYA. Yes, we'll send to-morrow.
+
+MATRYONA. Yes, you had better. And we've had a wedding down in our
+parts.
+
+NEIGHBOR. What, in spring?[2]
+
+MATRYONA. Ah, now if it were a poor man, then, as the saying is, it's
+always unseasonable for a poor man to marry. But it's Simon
+Matveyitch, he's married that Marina.
+
+ANISYA. What luck for her!
+
+NEIGHBOR. He's a widower. I suppose there are children?
+
+MATRYONA. Four of 'em. What decent girl would have him! Well, so he's
+taken her, and she's glad. You see, the vessel was not sound, so the
+wine trickled out.
+
+NEIGHBOR. Oh, my! And what do people say to it? And he, a rich
+peasant!
+
+MATRYONA. They are living well enough so far.
+
+NEIGHBOR. Yes, it's true enough. Who wants to marry where there are
+children? There now, there's our Michael. He's such a fellow, dear
+me....
+
+PEASANT'S VOICE. Hullo, Mavra. Where the devil are you? Go and drive
+the cow in.
+
+     [Exit NEIGHBOR.
+
+MATRYONA (while the NEIGHBOR is within hearing speaks in her ordinary
+voice). Yes, lass, thank goodness, she's married. At any rate my old
+fool won't go bothering about Nikita. Now (suddenly changing her
+tone), she's gone! (Whispers.) I say, did you give him the tea?
+
+ANISYA. Don't speak about it. He'd better die of himself. It's no use
+--he doesn't die, and I have only taken a sin on my soul. O-oh, my
+head, my head! Oh, why did you give me those powders?
+
+MATRYONA. What of the powders? The sleeping powders, lass,--why not
+give them? No evil can come of them.
+
+ANISYA. I am not talking of the sleeping ones, but the others, the
+white ones.
+
+MATRYONA. Well, honey, those powders are medicinal.
+
+ANISYA (sighs). I know, yet it's frightening. Though he's worried me
+to death.
+
+MATRYONA. Well, and did you use many?
+
+ANISYA. I gave two doses.
+
+MATRYONA. Was anything noticeable?
+
+ANISYA. I had a taste of the tea myself--just a little bitter. And he
+drank them with the tea and says, "Even tea disgusts me," and I say,
+"Everything tastes bitter when one's sick." But I felt that scared,
+mother.
+
+MATRYONA. Don't go thinking about it. The more one thinks the worse it
+is.
+
+ANISYA. I wish you'd never given them to me and led me into sin. When
+I think of it something seems to tear my heart. Oh, dear, why did you
+give them to me?
+
+MATRYONA. What do you mean, honey? Lord help you! Why are you turning
+it on to me? Mind, lass, don't go twisting matters from the sick on to
+the healthy. If anything were to happen, I stand aside! I know
+nothing! I'm aware of nothing! I'll kiss the cross on it; I never gave
+you any kind of powders, never saw any, never heard of any, and never
+knew there were such powders. You think about yourself, lass. Why, we
+were talking about you the other day. "Poor thing, what torture she
+endures. The step-daughter an idiot; the old man rotten, sucking her
+lifeblood. What wouldn't one be ready to do in such a case!"
+
+ANISYA. I'm not going to deny it. A life such as mine could make one
+do worse than that. It could make you hang yourself or throttle him.
+Is this a life?
+
+MATRYONA. That's just it. There's no time to stand gaping; the money
+must be found one way or other, and then he must have his tea.
+
+ANISYA. O-oh, my head, my head! I can't think what to do. I am so
+frightened; he'd better die of himself. I don't want to have it on my
+soul.
+
+MATRYONA (viciously). And why doesn't he show the money? Does he mean
+to take it along with him? Is no one to have it? Is that right? God
+forbid such a sum should be lost all for nothing. Isn't that a sin?
+What's he doing? Is he worth considering?
+
+ANISYA. I don't know anything. He's worried me to death.
+
+MATRYONA. What is it you don't know? The business is clear. If you
+make a slip now, you'll repent it all your life. He'll give the money
+to his sister and you'll be left without.
+
+ANISYA. O--oh dear! Yes, and he did send for her--I must go.
+
+MATRYONA. You wait a bit and light the samovar first. We'll give him
+some tea and search him together--we'll find it, no fear.
+
+ANISYA. Oh dear, oh dear; supposing something were to happen.
+
+MATRYONA. What now? What's the good of waiting? Do you want the money
+to slip from your hand when it's just in sight? You go and do as I
+say.
+
+ANISYA. Well, I'll go and light the samovar.
+
+MATRYONA. Go, honey, do the business so as not to regret it
+afterwards. That's right!
+
+     [ANISYA turns to go. MATRYONA calls her back.
+
+MATRYONA. Just a word. Don't tell Nikita about the business. He's
+silly. God forbid he should find out about the powders. The Lord only
+knows what he would do. He's so tender-hearted. D'you know, he usen't
+to be able to kill a chicken. Don't tell him. 'Twould be a fine go, he
+wouldn't understand things.
+
+     [Stops horror-struck as PETER appears in the doorway.
+
+PETER (holding on to the wall, creeps out into the porch and calls
+with a faint voice). How's it one can't make you hear? Oh, oh, Anisya!
+Who's there?
+
+     [Drops on the bench.
+
+ANISYA (steps from behind the corner). Why have you come out? You
+should have stayed where you were lying.
+
+PETER. Has the girl gone for Martha? It's very hard.... Oh, if only
+death would come quicker!
+
+ANISYA. She had no time. I sent her to the river. Wait a bit, I'll go
+myself when I'm ready.
+
+PETER. Send Nan. Where's she? Oh, I'm that bad! Oh, death's at hand!
+
+ANISYA. I've sent for her already. Peter. Oh, dear! Then where is she?
+
+ANISYA. Where's she got to, the plague seize her!
+
+PETER. Oh, dear! I can't bear it. All my inside's on fire. It's as if
+a gimlet were boring me. Why have you left me as if I were a dog? ...
+no one to give me a drink.... Oh ... send Nan to me.
+
+ANISYA. Here she is. Nan, go to father.
+
+     [NAN runs in. ANISYA goes behind the corner of the house.
+
+PETER. Go you. Oh ... to Aunt Martha, tell her father wants her; say
+she's to come, I want her.
+
+NAN. All right.
+
+PETER. Wait a bit. Tell her she's to come quick. Tell her I'm dying.
+O--oh!
+
+NAN. I'll just get my shawl and be off.
+
+     [Runs off.
+
+MATRYONA (winking). Now, then, mind and look sharp, lass. Go into the
+hut, hunt about everywhere, like a dog that's hunting for fleas: look
+under everything, and I'll search him.
+
+ANISYA (to MATRYONA). I feel a bit bolder, somehow, now you're here.
+(Goes up to porch. To PETER.) Hadn't I better light the samovar?
+Here's Mother Matryona come to see her son; you'll have a cup of tea
+with her?
+
+PETER. Well, then, light it.
+
+     [ANISYA goes into the house. MATRYONA comes up to the porch.
+
+PETER. How do you do?
+
+MATRYONA (bowing). How d'you do, my benefactor; how d'you do, my
+precious ... still ill, I see. And my old man, he's that sorry! "Go,"
+says he, "see how he's getting on." He sends his respects to you.
+
+     [Bows again.
+
+PETER. I'm dying.
+
+MATRYONA. Ah, yes, Peter Ignatitch, now I look at you I see, as the
+saying has it, "Sickness lives where men live." You've shrivelled,
+shrivelled, all to nothing, poor dear, now I come to look at you.
+Seems illness does not add to good looks.
+
+PETER. My last hour has come.
+
+MATRYONA. Oh well, Peter Ignatitch, it's God's will you know, you've
+had communion, and you'll have unction, God willing. Your missus is a
+wise woman, the Lord be thanked; she'll give you a good burial, and
+have prayers said for your soul, all most respectable! And my son,
+he'll look after things meanwhile.
+
+PETER. There'll be no one to manage things! She's not steady. Has her
+head full of folly--why, I know all about it, I know. And my girl is
+silly and young. I've got the homestead together, and there's no one
+to attend to things. One can't help feeling it.
+
+     [Whimpers.
+
+MATRYONA. Why, if it's money, or something, you can leave orders?
+
+PETER (to Anisya inside the house). Has Nan gone?
+
+MATRYONA (aside). There now, he's remembered!
+
+ANISYA (from inside). She went then and there. Come inside, won't you?
+I'll help you in.
+
+PETER. Let me sit here a bit for the last time. The air's so stuffy
+inside. Oh, how bad I feel! Oh, my heart's burning.... Oh, if death
+would only come!
+
+MATRYONA. If God don't take a soul, the soul can't go out. Death and
+life are in God's will. Peter Ignatitch. You can't be sure of death
+either. Maybe you'll recover yet. There was a man in our village just
+like that, at the very point of death....
+
+PETER. No, I feel I shall die to-day, I feel it.
+
+     [Leans back and shuts his eyes.
+
+ANISYA (enters). Well, now, are you coming in or not? You do keep one
+waiting. Peter! eh, Peter!
+
+MATRYONA (steps aside and beckons to ANISYA with her finger). Well?
+
+ANISYA (comes down the porch steps). Not there.
+
+MATRYONA. But have you searched everywhere? Under the floor?
+
+ANISYA. No, it's not there either. In the shed perhaps; he was
+rummaging there yesterday.
+
+MATRYONA. Go, search, search for all you're worth. Go all over
+everywhere, as if you licked with your tongue! But I see he'll die
+this very day, his nails are turning blue and his face looks earthy.
+Is the samovar ready?
+
+ANISYA. Just on the boil.
+
+NIKITA (comes from the other side, if possible on horse-back, up to
+the gate, and does not see PETER. To MATRYONA). How d'you do, mother,
+is all well at home?
+
+MATRYONA. The Lord be thanked, we're all alive and have a crust to
+bite.
+
+NIKITA. Well and how's master?
+
+MATRYONA. Hush, there he sits.
+
+     [Points to porch.
+
+NIKITA. Well, let him sit. What's it to me?
+
+PETER (opens his eyes). Nikita, I say, Nikita, come here!
+
+     [NIKITA approaches. ANISYA and MATRYONA whisper together.
+
+PETER. Why have you come back so early?
+
+NIKITA. I've finished ploughing.
+
+PETER. Have you done the strip beyond the bridge?
+
+NIKITA. It's too far to go there.
+
+PETER. Too far? From here it's still farther. You'll have to go on
+purpose now. You might have made one job of it.
+
+     [ANISYA, without showing herself, stands and listens.
+
+MATRYONA (approaches). Oh, sonny, why don't you take more pains for
+your master? Your master is ill and depends on you; you should serve
+him as you would your own father, straining every muscle just as I
+always tell you to.
+
+PETER. Well, then--o--oh!... Get out the seed potatoes, and the women
+will go and sort them.
+
+ANISYA (aside). No fear, I'm not going. He's again sending every one
+away; he must have the money on him now, and wants to hide it
+somewhere.
+
+PETER. Else ... o--oh! when the time comes for planting, they'll all
+be rotten. Oh, I can't stand it!
+
+     [Rises.
+
+MATRYONA (runs up into the porch and holds PETER up). Shall I help you
+into the hut?
+
+PETER. Help me in. (Stops.) Nikita!
+
+NIKITA (angrily). What now?
+
+PETER. I shan't see you again.... I'll die to-day.... Forgive me,[3]
+for Christ's sake, forgive me if I have ever sinned against you.... If
+I have sinned in word or deed.... There's been all sorts of things.
+Forgive me!
+
+NIKITA. What's there to forgive? I'm a sinner myself.
+
+MATRYONA. Ah, sonny, have some feeling.
+
+PETER. Forgive me, for Christ's sake.
+
+     [Weeps.
+
+NIKITA (snivels). God will forgive you, Daddy Peter. I have no cause
+to complain of you. You've never done me any wrong. You forgive me;
+maybe I've sinned worse against you. (Weeps.)
+
+     [PETER goes in whimpering, MATRYONA supporting him.
+
+ANISYA. Oh, my poor head! It's not without some reason he's hit on
+that. (Approaches NIKITA.) Why did you say the money was under the
+floor? It's not there.
+
+NIKITA (does not answer, but cries). I have never had anything bad
+from him, nothing but good, and what have I gone and done!
+
+ANISYA. Enough now! Where's the money?
+
+NIKITA (angrily). How should I know? Go and look for it yourself!
+
+ANISYA. What's made you so tender?
+
+NIKITA. I am sorry for him,--that sorry. How he cried! Oh, dear!
+
+ANISYA. Look at him,--seized with pity! He has found some one to pity
+too! He's been treating you like a dog, and even just now was giving
+orders to have you turned out of the house. You'd better show me some
+pity!
+
+NIKITA. What are you to be pitied for?
+
+ANISYA. If he dies, and the money's been hidden away....
+
+NIKITA. No fear, he'll not hide it....
+
+ANISYA. Oh, Nikita darling! he's sent for his sister, and wants to
+give it to her. It will be a bad lookout for us. How are we going to
+live, if he gives her the money? They'll turn me out of the house! You
+try and manage somehow! You said he went to the shed last night.
+
+NIKITA. I saw him coming from there, but where he's shoved it to, who
+can tell?
+
+ANISYA. Oh, my poor head! I'll go and have a look there.
+
+     [NIKITA steps aside.
+
+MATRYONA (comes out of the hut and down the steps of the porch to
+ANISYA and NIKITA). Don't go anywhere. He's got the money on him. I
+felt it on a string round his neck.
+
+ANISYA. Oh my head, my head!
+
+MATRYONA. If you don't keep wide awake now, then you may whistle for
+it. If his sister comes--then good-bye to it!
+
+ANISYA. That's true. She'll come and he'll give it her. What's to be
+done? Oh, my poor head!
+
+MATRYONA. What is to be done? Why, look here; the samovar is boiling,
+go and make the tea and pour him out a cup, and then (whispers) put in
+all that's left in the paper. When he's drunk the cup, then just take
+it. He'll not tell, no fear.
+
+ANISYA. Oh! I'm afeared!
+
+MATRYONA. Don't be talking now, but look alive, and I'll keep his
+sister off if need be. Mind, don't make a blunder! Get hold of the
+money and bring it here, and Nikita will hide it.
+
+ANISYA. Oh my head, my head! I don't know how I'm going to....
+
+MATRYONA. Don't talk about it I tell you, do as I bid you. Nikita!
+
+NIKITA. What is it?
+
+MATRYONA. You stay here--sit down--in case something is wanted.
+
+NIKITA (waves his hand). Oh, these women, what won't they be up to?
+Muddle one up completely. Bother them! I'll really go and fetch out
+the potatoes.
+
+MATRYONA (catches him by the arm). Stay here, I tell you.
+
+     [NAN enters.
+
+ANISYA. Well?
+
+NAN. She was down in her daughter's vegetable plot--she's coming.
+
+ANISYA. Coming! What shall we do?
+
+MATRYONA. There's plenty of time if you do as I tell you.
+
+ANISYA. I don't know what to do; I know nothing, my brain's all in a
+whirl. Nan! Go, daughter, and see to the calves, they'll have run
+away, I'm afraid.... Oh dear, I haven't the courage.
+
+MATRYONA. Go on! I should think the samovar's boiling over.
+
+ANISYA. Oh my head, my poor head!
+
+     [Exit.
+
+MATRYONA (approaches NIKITA). Now then, sonny. (Sits down beside him.)
+Your affairs must also be thought about, and not left anyhow.
+
+NIKITA. What affairs?
+
+MATRYONA. Why, this affair--how you're to live your life.
+
+NIKITA. How to live my life? Others live, and I shall live!
+
+MATRYONA. The old man will probably die to-day.
+
+NIKITA. Well, if he dies, God give him rest! What's that to me?
+
+MATRYONA (keeps looking towards the porch while she speaks). Eh,
+sonny! Those that are alive have to think about living. One needs
+plenty of sense in these matters, honey. What do you think? I've
+tramped all over the place after your affairs, I've got quite footsore
+bothering about matters. And you must not forget me when the time
+comes.
+
+NIKITA. And what's it you've been bothering about?
+
+MATRYONA. About your affairs, about your future. If you don't take
+trouble in good time you'll get nothing. You know Ivan Mosevitch?
+Well, I've been to him too. I went there the other day. I had
+something else to settle, you know. Well, so I sat and chatted awhile
+and then came to the point. "Tell me, Ivan Mosevitch," says I, "how's
+one to manage an affair of this kind? Supposing," says I, "a peasant
+as is a widower married a second wife, and supposing all the children
+he has is a daughter by the first wife, and a daughter by the second.
+Then," says I, "when that peasant dies, could an outsider get hold of
+the homestead by marrying the widow? Could he," says I, "give both the
+daughters in marriage and remain master of the house himself?" "Yes,
+he could," says he, "but," says he, "it would mean a deal of trouble;
+still the thing could be managed by means of money, but if there's no
+money it's no good trying."
+
+NIKITA (laughs). That goes without saying, only fork out the money.
+Who does not want money?
+
+MATRYONA. Well then, honey, so I spoke out plainly about the affair.
+And he says, "First and foremost, your son will have to get himself on
+the register of that village--that will cost something. The elders
+will have to be treated. And they, you see, they'll sign. Everything,"
+says he, "must be done sensibly." Look (unwraps her kerchief and takes
+out a paper), he's written out this paper; just read it, you're a
+scholar, you know.
+
+     [NIKITA reads.
+
+NIKITA. This paper's only a decision for the elders to sign. There's
+no great wisdom needed for that.
+
+MATRYONA. But you just hear what Ivan Mosevitch bids us do. "Above
+all," he says, "mind and don't let the money slip away, dame. If she
+don't get hold of the money," he says, "they'll not let her do it.
+Money's the great thing!" So look out, sonny, things are coming to a
+head.
+
+NIKITA. What's that to me? The money's hers--so let her look out.
+
+MATRYONA. Ah, sonny, how you look at it! How can a woman manage such
+affairs? Even if she does get the money, is she capable of arranging
+it all? One knows what a woman is! You're a man anyhow. You can hide
+it, and all that. You see, you've after all got more sense, in case of
+anything happening.
+
+NIKITA. Oh, your woman's notions are all so inexpedient!
+
+MATRYONA. Why inexpedient? You just collar the money, and the woman's
+in your hands. And then should she ever turn snappish you'd be able to
+tighten the reins!
+
+NIKITA. Bother you all,--I'm going.
+
+ANISYA (quite pale, runs out of the hut and round the corner to
+MATRYONA). So it was, it was on him! Here it is!
+
+     [Shows that she has something under her apron.
+
+MATRYONA. Give it to Nikita; he'll hide it. Nikita, take it and hide
+it somewhere.
+
+NIKITA. All right, give here!
+
+ANISYA. O--oh, my poor head! No, I'd better do it myself.
+
+     [Goes towards the gate.
+
+MATRYONA (seizing her by the arm). Where are you going to? You'll be
+missed. There's the sister coming; give it him; he knows what to do.
+Eh, you blockhead!
+
+ANISYA (stops irresolutely). Oh, my head, my head!
+
+NIKITA. Well, give it here. I'll shove it away somewhere.
+
+ANISYA. Where will you shove it to?
+
+NIKITA (laughing). Why, are you afraid?
+
+     [Enter AKOULINA, carrying clothes from the wash.
+
+ANISYA. O--oh, my poor head! (Gives the money.) Mind, Nikita.
+
+NIKITA. What are you afraid of? I'll hide it so that I'll not be able
+to find it myself.
+
+     [Exit.
+
+ANISYA (stands in terror). Oh dear, and supposing he....
+
+MATRYONA. Well, is he dead?
+
+ANISYA. Yes, he seems dead. He did not move when I took it.
+
+MATRYONA. Go in, there's Akoulina.
+
+ANISYA. Well there, I've done the sin and he has the money....
+
+MATRYONA. Have done and go in! There's Martha coming!
+
+ANISYA. There now, I've trusted him. What's going to happen now?
+
+     [Exit.
+
+Martha (enters from one side, AKOULINA enters from the other. To
+AKOULINA). I should have come before, but I was at my daughter's.
+Well, how's the old man? Is he dying?
+
+AKOULINA (puts down the clothes). Don't know; I've been to the river.
+
+Martha (pointing to MATRYONA). Who's that?
+
+MATRYONA. I'm from Zouevo. I'm Nikita's mother from Zouevo, my dearie.
+Good afternoon to you. He's withering, withering away, poor dear--your
+brother, I mean. He came out himself. "Send for my sister," he said,
+"because," said he.... Dear me, why, I do believe he's dead!
+
+ANISYA (runs out screaming. Clings to a post, and begins wailing).[4]
+Oh, oh, ah! who-o-o-o-m have you left me to, why-y-y have you
+dese-e-e-e-rted me--a miserable widow ... to live my life alone....
+Why have you closed your bright eyes....
+
+     [Enter NEIGHBOR. MATRYONA and NEIGHBOR catch hold of ANISYA under
+      the arms to support her. AKOULINA and MARTHA go into the hut. A
+      crowd assembles.
+
+A VOICE IN THE CROWD. Send for the old women to lay out the body.
+
+MATRYONA (rolls up her sleeves). Is there any water in the copper? But
+I daresay the samovar is still hot. I'll also go and help a bit.
+
+CURTAIN
+
+
+
+
+ACT III
+
+The same hut. Winter. Nine months have passed since Act II. ANISYA,
+plainly dressed, sits before a loom weaving. NAN is on the oven.
+
+MITRITCH (an old laborer, enters and slowly takes off his outdoor
+things). Oh Lord, have mercy! Well, hasn't the master come home yet?
+
+ANISYA. What?
+
+MITRITCH. Nikita isn't back from town, is he?
+
+ANISYA. No.
+
+MITRITCH. Must have been on the spree. Oh Lord!
+
+ANISYA. Have you finished in the stackyard?
+
+MITRITCH. What d'you think? Got it all as it should be, and covered
+everything with straw! I don't like doing things by halves! Oh Lord!
+holy Nicholas! (Picks at the corns on his hands.) But it's time he was
+back.
+
+ANISYA. What need has he to hurry? He's got money. Merry-making with
+that girl, I daresay....
+
+MITRITCH. Why shouldn't one make merry if one has the money? And why
+did Akoulina go to town?
+
+ANISYA. You'd better ask her. How do I know what the devil took her
+there!
+
+MITRITCH. What! to town? There's all sorts of things to be got in town
+if one's got the means. Oh Lord!
+
+NAN. Mother, I heard myself. "I'll get you a little shawl," he says,
+blest if he didn't; "you shall choose it yourself," he says. And she
+got herself up so fine; she put on her velveteen coat and the French
+shawl.
+
+ANISYA. Really, a girl's modesty reaches only to the door. Step over
+the threshold and it's forgotten. She is a shameless creature.
+
+MITRITCH. Oh my! What's the use of being ashamed? While there's plenty
+of money make merry. Oh Lord! It is too soon to have supper, eh?
+(ANISYA does not answer.) I'll go and get warm meanwhile. (Climbs on
+the stove.) Oh, Lord! Blessed Virgin Mother! Holy Nicholas!
+
+NEIGHBOR (enters). Seems your good man's not back yet?
+
+ANISYA. No.
+
+NEIGHBOR. It's time he was. Hasn't he perhaps stopped at our inn? My
+sister, Thekla, says there's heaps of sledges standing there as have
+come from the town.
+
+ANISYA. Nan! Nan, I say!
+
+NAN. Yes?
+
+ANISYA. You run to the inn and see! Mayhap, being drunk, he's gone
+there.
+
+NAN (jumps down from the oven and dresses). All right.
+
+NEIGHBOR. And he's taken Akoulina with him?
+
+ANISYA. Else he'd not have had any need of going. It's because of her
+he's unearthed all the business there. "Must go to the bank," he says;
+"it's time to receive the payments," he says. But it's all her
+fooling.
+
+NEIGHBOR (shakes her head). It's a bad look-out.
+
+     [Silence.
+
+NAN (at the door). And if he's there, what am I to say?
+
+ANISYA. You only see if he's there.
+
+NAN. All right. I'll be back in a winking.
+
+     [Long silence.
+
+MITRITCH (roars). Oh Lord! merciful Nicholas!
+
+NEIGHBOR (starting). Oh, how he scared me! Who is it?
+
+ANISYA. Why, Mitritch, our laborer.
+
+NEIGHBOR. Oh dear, oh dear, what a fright he did give me! I had quite
+forgotten. But tell me, dear, I've heard some one's been wooing
+Akoulina?
+
+ANISYA (gets up from the loom and sits down by the table). There was
+some one from Dedlovo; but it seems the affair's got wind there too.
+They made a start, and then stopped; so the thing fell through. Of
+course, who'd care to?
+
+NEIGHBOR. And the Lizounofs from Zouevo?
+
+ANISYA. They made some steps too, but it didn't come off either. They
+won't even see us.
+
+NEIGHBOR. Yet it's time she was married.
+
+ANISYA. Time and more than time! Ah, my dear, I'm that impatient to
+get her out of the house; but the matter does not come off. He does
+not wish it, nor she either. He's not yet had enough of his beauty,
+you see.
+
+NEIGHBOR. Eh, eh, eh, what doings! Only think of it. Why, he's her
+step-father!
+
+ANISYA. Ah, friend, they've taken me in completely. They've done me so
+fine it's beyond saying. I, fool that I was, noticed nothing,
+suspected nothing, and so I married him. I guessed nothing, but they
+already understood one another.
+
+NEIGHBOR. Oh dear, what goings on!
+
+ANISYA. So it went on from bad to worse, and I see they begin hiding
+from me. Ah, friend, I was that sick--that sick of my life! It's not
+as if I didn't love him.
+
+NEIGHBOR. That goes without saying.
+
+ANISYA. Ah, how hard it is to bear such treatment from him! Oh, how it
+hurts!
+
+NEIGHBOR. Yes, and I've heard say he's becoming too free with his
+fists?
+
+ANISYA. And that too! There was a time when he was gentle when he'd
+had a drop. He used to hit out before, but of me he was always fond!
+But now when he's in a temper he goes for me and is ready to trample
+me under his feet. The other day he got both my hands entangled in my
+hair so that I could hardly get away. And the girl's worse than a
+serpent; it's a wonder the earth bears such furies.
+
+NEIGHBOR. Ah, ah, my dear, now I look at you, you are a sufferer! To
+suffer like that is no joke. To have given shelter to a beggar, and he
+to lead you such a dance! Why don't you pull in the reins?
+
+ANISYA. Ah, but, my dear, if it weren't for my heart! Him as is gone
+was stern enough, still I could twist him about any way I liked; but
+with this one I can do nothing. As soon as I see him all my anger
+goes. I haven't a grain of courage before him; I go about like a
+drowned hen.
+
+NEIGHBOR. Ah, neighbor, you must be under a spell. I've heard that
+Matryona goes in for that sort of thing. It must be her.
+
+ANISYA. Yes, dear; I think so myself sometimes. Gracious me, how hurt
+I feel at times! I'd like to tear him to pieces. But when I set eyes
+on him, my heart won't go against him.
+
+NEIGHBOR. It's plain you're bewitched. It don't take long to blight a
+body. There now, when I look at you, what you have dwindled to!
+
+ANISYA. Growing a regular spindle-shanks. And just look at that fool
+Akoulina. Wasn't the girl a regular untidy slattern, and just look at
+her now! Where has it all come from? Yes, he has fitted her out. She's
+grown so smart, so puffed up, just like a bubble that's ready to
+burst. And, though she's a fool, she's got it into her head. "I'm the
+mistress," she says; "the house is mine; it's me father wanted him to
+marry." And she's that vicious! Lord help us, when she gets into a
+rage she's ready to tear the thatch off the house.
+
+NEIGHBOR. Oh dear, what a life yours is, now I come to look at you.
+And yet there's people envying you: "They're rich," they say; but it
+seems that gold don't keep tears from falling.
+
+ANISYA. Much reason for envy indeed! And the riches, too, will soon be
+made ducks and drakes of. Dear me, how he squanders money!
+
+NEIGHBOR. But how's it, dear, you've been so simple to give up the
+money? It's yours.
+
+ANISYA. Ah, if you knew all! The thing is that I've made one little
+mistake.
+
+NEIGHBOR. Well, if I were you, I'd go straight and have the law of
+him. The money's yours; how dare he squander it? There's no such
+rights.
+
+ANISYA. They don't pay heed to that nowadays.
+
+NEIGHBOR. Ah, my dear, now I come to look at you, you've got that
+weak. Anisya. Yes, quite weak, dear, quite weak. He's got me into a
+regular fix. I don't myself know anything. Oh, my poor head!
+
+NEIGHBOR (listening). There's some one coming, I think.
+
+     [The door opens and AKIM enters.
+
+AKIM (crosses himself, knocks the snow off his feet, and takes off his
+coat). Peace be to this house! How do you do? Are you well, daughter?
+
+ANISYA. How d'you do, father? Do you come straight from home?
+
+AKIM. I've been a-thinking I'll go and see what's name, go to see my
+son, I mean,--my son. I didn't start early--had my dinner, I mean; I
+went, and it's so what d'you call it--so snowy, hard walking, and so
+there I'm what d'you call it--late, I mean. And my son--is he at home?
+At home? My son, I mean.
+
+ANISYA. No; he's gone to the town.
+
+AKIM (sits down on a bench). I've some business with him, d'you see,
+some business, I mean. I told him t'other day, told him I was in need
+--told him, I mean, that our horse was done for, our horse, you see. So
+we must what d'ye call it, get a horse, I mean, some kind of a horse,
+I mean. So there, I've come, you see.
+
+ANISYA. Nikita told me. When he comes back you'll have a talk. (Goes
+to the oven.) Have some supper now, and he'll soon come. Mitritch, eh,
+Mitritch, come have your supper.
+
+MITRITCH. Oh Lord! merciful Nicholas!
+
+ANISYA. Come to supper.
+
+NEIGHBOR. I shall go now. Good-night.
+
+     [Exit.
+
+MITRITCH (gets down from the oven). I never noticed how I fell asleep.
+Oh, Lord! gracious Nicholas! How d'you do, Daddy Akim?
+
+AKIM. Ah, Mitritch! What are you, what d'ye call it, I mean?...
+
+MITRITCH. Why, I'm working for your son, Nikita.
+
+AKIM. Dear me! What d'ye call ... working for my son, I mean. Dear me!
+
+MITRITCH. I was living with a tradesman in town, but drank all I had
+there. Now I've come back to the village. I've no home, so I've gone
+into service. (Gapes.) Oh Lord!
+
+AKIM. But how's that, what d'you call it, or what's name, Nikita, what
+does he do? Has he some business, I mean besides, that he should hire
+a laborer, a laborer, I mean, hire a laborer?
+
+ANISYA. What business should he have? He used to manage, but now he's
+other things on his mind, so he's hired a laborer.
+
+MITRITCH. Why shouldn't he, seeing he has money?
+
+AKIM. Now that's what d'you call it, that's wrong, I mean, quite
+wrong, I mean. That's spoiling oneself.
+
+ANISYA. Oh, he has got spoilt, that spoilt, it's just awful.
+
+AKIM. There now, what d'you call it, one thinks how to make things
+better, and it gets worse I mean. Riches spoil a man, spoil, I mean.
+
+MITRITCH. Fatness makes even a dog go mad; how's one not to get spoilt
+by fat living? Myself now; how I went on with fat living. I drank for
+three weeks without being sober. I drank my last breeches. When I had
+nothing left, I gave it up. Now I've determined not to. Bother it!
+
+AKIM. And where's what d'you call, your old woman?
+
+MITRITCH. My old woman has found her right place, old fellow. She's
+hanging about the gin-shops in town. She's a swell too; one eye
+knocked out, and the other black, and her muzzle twisted to one side.
+And she's never sober; drat her!
+
+AKIM. Oh, oh, oh, how's that?
+
+MITRITCH. And where's a soldier's wife to go? She has found her right
+place.
+
+     [Silence.
+
+AKIM (to ANISYA). And Nikita,--has he what d'you call it, taken
+anything up to town? I mean, anything to sell?
+
+ANISYA (laying the table and serving up). No, he's taken nothing. He's
+gone to get money from the bank.
+
+AKIM (sitting down to supper). Why? D'you wish to put it to another
+use, the money I mean?
+
+ANISYA. No, we don't touch it. Only some twenty or thirty roubles as
+have come due; they must be taken.
+
+AKIM. Must be taken. Why take it, the money I mean? You'll take some
+to-day I mean, and some to-morrow; and so you'll what d'you call it,
+take it all, I mean.
+
+ANISYA. We get this besides. The money is all safe.
+
+AKIM. All safe? How's that, safe? You take it, and it what d'you call
+it, it's all safe. How's that? You put a heap of meal into a bin, or a
+barn, I mean, and go on taking meal, will it remain there, what d'you
+call it, all safe, I mean? That's, what d'you call it, it's cheating.
+You'd better find out, or else they'll cheat you. Safe indeed! I mean
+you what d'ye call ... you take it and it remains all safe there?
+
+ANISYA. I know nothing about it. Ivan Mosevitch advised us at the
+time. "Put the money in the bank," he said, "the money will be safe,
+and you'll get interest," he said.
+
+MITRITCH (having finished his supper). That's so. I've lived with a
+tradesman. They all do like that. Put the money in the bank, then lie
+down on the oven and it will keep coming in.
+
+AKIM. That's queer talk. How's that--what d'ye call, coming in, how's
+that coming in, and they, who do they get it from I mean, the money I
+mean?
+
+ANISYA. They take the money out of the bank.
+
+MITRITCH. Get along! Tain't a thing a woman can understand! You look
+here, I'll make it all clear to you. Mind and remember. You see,
+suppose you've got some money, and I, for instance, have spring coming
+on, my land's idle, I've got no seeds, or I have to pay taxes. So, you
+see, I go to you. "Akim," I say, "give us a ten-rouble note, and when
+I've harvested in autumn I'll return it, and till two acres for you
+besides, for having obliged me!" And you, seeing I've something to
+fall back on--a horse say, or a cow--you say, "No, give two or three
+roubles for the obligation," and there's an end of it. I'm stuck in
+the mud, and can't do without. So I say, "All right!" and take a
+tenner. In the autumn, when I've made my turnover, I bring it back,
+and you squeeze the extra three roubles out of me.
+
+AKIM. Yes, but that's what peasants do when they what d'ye call it,
+when they forget God. It's not honest, I mean, it's no good, I mean.
+
+MITRITCH. You wait. You'll see it comes just to the same thing. Now
+don't forget how you've skinned me. And Anisya, say, has got some
+money lying idle. She does not know what to do with it, besides, she's
+a woman, and does not know how to use it. She comes to you. "Couldn't
+you make some profit with my money too?" she says. "Why not?" say you,
+and you wait. Before the summer I come again and say, "Give me another
+tenner, and I'll be obliged." Then you find out if my hide isn't all
+gone, and if I can be skinned again you give me Anisya's money. But
+supposing I'm clean shorn,--have nothing to eat,--then you see I can't
+be fleeced any more, and you say, "Go your way, friend," and you look
+out for another, and lend him your own and Anisya's money and skin
+him. That's what the bank is. So it goes round and round. It's a cute
+thing, old fellow!
+
+AKIM (excitedly). Gracious me, whatever is that like? It's what d'ye
+call it, it's filthy! The peasants--what d'ye call it, the peasants do
+so I mean, and know it's, what d'ye call it, a sin! It's what d'you
+call, not right, not right, I mean. It's filthy! How can people as
+have learnt ... what d'ye call it....
+
+MITRITCH. That, old fellow, is just what they're fond off And
+remember, them that are stupid, or the women folk, as can't put their
+money into use themselves, they take it to the bank, and they there,
+deuce take 'em, clutch hold of it, and with this money they fleece the
+people. It's a cute thing!
+
+AKIM (sighing). Oh dear, I see, what d'ye call it, without money it's
+bad, and with money it's worse! How's that? God told us to work, but
+you, what d'you call ... I mean you put money into the bank and go to
+sleep, and the money will what d'ye call it, will feed you while you
+sleep. It's filthy, that's what I call it; it's not right.
+
+MITRITCH. Not right? Eh, old fellow, who cares about that nowadays? And
+how clean they pluck you, too! That's the fact of the matter.
+
+AKIM (sighs). Ah, yes, seems the time's what d'ye call it, the time's
+growing ripe. There, I've had a look at the closets in town. What
+they've come to! It's all polished and polished I mean, it's fine,
+it's what d'ye call it, it's like inside an inn. And what's it all
+for? What's the good of it? Oh, they've forgotten God. Forgotten, I
+mean. We've forgotten, forgotten God, God, I mean! Thank you, my dear,
+I've had enough. I'm quite satisfied.
+
+     [Rises. MITRITCH climbs on to the oven.
+
+ANISYA (eats, and collects the dishes). If his father would only take
+him to task! But I'm ashamed to tell him.
+
+AKIM. What d'you say?
+
+ANISYA. Oh! it's nothing.
+
+     [Enter NAN.
+
+AKIM. Here's a good girl, always busy! You're cold, I should think?
+
+NAN. Yes, I am, terribly. How d'you do, grandfather?
+
+ANISYA. Well? Is he there?
+
+NAN. No. But Andriyan is there. He's been to town, and he says he saw
+them at an inn in town. He says Dad's as drunk as drunk can be!
+
+ANISYA. Do you want anything to eat? Here you are.
+
+NAN (goes to the oven). Well, it is cold. My hands are quite numb.
+
+     [AKIM takes off his leg-bands and bast-shoes. ANISYA washes up.
+
+ANISYA. Father!
+
+AKIM. Well, what is it?
+
+ANISYA. And is Marina living well?
+
+AKIM. Yes, she's living all right. The little woman is what d'ye call
+it, clever and steady; she's living, and what d'ye call it, doing her
+best. She's all right; the little woman's of the right sort I mean;
+painstaking and what d'ye call it, submissive; the little woman's all
+right I mean, all right, you know.
+
+ANISYA. And is there no talk in your village that a relative of
+Marina's husband thinks of marrying our Akoulina? Have you heard
+nothing of it?
+
+AKIM. Ah; that's Mironof. Yes, the women did chatter something. But I
+didn't pay heed, you know. It don't interest me I mean, I don't know
+anything. Yes, the old women did say something, but I've a bad memory,
+bad memory, I mean. But the Mironofs are what d'ye call it, they're
+all right, I mean they're all right.
+
+ANISYA. I'm that impatient to get her settled.
+
+AKIM. And why?
+
+NAN (listens). They've come!
+
+ANISYA. Well, don't you go bothering them.
+
+     [Goes on washing the spoons without turning her head.
+
+NIKITA (enters). Anisya! Wife! who has come?
+
+     [ANISYA looks up and turns away in silence.
+
+NIKITA (severely). Who has come? Have you forgotten?
+
+ANISYA. Now don't humbug. Come in!
+
+NIKITA (still more severely). Who's come?
+
+ANISYA (goes up and takes him by the arm). Well, then, husband has
+come. Now then, come in!
+
+NIKITA (holds back). Ah, that's it! Husband! And what's husband
+called? Speak properly.
+
+ANISYA. Oh bother you! Nikita!
+
+NIKITA. Where have you learnt manners? The full name.
+
+ANISYA. Nikita Akimitch! Now then!
+
+NIKITA. (still in the doorway). Ah, that's it! But now--the surname?
+
+ANISYA (laughs and pulls him by the arm). Tchilikin. Dear me, what
+airs!
+
+NIKITA. Ah, that's it. (Holds on to the door-post.) No, now say with
+which foot Tchilikin steps into this house!
+
+ANISYA. That's enough! You're letting the cold in!
+
+NIKITA. Say with which foot he steps? You've got to say it,--that's
+flat.
+
+ANISYA (aside). He'll go on worrying. (To NIKITA.) Well then, with the
+left. Come in!
+
+NIKITA. Ah, that's it.
+
+ANISYA. You look who's in the hut!
+
+NIKITA. Ah, my parent! Well, what of that? I'm not ashamed of my
+parent. I can pay my respects to my parent. How d'you do, father?
+(Bows and puts out his hand.) My respects to you.
+
+AKIM (does not answer). Drink, I mean drink, what it does! It's
+filthy!
+
+NIKITA. Drink, what's that? I've been drinking? I'm to blame, that's
+flat! I've had a glass with a friend, drank his health.
+
+ANISYA. Go and lie down, I say.
+
+NIKITA. Wife, say where am I standing?
+
+ANISYA. Now then, it's all right, lie down!
+
+NIKITA. No, I'll first drink a samovar with my parent. Go and light
+the samovar. Akoulina, I say, come here!
+
+     [Enter AKOULINA, smartly dressed and carrying their purchases.
+
+AKOULINA. Why have you thrown everything about? Where's the yarn?
+
+NIKITA. The yarn? The yarn's there. Hullo, Mitritch, where are you?
+Asleep? Asleep? Go and put the horse up.
+
+AKIM (not seeing AKOULINA but looking at his son). Dear me, what is he
+doing? The old man's what d'ye call it, quite done up, I mean,--been
+thrashing,--and look at him, what d'ye call it, putting on airs! Put
+up the horse! Faugh, what filth!
+
+MITRITCH (climbs down from the oven, and puts on felt boots). Oh,
+merciful Lord! Is the horse in the yard? Done it to death, I dare say.
+Just see how he's been swilling, the deuce take him. Up to his very
+throat. Oh Lord, Holy Nicholas!
+
+     [Puts on sheepskin and exit.
+
+NIKITA (sits down). You must forgive me, father. It's true I've had a
+drop; well, what of that? Even a hen will drink. Ain't it true? So you
+must forgive me. Never mind Mitritch, he doesn't mind, he'll put it
+up.
+
+ANISYA. Shall I really light the samovar?
+
+NIKITA. Light it! My parent has come. I wish to talk to him, and shall
+drink tea with him. (To AKOULINA.) Have you brought all the parcels?
+
+AKOULINA. The parcels? I've brought mine, the rest's in the sledge.
+Hi, take this, this isn't mine!
+
+     [Throws a parcel on the table and puts the others into her box.
+      NAN watches her while she puts them away. AKIM does not look at
+      his son, but puts his leg-bands and bast-shoes on the oven.
+
+ANISYA (going out with the samovar). Her box is full as it is, and
+still he's bought more!
+
+NIKITA (pretending to be sober). You must not be cross with me,
+father. You think I'm drunk? I am all there, that's flat! As they say,
+"Drink, but keep your wits about you." I can talk with you at once,
+father. I can attend to any business. You told me about the money;
+your horse is worn-out,--I remember! That can all be managed. That's
+all in our hands. If it was an enormous sum that's wanted, then we
+might wait; but as it is I can do everything. That's the case.
+
+AKIM (goes on fidgeting with the leg-bands). Eh, lad, "It's ill
+sledging when the thaw has set in."
+
+NIKITA. What do you mean by that? "And it's ill talking with one who
+is drunk?" But don't you worry, let's have some tea. And I can do
+anything; that's flat! I can put everything to rights.
+
+AKIM (shakes his head). Eh, eh, eh!
+
+NIKITA. The money, here it is. (Puts his hand in his pocket, pulls out
+pocket-book, handles the notes in it and takes out a ten-rouble
+note.) Take this to get a horse; I can't forget my parent. I shan't
+forsake him, that's flat. Because he's my parent! Here you are, take
+it! Really now, I don't grudge it. (Comes up and pushes the note
+towards AKIM, who won't take it. NIKITA catches hold of his father's
+hand.) Take it, I tell you. I don't grudge it.
+
+AKIM. I can't what d'you call it, I mean, can't take it! And can't
+what d'ye call it, talk to you, because you're not yourself, I mean.
+
+NIKITA. I'll not let you go! Take it!
+
+     [Puts the money into AKIM'S hand.
+
+ANISYA (enters, and stops). You'd better take it, he'll give you no
+peace!
+
+AKIM (takes it, and shakes his head). Oh! that liquor. Not like a man,
+I mean!
+
+NIKITA. That's better! If you repay it you'll repay it, if not I'll
+make no bother. That's what I am! (Sees AKOULINA.) Akoulina, show your
+presents.
+
+AKOULINA. What?
+
+NIKITA. Show your presents.
+
+AKOULINA. The presents, what's the use of showing 'em? I've put 'em
+away.
+
+NIKITA. Get them, I tell you. Nan will like to see 'em. Undo the
+shawl. Give it here.
+
+AKIM. Oh, oh! It's sickening!
+
+     [Climbs on the oven.
+
+AKOULINA (gets out the parcels and puts them on the table). Well,
+there you are,--what's the good of looking at 'em?
+
+NAN. Oh how lovely! It's as good as Stepanida's.
+
+AKOULINA. Stepanida's? What's Stepanida's compared to this?
+(Brightening up and undoing the parcels.) Just look here,--see the
+quality! It's a French one.
+
+NAN. The print is fine! Mary has a dress like it, only lighter on a
+blue ground. This is pretty.
+
+NIKITA. Ah, that's it!
+
+     [ANISYA passes angrily into the closet, returns with a tablecloth
+      and the chimney of the Samovar, and goes up to the table.
+
+ANISYA. Drat you, littering the table!
+
+NIKITA. You look here!
+
+ANISYA. What am I to look at? Have I never seen anything? Put it away!
+
+     [Sweeps the shawl on to the floor with her arm.
+
+AKOULINA. What are you pitching things down for? You pitch your own
+things about!
+
+     [Picks up the shawl.
+
+NIKITA. Anisya! Look here!
+
+ANISYA. Why am I to look?
+
+NIKITA. You think I have forgotten you? Look here! (Shows her a parcel
+and sits down on it.) It's a present for you. Only you must earn it!
+Wife, where am I sitting?
+
+ANISYA. Enough of your humbug. I'm not afraid of you. Whose money are
+you spreeing on and buying your fat wench presents with? Mine!
+
+AKOULINA. Yours indeed? No fear! You wished to steal it, but it did
+not come off! Get out of the way!
+
+     [Pushes her while trying to pass.
+
+ANISYA. What are you shoving for? I'll teach you to shove!
+
+AKOULINA. Shove me? You try!
+
+     [Presses against ANISYA.
+
+NIKITA. Now then, now then, you women. Have done now!
+
+     [Steps between them.
+
+AKOULINA. Comes shoving herself in! You ought to keep quiet and
+remember your doings! You think no one knows!
+
+ANISYA. Knows what? Out with it, out with it! What do they know?
+
+AKOULINA. I know something about you!
+
+ANISYA. You're a slut who goes with another's husband!
+
+AKOULINA. And you did yours to death!
+
+ANISYA (throwing herself on AKOULINA). You're raving!
+
+NIKITA (holding her back). Anisya, you seem to have forgotten!
+
+ANISYA. Want to frighten me! I'm not afraid of you!
+
+NIKITA (turns ANISYA round and pushes her out). Be off!
+
+ANISYA. Where am I to go? I'll not go out of my own house!
+
+NIKITA. Be off, I tell you, and don't dare to come in here!
+
+ANISYA. I won't go! (NIKITA pushes her, ANISYA cries and screams and
+clings to the door.) What! am I to be turned out of my own house by
+the scruff of the neck? What are you doing, you scoundrel? Do you
+think there's no law for you? You wait a bit!
+
+NIKITA. Now then!
+
+ANISYA. I'll go to the Elder! To the policeman!
+
+NIKITA. Off, I tell you!
+
+     [Pushes her out.
+
+ANISYA (behind the door). I'll hang myself!
+
+NIKITA. No fear!
+
+NAN. Oh, oh, oh! Mother, dear, darling!
+
+     [Cries.
+
+NIKITA. Me frightened of her! A likely thing! What are you crying for?
+She'll come back, no fear. Go and see to the samovar.
+
+     [Exit NAN.
+
+AKOULINA (collects and folds her presents). The mean wretch, how she's
+messed it up. But wait a bit, I'll cut up her jacket for her! Sure I
+will!
+
+NIKITA. I've turned her out; what more do you want?
+
+AKOULINA. She's dirtied my new shawl. If that bitch hadn't gone away,
+I'd have torn her eyes out!
+
+NIKITA. That's enough. Why should you be angry? Now if I loved her....
+
+AKOULINA. Loved her? She's worth loving, with her fat mug! If you'd
+have given her up, then nothing would have happened. You should have
+sent her to the devil. And the house was mine all the same, and the
+money was mine! Says she is the mistress, but what sort of mistress is
+she to her husband? She's a murderess, that's what she is! She'll
+serve you the same way!
+
+NIKITA. Oh dear, how's one to stop a woman's jaw? You don't yourself
+know what you're jabbering about!
+
+AKOULINA. Yes, I do. I'll not live with her! I'll turn her out of the
+house! She can't live here with me. The mistress indeed! She's not the
+mistress,--that jailbird!
+
+NIKITA. That's enough! What have you to do with her? Don't mind her.
+You look at me! I am the master! I do as I like. I've ceased to love
+her, and now I love you. I love who I like! The power is mine, she's
+under me. That's where I keep her. (Points to his feet.) A pity we've
+no concertina.
+
+     [Sings.
+
+"We have loaves on the stoves, We have porridge on the shelf. So we'll
+live and be gay, Making merry every day, And when death comes, Then
+we'll die! We have loaves on the stoves, We have porridge on the
+shelf...."
+
+     [Enter MITRITCH. He takes off his outdoor things and climbs on
+      the oven.
+
+MITRITCH. Seems the women have been fighting again! Tearing each
+other's hair. Oh Lord, gracious Nicholas!
+
+AKIM. (sitting on the edge of the oven, takes his leg-bands and shoes
+and begins putting them on). Get in, get into the corner.
+
+MITRITCH. Seems they can't settle matters between them. Oh Lord!
+
+NIKITA. Get out the liquor, we'll have some with our tea.
+
+NAN (to AKOULINA). Sister, the samovar is just boiling over.
+
+NIKITA. And where's your mother?
+
+NAN. She's standing and crying out there in the passage.
+
+NIKITA. Oh, that's it! Call her, and tell her to bring the samovar.
+And you, Akoulina, get the tea things.
+
+AKOULINA. The tea things? All right.
+
+     [Brings the things.
+
+NIKITA (unpacks spirits, rusks, and salt herrings). That's for myself.
+This is yarn for the wife. The paraffin is out there in the passage,
+and here's the money. Wait a bit (takes a counting-frame); I'll add it
+up. (Adds.) Wheat-flour, 80 kopeykas, oil ... Father, 10 roubles ...
+Father, come let's have some tea!
+
+     [Silence. AKIM sits on the oven and winds the bands round his
+      legs. Enter ANISYA with samovar.
+
+ANISYA. Where shall I put it?
+
+NIKITA. Here on the table. Well! have you been to the Elder? Ah,
+that's it! Have your say and then eat your words. Now then, that's
+enough. Don't be cross; sit down and drink this. (Fills a wine-glass
+for her.) And here's your present.
+
+     [Gives her the parcel he had been sitting on. ANISYA takes it
+      silently and shakes her head.
+
+AKIM (gets down and puts on his sheepskin, then comes up to the table
+and puts down the money). Here, take your money back! Put it away.
+
+NIKITA (does not see the money). Why have you put on your things?
+
+AKIM. I'm going, going, I mean; forgive me, for the Lord's sake.
+
+     [Takes up his cap and belt.
+
+NIKITA. My gracious! Where are you going to at this time of night?
+
+AKIM. I can't, I mean what d'ye call 'em, in your house, what d'ye
+call 'em, can't stay I mean, stay, can't stay, forgive me.
+
+NIKITA. But are you going without having any tea?
+
+AKIM (fastens his belt). Going because, I mean, it's not right in your
+house, I mean, what d'you call it, not right, Nikita, in the house,
+what d'ye call it, not right! I mean, you are living a bad life,
+Nikita, bad,--I'll go.
+
+NIKITA. Eh, now! Have done talking! Sit down and drink your tea!
+
+ANISYA. Why, father, you'll shame us before the neighbors. What has
+offended you?
+
+AKIM. Nothing what d'ye call it, nothing has offended me, nothing at
+all! I mean only, I see, what d'you call it, I mean, I see my son, to
+ruin, I mean, to ruin, I mean my son's on the road to ruin, I mean.
+
+NIKITA. What ruin? Just prove it!
+
+AKIM. Ruin, ruin; you're in the midst of it! What did I tell you that
+time?
+
+NIKITA. You said all sorts of things! Akim. I told you, what d'ye call
+it, I told you about the orphan lass. That you had wronged an orphan--
+Marina, I mean, wronged her!
+
+NIKITA. Eh! he's at it again. Let bygones be bygones.... All that's
+past!
+
+AKIM (excited). Past! No, lad, it's not past. Sin, I mean, fastens on
+to sin--drags sin after it, and you've stuck fast, Nikita, fast in
+sin! Stuck fast in sin! I see you're fast in sin. Stuck fast, sunk in
+sin, I mean!
+
+NIKITA. Sit down and drink your tea, and have done with it!
+
+AKIM. I can't, I mean can't what d'ye call it, can't drink tea.
+Because of your filth, I mean; I feel what d'ye call it, I feel sick,
+very sick! I can't what d'ye call it, I can't drink tea with you.
+
+NIKITA. Eh! There he goes rambling! Come to the table.
+
+AKIM. You're in your riches same as in a net--you're in a net, I mean.
+Ah, Nikita, it's the soul that God needs!
+
+NIKITA. Now really, what right have you to reprove me in my own house?
+Why do you keep on at me? Am I a child that you can pull by the hair?
+Nowadays those things have been dropped!
+
+AKIM. That's true. I have heard that nowadays, what d'ye call it, that
+nowadays children pull their fathers' beards, I mean! But that's ruin,
+that's ruin, I mean!
+
+NIKITA (angrily). We are living without help from you, and it's you
+who came to us with your wants!
+
+AKIM. The money? There's your money! I'll go begging, begging I mean,
+before I'll take it, I mean.
+
+NIKITA. That's enough! Why be angry and upset the whole company!
+
+     [Holds him by the arm.
+
+AKIM (shrieks). Let go! I'll not stay. I'd rather sleep under some
+fence than in the midst of your filth! Faugh! God forgive me!
+
+     [Exit.
+
+NIKITA. Here's a go!
+
+AKIM (reopens the door). Come to your senses, Nikita! It's the soul
+that God wants!
+
+     [Exit.
+
+AKOULINA (takes cups). Well, shall I pour out the tea?
+
+     [Takes a cup. All are silent.
+
+MITRITCH (roars). Oh Lord be merciful to me a sinner!
+
+     [All start.
+
+NIKITA (lies down on the bench). Oh, it's dull, it's dull! (To
+AKOULINA.) Where's the concertina?
+
+AKOULINA. The concertina? He's bethought himself of it. Why, you took
+it to be mended. I've poured out your tea. Drink it!
+
+NIKITA. I don't want it! Put out the light.... Oh, how dull I feel,
+how dull!
+
+     [Sobs.
+
+CURTAIN
+
+
+
+
+ACT IV
+
+Autumn. Evening. The moon is shining. The stage represents the
+interior of courtyard. The scenery at the back shows, in the middle,
+the back porch of the hut. To the right the winter half of the hut and
+the gate; to the left the summer half and the cellar. To the right of
+the stage is a shed. The sound of tipsy voices and shouts are heard
+from the hut.[5] SECOND NEIGHBOR WOMAN comes out of the hut and
+beckons to FIRST NEIGHBOR WOMAN.
+
+SECOND NEIGHBOR. How's it Akoulina has not shown herself?
+
+FIRST NEIGHBOR. Why hasn't she shown herself? She'd have been glad to;
+but she's too ill, you know. The suitor's relatives have come, and
+want to see the girl; and she, my dear, she's lying in the cold hut
+and can't come out, poor thing!
+
+SECOND NEIGHBOR. But how's that?
+
+FIRST NEIGHBOR. They say she's been bewitched by an evil eye! She's
+got pains in the stomach!
+
+SECOND NEIGHBOR. You don't say so?
+
+FIRST NEIGHBOR. What else could it be?
+
+     [Whispers.
+
+SECOND NEIGHBOR. Dear me! There's a go! But his relatives will surely
+find it out?
+
+FIRST NEIGHBOR. They find it out! They're all drunk! Besides, they are
+chiefly after her dowry. Just think what they give with the girl! Two
+furs, my dear, six dresses, a French shawl, and I don't know how many
+pieces of linen, and money as well,--two hundred roubles, it's said!
+
+SECOND NEIGHBOR. That's all very well, but even money can't give much
+pleasure in the face of such a disgrace.
+
+FIRST NEIGHBOR. Hush!... There's his father, I think.
+
+     [They cease talking and go into the hut.
+
+     [The SUITOR'S FATHER comes out of the hut hiccoughing.
+
+THE FATHER. Oh, I'm all in a sweat. It's awfully hot! Will just cool
+myself a bit. (Stands puffing.) The Lord only knows what--something
+is not right. I can't feel happy.--Well, it's the old woman's affair.
+
+     [Enter MATRYONA from hut.
+
+MATRYONA. And I was just thinking, where's the father? Where's the
+father? And here you are, dear friend.... Well, dear friend, the Lord
+be thanked! Everything is as honorable as can be! When one's arranging
+a match one should not boast. And I have never learnt to boast. But as
+you've come about the right business, so with the Lord's help, you'll
+be grateful to me all your life! She's a wonderful girl! There's no
+other like her in all the district!
+
+THE FATHER. That's true enough, but how about the money?
+
+MATRYONA. Don't you trouble about the money! All she had from her
+father goes with her. And it's more than one gets easily, as things
+are nowadays. Three times fifty roubles!
+
+THE FATHER. We don't complain, but it's for our own child. Naturally
+we want to get the best we can.
+
+MATRYONA. I'll tell you straight, friend: if it hadn't been for me,
+you'd never have found anything like her! They've had an offer from
+the Karmilins, but I stood out against it. And as for the money, I'll
+tell you truly: when her father, God be merciful to his soul, was
+dying, he gave orders that the widow should take Nikita into the
+homestead--of course I know all about it from my son,--and the money
+was to go to Akoulina. Why, another one might have thought of his own
+interests, but Nikita gives everything clean! It's no trifle. Fancy
+what a sum it is!
+
+THE FATHER. People are saying that more money was left her? The lad's
+sharp too!
+
+MATRYONA. Oh, dear soul alive! A slice in another's hand always looks
+big; all she had will be handed over. I tell you, throw doubts to the
+wind and make all sure! What a girl she is! as fresh as a daisy!
+
+THE FATHER. That's so. But my old woman and I were only wondering
+about the girl; why has she not come out? We've been thinking, suppose
+she's sickly?
+
+MATRYONA. Ah, ah.... Who? She? Sickly? Why, there's none to compare
+with her in the district. The girl's as sound as a bell; you can't
+pinch her. But you saw her the other day! And as for work, she's
+wonderful! She's a bit deaf, that's true, but there are spots on the
+sun, you know. And her not coming out, you see, it's from an evil eye!
+A spell's been cast on her! And I know the bitch who's done the
+business! They know of the betrothal and they bewitched her. But I
+know a counter-spell. The girl will get up to-morrow. Don't you worry
+about the girl!
+
+THE FATHER. Well, of course, the thing's settled.
+
+MATRYONA. Yes, of course! Don't you turn back. And don't forget me,
+I've had a lot of trouble. Don't forget....
+
+     [A woman's voice from the hut.
+
+Voice. If we are to go, let's go. Come along, Ivan!
+
+THE FATHER. I'm coming.
+
+     [Exeunt. Guests crowd together in the passage and prepare to go
+      away.
+
+NAN (runs out of the hut and calls to ANISYA). Mother!
+
+ANISYA (from inside.) What d'you want?
+
+NAN. Mother, come here, or they'll hear.
+
+     [ANISYA enters and they go together to the shed.
+
+ANISYA. Well? What is it? Where's Akoulina?
+
+NAN She's gone into the barn. It's awful what's she's doing there! I'm
+blest! "I can't bear it," she says. "I'll scream," she says, "I'll
+scream out loud." Blest if she didn't.
+
+ANISYA. She'll have to wait. We'll see our visitors off first.
+
+NAN. Oh, mother! She's so bad! And she's angry too. "What's the good
+of their drinking my health?" she says. "I shan't marry," she says. "I
+shall die," she says. Mother, supposing she does die! It's awful. I'm
+so frightened!
+
+ANISYA. No fear, she'll not die. But don't you go near her. Come
+along.
+
+     [Exit ANISYA and NAN.
+
+MITRITCH (comes in at the gate and begins collecting the scattered
+hay). Oh, Lord! Merciful Nicholas! What a lot of liquor they've been
+and swilled, and the smell they've made! It smells even out here! But
+no, I don't want any, drat it! See how they've scattered the hay
+about. They don't eat it, but only trample it under foot. A truss gone
+before you know it. Oh, that smell, it seems to be just under my nose!
+Drat it! (Yawns.) It's time to go to sleep! But I don't care to go
+into the hut. It seems to float just round my nose! It has a strong
+scent, the damned stuff! (The guests are heard driving off.) They're
+off at last. Oh Lord! Merciful Nicholas! There they go, binding
+themselves and gulling one another. And it's all gammon!
+
+     [Enter NIKITA.
+
+NIKITA. Mitritch, you get off to sleep and I'll put this straight.
+
+MITRITCH. All right, you throw it to the sheep. Well, have you seen
+'em all off?
+
+NIKITA. Yes, they're off! But things are not right! I don't know what
+to do!
+
+MITRITCH. It's a fine mess. But there's the Foundlings'[6] for that
+sort of thing. Whoever likes may drop one there; they'll take 'em all.
+Give 'em as many as you like, they ask no questions, and even pay--if
+the mother goes in as a wet-nurse. It's easy enough nowadays.
+
+NIKITA. But mind, Mitritch, don't go blabbing.
+
+MITRITCH. It's no concern of mine. Cover the tracks as you think best.
+Dear me, how you smell of liquor! I'll go in. Oh, Lord!
+
+     [Exit, yawning.
+
+     [NIKITA is long silent. Sits down on a sledge.
+
+NIKITA. Here's a go!
+
+     [Enter ANISYA.
+
+ANISYA. Where are you?
+
+NIKITA. Here.
+
+ANISYA. What are you doing there? There's no time to be lost! We must
+take it out directly!
+
+NIKITA. What are we to do?
+
+ANISYA. I'll tell you what you are to do. And you'll have to do it!
+
+NIKITA. You'd better take it to the Foundlings'--if anything.
+
+ANISYA. Then you'd better take it there yourself if you like! You've a
+hankering for smut, but you're weak when it comes to settling up, I
+see!
+
+NIKITA. What's to be done?
+
+ANISYA. Go down into the cellar, I tell you, and dig a hole!
+
+NIKITA. Couldn't you manage, somehow, some other way?
+
+ANISYA (imitating him). "Some other way?" Seems we can't "some other
+way!" You should have thought about it a year ago. Do what you're told
+to! Nikita. Oh, dear, what a go!
+
+     [Enter NAN.
+
+NAN. Mother! Grandmother's calling! I think sister's got a baby! I'm
+blest if it didn't scream!
+
+ANISYA. What are you babbling about? Plague take you! It's kittens
+whining there. Go into the hut and sleep, or I'll give it you!
+
+NAN. Mammy dear, truly, I swear....
+
+ANISYA (raising her arm as if to strike). I'll give it you! You be off
+and don't let me catch sight of you! (Nan runs into hut. To Nikita.)
+Do as you're told, or else mind!
+
+     [Exit.
+
+NIKITA (alone. After a long silence). Here's a go! Oh, these women!
+What a fix! Says you should have thought of it a year ago. When's one
+to think beforehand? When's one to think? Why, last year this Anisya
+dangled after me. What was I to do? Am I a monk? The master died; and
+I covered my sin as was proper, so I was not to blame there. Aren't
+there lots of such cases? And then those powders. Did I put her up to
+that? Why, had I known what the bitch was up to, I'd have killed her!
+I'm sure I should have killed her! She's made me her partner in these
+horrors--that jade! And she became loathsome to me from that day! She
+became loathsome, loathsome to me as soon as mother told me about it.
+I can't bear the sight of her! Well, then, how could I live with her?
+And then it begun.... That wench began hanging round. Well, what was I
+to do! If I had not done it, some one else would. And this is what
+comes of it! Still I'm not to blame in this either. Oh, what a go!
+(Sits thinking.) They are bold, these women! What a plan to think of!
+But I won't have a hand in it!
+
+     [Enter MATRYONA with a lantern and spade, panting.
+
+MATRYONA. Why are you sitting there like a hen on a perch? What did
+your wife tell you to do? You just get things ready!
+
+NIKITA. What do you mean to do?
+
+MATRYONA. We know what to do. You do your share!
+
+NIKITA. You'll be getting me into a mess!
+
+MATRYONA. What? You're not thinking of backing out, are you? Now it's
+come to this, and you back out!
+
+NIKITA. Think what a thing it would be! It's a living soul.
+
+MATRYONA. A living soul indeed! Why, it's more dead than alive. And
+what's one to do with it? Go and take it to the Foundlings'--it will
+die just the same, and the rumor will get about, and people will talk,
+and the girl be left on our hands.
+
+NIKITA. And supposing it's found out?
+
+MATRYONA. Not manage to do it in one's own house? We'll manage it so
+that no one will have an inkling. Only do as I tell you. We women
+can't do it without a man. There, take the spade, and get it done
+there,--I'll hold the light.
+
+NIKITA. What am I to get done?
+
+MATRYONA (in a low voice). Dig a hole; then we'll bring it out and get
+it out of the way in a trice! There, she's calling again. Now then,
+get in, and I'll go.
+
+NIKITA. Is it dead then?
+
+MATRYONA. Of course it is. Only you must be quick, or else people will
+notice! They'll see or they'll hear! The rascals must needs know
+everything. And the policeman went by this evening. Well then, you see
+(gives him the spade), you get down into the cellar and dig a hole
+right in the corner; the earth is soft there, and you'll smooth it
+over. Mother earth will not blab to any one; she'll keep it close. Go
+then; go, dear.
+
+NIKITA. You'll get me into a mess, bother you! I'll go away! You do it
+alone as best you can!
+
+ANISYA (through the doorway). Well? Has he dug it?
+
+MATRYONA. Why have you come away? What have you done with it?
+
+ANISYA. I've covered it with rags. No one can hear it. Well, has he
+dug it?
+
+MATRYONA. He doesn't want to!
+
+ANISYA (springs out enraged). Doesn't want to! How will he like
+feeding vermin in prison! I'll go straight away and tell everything to
+the police! It's all the same if one must perish. I'll go straight and
+tell!
+
+NIKITA (taken aback). What will you tell?
+
+ANISYA. What? Everything! Who took the money? You! (NIKITA is silent.)
+And who gave the poison? I did! But you knew! You knew! You knew! We
+were in agreement!
+
+MATRYONA. That's enough now. Nikita dear, why are you obstinate?
+What's to be done now? One must take some trouble. Go, honey.
+
+ANISYA. See the fine gentleman! He doesn't like it! You've put upon me
+long enough! You've trampled me under foot! Now it's my turn! Go, I
+tell you, or else I'll do what I said.... There, take the spade;
+there, now go!
+
+NIKITA. Drat you! Can't you leave a fellow alone! (Takes the spade,
+but shrinks.) If I don't choose to, I'll not go!
+
+ANISYA. Not go? (Begins to shout.) Neighbors! Heh! heh!
+
+MATRYONA (closes her mouth). What are you about? You're mad! He'll
+go.... Go, sonny, go, my own.
+
+ANISYA. I'll cry murder!
+
+NIKITA. Now stop! Oh, what people! You'd better be quick.... As well
+be hung for a sheep as a lamb!
+
+     [Goes towards the cellar.
+
+MATRYONA. Yes, that's just it, honey. If you know how to amuse
+yourself, you must know how to hide the consequences.
+
+ANISYA (still excited). He's trampled on me ... he and his slut! But
+it's enough! I'm not going to be the only one! Let him also be a
+murderer! Then he'll know how it feels!
+
+MATRYONA. There, there! How she flares up! Don't you be cross, lass,
+but do things quietly little by little, as it's best. You go to the
+girl, and he'll do the work.
+
+     [Follows NIKITA to the cellar with a lantern. He descends into
+      the cellar.
+
+ANISYA. And I'll make him strangle his dirty brat! (Still excited.)
+I've worried myself to death all alone, with Peter's bones weighing on
+my mind! Let him feel it too! I'll not spare myself; I've said I'll
+not spare myself!
+
+NIKITA (from the cellar). Show a light!
+
+MATRYONA (holds up the lantern to him. To ANISYA). He's digging. Go
+and bring it.
+
+ANISYA. You stay with him, or he'll go away, the wretch! And I'll go
+and bring it.
+
+MATRYONA. Mind, don't forget to baptize it, or I will if you like.
+Have you a cross?
+
+ANISYA. I'll find one. I know how to do it.
+
+     [Exit.
+
+       *       *       *       *       *
+
+See at end of Act, VARIATION, which may be used instead of the
+following.
+
+       *       *       *       *       *
+
+MATRYONA. How the woman bristled up! But one must allow she's been put
+upon. Well, but with the Lord's help, when we've covered this
+business, there'll be an end of it. We'll shove the girl off without
+any trouble. My son will live in comfort. The house, thank God, is as
+full as an egg. They'll not forget me either. Where would they have
+been without Matryona? They'd not have known how to contrive things.
+(Peering into the cellar.) Is it ready, sonny? Nikita (puts out his
+head). What are you about there? Bring it quick! What are you dawdling
+for? If it is to be done, let it be done.
+
+MATRYONA (goes towards door of the hut and meets ANISYA. ANISYA comes
+out with a baby wrapped in rags). Well, have you baptized it?
+
+ANISYA. Why, of course. It was all I could do to take it away--she
+wouldn't give it up!
+
+     [Comes forward and hands it to NIKITA.
+
+NIKITA (does not take it). You bring it yourself!
+
+ANISYA. Take it, I tell you!
+
+     [Throws the baby to him.
+
+NIKITA (catches it). It's alive! Gracious me, it's moving! It's alive!
+What am I to....
+
+ANISYA (snatches the baby from him and throws it into the cellar). Be
+quick and smother it, and then it won't be alive! (Pushes NIKITA
+down.) It's your doing, and you must finish it.
+
+MATRYONA (sits on the doorstep of the hut). He's tender-hearted. It's
+hard on him, poor dear. Well, what of that? Isn't it also his sin?
+
+     [ANISYA stands by the cellar.
+
+MATRYONA (sits looking at her and discourses). Oh, oh, oh! How
+frightened he was: well, but what of that? If it is hard, it's the
+only thing to be done. Where was one to put it? And just think, how
+often it happens that people pray to God to have children! But no, God
+gives them none; or they are all still-born. Look at our priest's wife
+now.... And here, where it's not wanted, here it lives. (Looks towards
+the cellar.) I suppose he's finished. (To ANISYA.) Well?
+
+ANISYA (looking into the cellar). He's put a board on it and is
+sitting on it. It must be finished!
+
+MATRYONA. Oh, oh! One would be glad not to sin, but what's one to do?
+
+     [Re-enter NIKITA from cellar, trembling all over.
+
+NIKITA. It's still alive! I can't! It's alive!
+
+ANISYA. If it's alive, where are you off to?
+
+     [Tries to stop him.
+
+NIKITA (rushes at her). Go away! I'll kill you! (Catches hold of her
+arms; she escapes, he runs after her with the spade. MATRYONA runs
+towards him and stops him. ANISYA runs into the porch. MATRYONA tries
+to wrench the spade from him. To his mother.) I'll kill you! I'll kill
+you! Go away! (MATRYONA runs to ANISYA in the porch. NIKITA stops.)
+I'll kill you! I'll kill you all!
+
+MATRYONA. That's because he's so frightened! Never mind, it will pass!
+
+NIKITA. What have they made me do? What have they made me do? How it
+whimpered.... How it crunched under me! What have they done with
+me?... And it's really alive, still alive! (Listens in silence.) It's
+whimpering... There, it's whimpering.
+
+     [Runs to the cellar.
+
+MATRYONA (to ANISYA). He's going; it seems he means to bury it.
+Nikita, you'd better take the lantern!
+
+NIKITA (does not heed her, but listens by the cellar door). I can hear
+nothing! I suppose it was fancy! (Moves away, then stops.) How the
+little bones crunched under me. Krr ... kr.... What have they made me
+do? (Listens again.) Again whimpering! It's really whimpering! What
+can it be? Mother! Mother, I say!
+
+     [Goes up to her.
+
+MATRYONA. What is it, sonny?
+
+NIKITA. Mother, my own mother, I can't do any more! Can't do any more!
+My own mother, have some pity on me!
+
+MATRYONA. Oh dear, how frightened you are, my darling! Come, come,
+drink a drop to give you courage!
+
+NIKITA. Mother, mother! It seems my time has come! What have you done
+with me? How the little bones crunched, and how it whimpered! My own
+mother! What have you done with me?
+
+     [Steps aside and sits down on the sledge.
+
+MATRYONA. Come, my own, have a drink! It certainly does seem uncanny
+at night-time. But wait a bit. When the day breaks, you know, and one
+day and another passes, you'll forget even to think of it. Wait a bit;
+when the girl's married we'll even forget to think of it. But you go
+and have a drink; have a drink! I'll go and put things straight in the
+cellar myself.
+
+NIKITA (rouses himself). Is there any drink left? Perhaps I can drink
+it off!
+
+     [Exit.
+
+     [ANISYA, who has stood all the time by the door, silently makes
+      way for him.
+
+MATRYONA. Go, go, honey, and I'll set to work! I'll go down myself and
+dig! Where has he thrown the spade to? (Finds the spade, and goes down
+into the cellar.) Anisya, come here! Hold the light, will you?
+
+ANISYA. And what of him?
+
+MATRYONA. He's so frightened! You've been too hard with him. Leave him
+alone, he'll come to his senses. God help him! I'll set to work
+myself. Put the lantern down here. I can see.
+
+     [MATRYONA disappears into the cellar.
+
+ANISYA. (looking towards the door by which Nikita entered the hut).
+Well, have you had enough spree? You've been puffing yourself up, but
+now you'll know how it feels! You'll lose some of your bluster!
+
+NIKITA (rushes out of the hut towards the cellar). Mother! Mother, I
+say!
+
+MATRYONA (puts out her head). What is it, sonny?
+
+NIKITA (listening) Don't bury it, it's alive? Don't you hear? Alive!
+There--it's whimpering! There ... quite plain!
+
+MATRYONA. How can it whimper? Why, you've flattened it into a pancake!
+The whole head is smashed to bits!
+
+NIKITA. What is it then? (Stops his ears.) It's still whimpering! I am
+lost! Lost! What have they done with me?... Where shall I go?
+
+     [Sits down on the step.
+
+CURTAIN
+
+       *       *       *       *       *
+
+VARIATION
+
+Instead of the end of Act IV. (from the words, "ANISYA. I'll find one.
+I know how to do it. [Exit]") the following variation may be read, and
+is the one usually acted.
+
+       *       *       *       *       *
+
+SCENE II
+
+The interior of the hut as in Act I.
+
+NAN lies on the bench, and is covered with a coat. MITRITCH is sitting
+on the oven smoking.
+
+MITRITCH. Dear me! How they've made the place smell I Drat 'em!
+They've been spilling the fine stuff. Even tobacco don't get rid of
+the smell! It keeps tickling one's nose so. Oh Lord! But it's bedtime,
+I guess.
+
+     [Approaches the lamp to put it out.
+
+NAN (jumps up, and remains sitting up). Daddy dear,[7] don't put it
+out!
+
+MITRITCH. Not put it out? Why?
+
+NAN. Didn't you hear them making a row in the yard? (Listens.) D'you
+hear, there in the barn again now?
+
+MITRITCH. What's that to you? I guess no one's asked you to mind! Lie
+down and sleep! And I'll turn down the light.
+
+     [Turns down lamp.
+
+NAN. Daddy darling! Don't put it right out; leave a little bit if only
+as big as a mouse's eye, else it's so frightening!
+
+MITRITCH (laughs). All right, all right. (Sits down by her.) What's
+there to be afraid of?
+
+NAN. How can one help being frightened, daddy! Sister did go on so!
+She was beating her head against the box! (Whispers.) You know, I know
+... a little baby is going to be born.... It's already born, I
+think....
+
+MITRITCH. Eh, what a little busybody it is! May the frogs tick her!
+Must needs know everything. Lie down and sleep! (NAN lies down.)
+That's right! (Tucks her up.) That's right! There now, if you know too
+much you'll grow old too soon.
+
+NAN. And you are going to lie on the oven?
+
+Mitrich. Well, of course! What a little silly you are, now I come to
+look at you! Must needs know everything. (Tucks her up again, then
+stands up to go.) There now, lie still and sleep!
+
+     [Goes up to the oven.
+
+NAN. It gave just one cry, and now there's nothing to be heard.
+
+MITRITCH. Oh Lord! Gracious Nicholas! What is it you can't hear?
+
+NAN. The baby.
+
+MITRITCH. There is none, that's why you can't hear it.
+
+NAN. But I heard it! Blest if I didn't hear it! Such a thin voice!
+
+MITRITCH. Heard indeed! Much you heard! Well, if you know,--why then
+it was just such a little girl as you that the bogey popped into his
+bag and made off with.
+
+NAN. What bogey?
+
+MITRITCH. Why, just his very self! (Climbs up on to the oven.) The
+oven is beautifully warm to-night. Quite a treat! Oh Lord! Gracious
+Nicholas!
+
+NAN. Daddy! are you going to sleep?
+
+MITRITCH. What else? Do you think I'm going to sing songs?
+
+     [Silence.
+
+NAN. Daddy! Daddy, I say! They are digging! they're digging--don't
+you hear? Blest if they're not, they're digging!
+
+MITRITCH. What are you dreaming about? Digging! Digging in the night!
+Who's digging? The cow's rubbing herself, that's all. Digging indeed!
+Go to sleep I tell you, else I'll just put out the light!
+
+NAN. Daddy darling, don't put it out! I won't ... truly, truly, I
+won't. It's so frightful!
+
+MITRITCH. Frightful? Don't be afraid and then it won't be frightful.
+Look at her, she's afraid, and then says it's frightful. How can it
+help being frightful if you are afraid? Eh, what a stupid little girl!
+
+     [Silence. The cricket chirps.
+
+NAN (whispers). Daddy! I say, daddy! Are you asleep?
+
+MITRITCH. Now then, what d'you want?
+
+NAN. What's the bogey like?
+
+MITRITCH. Why, like this! When he finds such a one as you, who won't
+sleep, he comes with a sack and pops the girl into it, then in he gets
+himself, head and all, lifts her dress, and gives her a fine whipping!
+
+NAN. What with?
+
+MITRITCH. He takes a birch-broom with him.
+
+NAN. But he can't see there--inside the sack!
+
+MITRITCH. He'll see, no fear!
+
+NAN. But I'll bite him.
+
+MITRITCH. No, friend, him you can't bite!
+
+NAN. Daddy, there's some one coming! Who is it? Oh gracious goodness!
+Who can it be?
+
+MITRITCH. Well, if some one's coming, let them come! What's the matter
+with you? I suppose it's your mother!
+
+     [Enter ANISYA.
+
+ANISYA (NAN pretends to be asleep). Mitritch!
+
+MITRITCH. What?
+
+ANISYA. What's the lamp burning for? We are going to sleep in the
+summer-hut.
+
+MITRITCH. Why, you see I've only just got straight. I'll put the light
+out all right.
+
+ANISYA (rummages in her box and grumbles). When a thing's wanted one
+never can find it!
+
+MITRITCH. Why, what is it you are looking for?
+
+ANISYA. I'm looking for a cross. Suppose it were to die unbaptized! It
+would be a sin, you know!
+
+MITRITCH. Of course it would! Everything in due order.... Have you
+found it?
+
+ANISYA. Yes, I've found it.
+
+     [Exit.
+
+MITRITCH. That's right, else I'd have lent her mine. Oh Lord!
+
+NAN (jumps up trembling). Oh, oh, daddy! Don't go to sleep; for
+goodness' sake, don't! It's so frightful!
+
+MITRITCH. What's frightful?
+
+NAN. It will die--the little baby will! At Aunt Irene's the old woman
+also baptized the baby, and it died!
+
+MITRITCH. If it dies, they'll bury it!
+
+NAN. But maybe it wouldn't have died, only old Granny Matryona's
+there! Didn't I hear what granny was saying? I heard her! Blest if I
+didn't!
+
+MITRITCH. What did you hear? Go to sleep, I tell you. Cover yourself
+up, head and all, and let's have an end of it!
+
+NAN. If it lived, I'd nurse it!
+
+MITRITCH (roars). Oh Lord!
+
+NAN. Where will they put it?
+
+MITRITCH. In the right place! It's no business of yours! Go to sleep I
+tell you, else mother will come; she'll give it you!
+
+     [Silence.
+
+NAN. Daddy! Eh, daddy! That girl, you know, you were telling about
+--they didn't kill her?
+
+MITRITCH. That girl? Oh yes. That girl turned out all right!
+
+NAN. How was it? You were saying you found her?
+
+MITRITCH. Well, we just found her!
+
+NAN. But where did you find her? Do tell!
+
+MITRITCH. Why, in their own house; that's where! We came to a village,
+the soldiers began hunting about in the house, when suddenly there's
+that same little girl lying on the floor, flat on her stomach. We were
+going to give her a knock on the head, but all at once I felt that
+sorry, that I took her up in my arms; but no, she wouldn't let me!
+Made herself so heavy, quite a hundredweight, and caught hold where
+she could with her hands, so that one couldn't get them off! Well, so
+I began stroking her head. It was so bristly,--just like a hedgehog! So
+I stroked and stroked, and she quieted down at last. I soaked a bit of
+rusk and gave it her. She understood that, and began nibbling. What
+were we to do with her? We took her; took her, and began feeding and
+feeding her, and she got so used to us that we took her with us on the
+march, and so she went about with us. Ah, she was a fine girl!
+
+NAN. Yes, and not baptized?
+
+MITRITCH. Who can tell! They used to say, not altogether. 'Cos why,
+those people weren't our own.
+
+NAN. Germans?
+
+MITRITCH. What an idea! Germans! Not Germans, but Asiatics. They are
+just the same as Jews, but still not Jews. Polish, yet Asiatics. Curls
+... or, Curdlys is their name.... I've forgotten what it is![8] We
+called the girl Sashka. She was a fine girl, Sashka was! There now,
+I've forgotten everything I used to know! But that girl--the deuce
+take her--seems to be before my eyes now! Out of all my time of
+service, I remember how they flogged me, and I remember that girl.
+That's all I remember! She'd hang round one's neck, and one 'ud carry
+her so. That was a girl,--if you wanted a better you'd not find one!
+We gave her away afterwards. The captain's wife took her to bring up
+as her daughter. So--she was all right! How sorry the soldiers were to
+let her go!
+
+NAN. There now, daddy, and I remember when father was dying,--you
+were not living with us then. Well, he called Nikita and says,
+"Forgive me, Nikita!" he says, and begins to cry. (Sighs.) That also
+felt very sad!
+
+MITRITCH. Yes; there now, so it is....
+
+NAN. Daddy! Daddy, I say! There they are again, making a noise in the
+cellar! Oh gracious heavens! Oh dear! Oh dear! Oh, daddy! They'll do
+something to it! They'll make away with it, and it's so little! Oh,
+oh!
+
+     [Covers up her head and cries.
+
+MITRITCH (listening). Really they're up to some villainy, blow them to
+shivers! Oh, these women are vile creatures! One can't say much for
+men either; but women!... They are like wild beasts, and stick at
+nothing!
+
+NAN (rising). Daddy; I say, daddy!
+
+MITRITCH. Well, what now?
+
+NAN. The other day a traveller stayed the night; he said that when an
+infant died its soul goes up straight to heaven. Is that true?
+
+MITRITCH. Who can tell? I suppose so. Well?
+
+NAN. Oh, it would be best if I died too.
+
+     [Whimpers.
+
+MITRITCH. Then you'd be off the list!
+
+NAN. Up to ten one's an infant, and maybe one's soul would go to God.
+Else one's sure to go to the bad!
+
+MITRITCH. And how to the bad? How should the likes of you not go to
+the bad? Who teaches you? What do you see? What do you hear? Only
+vileness! I, though I've not been taught much, still know a thing or
+two. I'm not quite like a peasant woman. A peasant woman, what is she?
+Just mud! There are many millions of the likes of you in Russia, and
+all as blind as moles--knowing nothing! All sorts of spells: how to
+stop the cattle-plague with a plough, and how to cure children by
+putting them under the perches in the hen-house! That's what they
+know!
+
+NAN. Yes, mother also did that!
+
+MITRITCH. Yes,--there it is,--just so! So many millions of girls and
+women, and all like beasts in a forest! As she grows up, so she dies!
+Never sees anything; never hears anything. A peasant,--he may learn
+something at the pub, or maybe in prison, or in the army,--as I did.
+But a woman? Let alone about God, she doesn't even know rightly what
+Friday it is! Friday! Friday! But ask her what's Friday? She don't
+know! They're like blind puppies, creeping about and poking their
+noses into the dungheap.... All they know are their silly songs. Ho,
+ho, ho, ho! But what they mean by ho-ho, they don't know themselves!
+
+NAN. But I, daddy, I do know half the Lord's Prayer!
+
+MITRITCH. A lot you know! But what Can one expect of you? Who teaches
+you? Only a tipsy peasant--with the strap perhaps! That's all the
+teaching you get! I don't know who'll have to answer for you. For a
+recruit, the drill-sergeant or the corporal has to answer; but for the
+likes of you there's no one responsible! Just as the cattle that have
+no herdsman are the most mischievous, so with you women--you are the
+stupidest class! The most foolish class is yours!
+
+NAN. Then what's one to do?
+
+MITRITCH. That's what one has to do.... You just cover up your head
+and sleep! Oh Lord!
+
+     [Silence. The cricket chirps.
+
+NAN (jumps up). Daddy! Some one's screaming awfully! Blest if some one
+isn't screaming! Daddy darling, it's coming here!
+
+MITRITCH. Cover up your head, I tell you!
+
+     [Enter NIKITA, followed by MATRYONA.
+
+NIKITA. What have they done with me? What have they done with me?
+
+MATRYONA. Have a drop, honey; have a drop of drink! What's the matter?
+
+     [Fetches the spirits and sets the bottle before him.
+
+NIKITA. Give it here! Perhaps the drink will help me!
+
+MATRYONA. Mind! They're not asleep! Here you are, have a drop!
+
+NIKITA. What does it all mean? Why did you plan it? You might have
+taken it somewhere!
+
+MATRYONA (whispers). Sit still a bit and drink a little more, or have
+a smoke. It will ease your thoughts!
+
+NIKITA. My own mother! My turn seems to have come! How it began to
+whimper, and how the little bones crunched ... krr.... I'm not a man
+now!
+
+MATRYONA. Eh, now, what's the use of talking so silly! Of course it
+does seem fearsome at night, but wait till the daylight comes, and a
+day or two passes, and you'll forget to think of it!
+
+     [Goes up to NIKITA and puts her hand on his shoulder.
+
+NIKITA. Go away from me! What have you done with me?
+
+MATRYONA. Come, come, sonny! Now, really, what's the matter with you?
+
+     [Takes his hand.
+
+NIKITA. Go away from me! I'll kill you! It's all one to me now! I'll
+kill you!
+
+MATRYONA. Oh, oh, how frightened he's got! You should go and have a
+sleep now!
+
+NIKITA. I have nowhere to go; I'm lost!
+
+MATRYONA (shaking her head). Oh, oh, I'd better go and tidy things up.
+He'll sit and rest a bit, and it will pass!
+
+     [Exit.
+
+     [NIKITA sits with his face in his hands. MITRITCH and NAN seem
+stunned.
+
+NIKITA. It's whining! It's whining! It is really--there, there, quite
+plain! She'll bury it, really she will! (Runs to the door.) Mother,
+don't bury it, it's alive....
+
+     [Enter MATRYONA.
+
+MATRYONA (whispers). Now then, what is it? Heaven help you! Why won't
+you get to rest? How can it be alive? All its bones are crushed!
+
+NIKITA. Give me more drink.
+
+     [Drinks.
+
+MATRYONA. Now go, sonny. You'll fall asleep now all right.
+
+NIKITA (stands listening). Still alive ... there ... it's whining!
+Don't you hear?... There!
+
+MATRYONA (whispers). No! I tell you!
+
+NIKITA. Mother! My own mother! I've ruined my life! What have you done
+with me? Where am I to go?
+
+     [Runs out of the hut; MATRYONA follows him.
+
+NAN. Daddy dear, darling, they've smothered it!
+
+MITRITCH (angrily). Go to sleep, I tell you! Oh dear, may the frogs
+kick you! I'll give it to you with the broom! Go to sleep, I tell you!
+
+NAN. Daddy, my treasure! Something is catching hold of my shoulders,
+something is catching hold with its paws! Daddy dear ... really,
+really ... I must go! Daddy, darling! let me get up on the oven with
+you! Let me, for Heaven's sake! Catching hold ... catching hold! Oh!
+
+     [Runs to the stove.
+
+MITRITCH. See how they've frightened the girl.... What vile creatures
+they are! May the frogs kick them! Well then, climb up. Nan (climbs on
+oven). But don't you go away! Mitritch. Where should I go to? Climb
+up, climb up! Oh Lord! Gracious Nicholas! Holy Mother!... How they
+have frightened the girl. (Covers her up.) There's a little fool--
+really a little fool! How they've frightened her; really, they are
+vile creatures! The deuce take 'em!
+
+CURTAIN
+
+
+
+
+ACT V
+
+SCENE I
+
+In front of scene a stack-stand, to the left a thrashing ground, to
+the right a barn. The barn doors are open. Straw is strewn about in
+the doorway. The hut with yard and out-buildings is seen in the
+background, whence proceed sounds of singing and of a tambourine. Two
+GIRLS are walking past the barn towards the hut.
+
+FIRST GIRL. There, you see we've managed to pass without so much as
+getting our boots dirty! But to come by the street is terribly muddy!
+(Stop and wipe their boots on the straw. FIRST GIRL looks at the straw
+and sees something .) What's that?
+
+SECOND GIRL (looks where the straw lies and sees some one). It's
+MITRITCH, their laborer. Just look how drunk he is!
+
+FIRST GIRL. Why, I thought be didn't drink.
+
+SECOND GIRL. It seems he didn't, until it was going around. First
+Girl. Just see! He must have come to fetch some straw. Look! he's got
+a rope in his hand, and he's fallen asleep.
+
+SECOND GIRL (listening). They're still singing the praises.[9] So I
+s'pose the bride and bridegroom have not yet been blessed! They say
+Akoulina didn't even lament![10]
+
+FIRST GIRL. Mammie says she is marrying against her will. Her
+stepfather threatened her, or else she'd not have done it for the
+world! Why, you know what they've been saying about her?
+
+MARINA (catching up the GIRLS). How d'you you do, lassies?
+
+GIRLS. How d'you do?
+
+MARINA. Going to the wedding, my dears?
+
+FIRST GIRL. It's nearly over! We've come just to have a look.
+
+MARINA. Would you call my old man for me? Simon, from Zouevo; but
+surely you know him?
+
+FIRST GIRL. To be sure we do; he's a relative of the bridegroom's, I
+think?
+
+MARINA. Of course; he's my old man's nephew, the bridegroom is.
+
+SECOND GIRL. Why don't you go yourself? Fancy not going to a wedding!
+
+MARINA. I have no mind for it, and no time either. It's time for us to
+be going home. We didn't mean to come to the wedding. We were taking
+oats to town. We only stopped to feed the horse, and they made my old
+man go in.
+
+FIRST GIRL. Where did you put up then? At Fyodoritch's?
+
+MARINA. Yes. Well then, I'll stay here and you go and call him, my
+dear--my old man. Call him, my pet, and say "Your missis, Marina, says
+you must go now!" His mates are harnessing.
+
+FIRST GIRL. Well, all right--if you won't go in yourself.
+
+     [The GIRLS go away towards the house along a footpath. Sounds of
+      songs and tambourine.
+
+MARINA (alone, stands thinking). I might go in, but I don't like to,
+because I have not met him since that day he threw me over. It's more
+than a year now. But I'd have liked to have a peep and see how he
+lives with his Anisya. People say they don't get on. She's a coarse
+woman, and with a character of her own. I should think he's remembered
+me more than once. He's been caught by the idea of a comfortable life
+and has changed me for it. But, God help him, I don't cherish
+ill-will! Then it hurt! Oh dear, it was pain! But now it's worn away
+and been forgotten. But I'd like to have seen him. (Looks towards hut
+and sees NIKITA.) Look there! Why, he is coming here! Have the girls
+told him? How's it he has left his guests? I'll go away! (NIKITA
+approaches, hanging his head down, swinging his arms, and muttering.)
+And how sullen he looks!
+
+NIKITA (sees and recognises MARINA). Marina, dearest friend, little
+MARINA, what do you want?
+
+MARINA. I have come for my old man.
+
+NIKITA. Why didn't you come to the wedding? You might have had a look
+round, and a laugh at my expense!
+
+MARINA. What have I to laugh at? I've come for my husband.
+
+NIKITA. Ah, Marina dear!
+
+     [Tries to embrace her.
+
+MARINA (steps angrily aside). You'd better drop that sort of thing,
+Nikita! What has been is past! I've come for my husband. Is he in your
+house?
+
+NIKITA. So I must not remember the past? You won't let me?
+
+MARINA. It's no use recalling the past! What used to be is over now!
+
+NIKITA. And can never come back, you mean?
+
+MARINA. And will never come back! But why have you gone away? You, the
+master,--and to go away from the feast!
+
+NIKITA (sits down on the straw). Why have I gone away? Eh, if you
+knew, if you had any idea.... I'm dull, Marina, so dull that I wish my
+eyes would not see! I rose from the table and left them, to get away
+from the people. If I could only avoid seeing any one!
+
+MARINA (coming nearer to him). How's that?
+
+NIKITA. This is how it is: when I eat, it's there! When I drink, it's
+there! When I sleep, it's there! I'm so sick of it--so sick! But it's
+chiefly because I'm all alone that I'm so sick, Marina. I have no one
+to share my trouble.
+
+MARINA. You can't live your life without trouble, Nikita. However,
+I've wept over mine and wept it away.
+
+NIKITA. The former, the old trouble! Ah, dear friend, you've wept
+yours away, and I've got mine up to there!
+
+     [Puts his hand to his throat.
+
+MARINA. But why?
+
+NIKITA. Why, I'm sick of my whole life! I am sick of myself! Ah,
+MARINA, why did you not know how to keep me? You've ruined me, and
+yourself too! Is this life?
+
+MARINA (stands by the barn crying, but restrains herself). I do not
+complain of my life, Nikita! God grant every one a life like mine. I
+do not complain. I confessed to my old man at the time, and he forgave
+me. And he does not reproach me. I'm not discontented with my life.
+The old man is quiet, and is fond of me, and I keep his children
+clothed and washed! He is really kind to me. Why should I complain? It
+seems God willed it so. And what's the matter with your life? You are
+rich....
+
+NIKITA. My life!... It's only that I don't wish to disturb the wedding
+feast, or I'd take this rope here (takes hold of the rope on the
+straw) and throw it across that rafter there. Then I'd make a noose
+and stretch it out, and I'd climb on to that rafter and jump down with
+my head in the noose! That's what my life is!
+
+MARINA. That's enough! Lord help you!
+
+NIKITA. You think I'm joking? You think I'm drunk? I'm not drunk!
+To-day even drink takes no hold on me! I'm devoured by misery! Misery
+is eating me up completely, so that I care for nothing! Oh little
+Marina, it's only with you I ever lived! Do you remember how we used
+to while away the nights together at the railway?
+
+MARINA. Don't you rub the sores, Nikita! I'm bound legally now, and
+you too. My sin has been forgiven, don't disturb...
+
+NIKITA. What shall I do with my heart? Where am I to turn to?
+
+MARINA. What's there to be done? You've got a wife. Don't go looking
+at others, but keep to your own! You loved Anisya, then go on loving
+her!
+
+NIKITA. Oh, that Anisya, she's gall and wormwood to me, but she's
+round my feet like rank weeds!
+
+MARINA. Whatever she is, still she's your wife.... But what's the use
+of talking; you'd better go to your visitors, and send my husband to
+me.
+
+NIKITA. Oh dear, if you knew the whole business... but there's no good
+talking!
+
+     [Enter MARINA'S husband, red and tipsy, and NAN.
+
+MARINA'S HUSBAND. Marina! Missis! My old woman! are you here?
+
+NIKITA. There's your husband calling you. Go!
+
+MARINA. And you?
+
+NIKITA. I? I'll lie down here for a bit!
+
+     [Lies down on the straw.
+
+Husband. Where is she then?
+
+NAN. There she is, near the barn.
+
+HUSBAND. What are you standing there for? Come to the feast! The hosts
+want you to come and do them honor! The wedding party is just going to
+start, and then we can go too.
+
+MARINA (going towards her husband). I didn't want to go in.
+
+HUSBAND. Come on, I tell you! You'll drink a glass to our nephew
+Peter's health, the rascal! Else the hosts might take offense! There's
+plenty of time for our business.
+
+     [MARINA'S husband puts his arm around her, and goes reeling out
+      with her.
+
+NIKITA (rises and sits down on the straw). Ah, now that I've seen her,
+life seems more sickening than ever! It was only with her that I ever
+really lived! I've ruined my life for nothing! I've done for myself!
+(Lies down.) Where can I go? If mother earth would but open and
+swallow me!
+
+NAN (sees NIKITA, and runs towards him). Daddy, I say, daddy! They're
+looking for you! Her godfather and all of them have already blessed
+her. Truly they have, they're getting cross!
+
+NIKITA (aside). Where can I go to?
+
+NAN. What? What are you saying?
+
+NIKITA. I'm not saying anything! Don't bother!
+
+NAN. Daddy! Come, I say! (NIKITA is silent, NAN pulls him by the
+hand.) Dad, go and bless them! My word, they're angry, they're
+grumbling!
+
+NIKITA (drags away his hand). Leave me alone!
+
+NAN. Now then!
+
+NIKITA (threatens her with the rope). Go, I say! I'll give it you!
+
+NAN. Then I'll send mother!
+
+     [Runs away.
+
+NIKITA (rises). How can I go? How can I take the holy icon in my
+hands? How am I to look her in the face! (Lies down again.) Oh, if
+there were a hole in the ground, I'd jump in! No one should see me,
+and I should see no one! (Rises again.) No, I shan't go.... May they
+all go to the devil, I shan't go! (Takes the rope and makes a noose,
+and tries it on his neck.) That's the way!
+
+     [Enter MATRYONA. NIKITA sees his mother, takes the rope off his
+      neck, and again lies down in the straw.
+
+MATRYONA (comes in hurriedly). Nikita! Nikita, I say! He don't even
+answer! Nikita, what's the matter? Have you had a drop too much? Come,
+Nikita dear; come, honey! The people are tired of waiting.
+
+NIKITA. Oh dear, what have you done with me? I'm a lost man!
+
+MATRYONA. But what is the matter then? Come, my own; come, give them
+your blessing, as is proper and honorable, and then it'll all be over!
+Why, the people are waiting!
+
+NIKITA. How can I give blessings?
+
+MATRYONA. Why, in the usual way! Don't you know?
+
+NIKITA. I know, I know! But who is it I am to bless? What have I done
+to her?
+
+MATRYONA. What have you done? Eh, now he's going to remember it! Why,
+who knows anything about it? Not a soul! And the girl is going of her
+own accord.
+
+NIKITA. Yes, but how?
+
+MATRYONA. Because she's afraid, of course. But still she's going.
+Besides, what's to be done now? She should have thought sooner! Now
+she can't refuse. And his kinsfolks can't take offense either. They
+saw the girl twice, and get money with her too! It's all safe and
+sound!
+
+NIKITA. Yes, but what's in the cellar?
+
+MATRYONA (laughs). In the cellar? Why, cabbages, mushrooms, potatoes,
+I suppose! Why remember the past?
+
+NIKITA. I'd be only too glad to forget it; but I can't! When I let my
+mind go, it's just as if I heard.... Oh, what have you done with me?
+
+MATRYONA. Now, what are you humbugging for?
+
+NIKITA (turns face downward). Mother! Don't torment me! I've got it up
+to there!
+
+     [Puts his hand to his throat.
+
+MATRYONA. Still it has to be done! As it is, people are talking. "The
+master's gone away and won't come; he can't make up his mind to give
+his blessing." They'll be putting two and two together. As soon as
+they see you're frightened they'll begin guessing. "The thief none
+suspect who walks bold and erect!" But you'll be getting out of the
+frying-pan into the fire! Above all, lad, don't show it; don't lose
+courage, else they'll find out all the more!
+
+NIKITA. Oh dear! You have snared me into a trap!
+
+MATRYONA. That'll do, I tell you; come along! Come in and give your
+blessing, as is right and honorable;--and there's an end of the
+matter!
+
+NIKITA (lies face down). I can't!
+
+MATRYONA (aside). What has come over him? He seemed all right, and
+suddenly this comes over him! It seems he's bewitched! Get up, Nikita!
+See! There's Anisya coming; she's left her guests!
+
+     [ANISYA enters, dressed up, red and tipsy.
+
+ANISYA. Oh, how nice it is, mother! So nice, so respectable! And how
+the people are pleased.... But where is he?
+
+MATRYONA. Here, honey, he's here; he's laid down on the straw and
+there he lies! He won't come!
+
+NIKITA (looking at his wife). Just see, she's tipsy too! When I look
+at her my heart seems to turn! How can one live with her? (Turns on
+his face.) I'll kill her some day! It'll be worse then!
+
+ANISYA. Only look, how he's got all among the straw! Is it the drink?
+(Laughs.) I'd not mind lying down there with you, but I've no time!
+Come, I'll lead you! It is so nice in the house! It's a treat to look
+on! A concertina! And the women singing so well! All tipsy! Everything
+so respectable, so nice!
+
+NIKITA. What's nice?
+
+ANISYA. The wedding--such a jolly wedding! They all say it's quite an
+uncommon fine wedding. All so respectable, so nice! Come along! We'll
+go together! I have had a drop, but I can give you a hand yet!
+
+     [Takes his hand.
+
+NIKITA. (pulls it back with disgust). Go alone! I'll come!
+
+ANISYA. What, are you humbugging for? We've got rid of all the bother,
+we've got rid of her as came between us; now we have nothing to do but
+to live and be merry! And all so respectable, and quite legal! I'm so
+pleased! I have no words for it! It's just as if I were going to marry
+you over again! And oh, the people, they are pleased! They're all
+thanking us! And the guests are all of the best: Ivan Mosevitch is
+there, and the Police Officer; they've also been singing songs of
+praise!
+
+NIKITA. Then you should have stayed with them! What have you come for?
+
+ANISYA. True enough, I must go back! Else what does it look like! The
+hosts both go and leave the visitors! And the guests are all of the
+best!
+
+NIKITA (gets up and brushes the straw off himself). Go, and I'll come
+at once!
+
+MATRYONA. Just see! He listens to the young bird, but wouldn't listen
+to the old one! He would not hear me, but he follows his wife at once!
+(MATRYONA and ANISYA turn to go.) Well, are you coming?
+
+NIKITA. I'll come directly! You go and I'll follow! I'll come and give
+my blessing! (The women stop.) Go on! I'll follow! Now then, go! (Exit
+women. Sits down and takes his boots off.) Yes, I'm going! A likely
+thing! No, you'd better look at the rafter for me! I'll fix the noose
+and jump with it from the rafter, then you can look for me! And the
+rope is here just handy. (Ponders.) I'd have got over it, over any
+sorrow--I'd have got over that. But this now--here it is, deep in my
+heart, and I can't get over it! (Looks towards the yard.) Surely she's
+not coming back? (Imitates ANISYA.) "So nice, so nice. I'd lie down
+here with you." Oh, the baggage! Well, then, here I am! Come and
+cuddle when they've taken me down from the rafter! There's only one
+way!
+
+     [Takes the rope and pulls it.
+
+     [MITRITCH, who is tipsy, sits up and won't let go of the rope.
+
+MITRITCH. Shan't give it up! Shan't give it to no one! I'll bring it
+myself! I said I'd bring the straw--and so I will! Nikita, is that
+you? (Laughs.) Oh, the devil! Have you come to get the straw?
+
+NIKITA. Give me the rope!
+
+Mitrich. No, you wait a bit! The peasants sent me! I'll bring it....
+(Rises to his feet and begins getting the straw together, but reels
+for a time, then falls.) It has beaten me. It's stronger....
+
+NIKITA. Give me the rope!
+
+MITRITCH. Didn't I say I won't! Oh, Nikita, you're as stupid as a hog!
+(Laughs.) I love you, but you're a fool! You see that I'm drunk ...
+devil take you! You think I need you?... You just look at me; I'm a
+Non ... fool, can't say it--Non-commissioned Officer of Her Majesty's
+very First Regiment of Grenadier Guards! I've served Tsar and country,
+loyal and true! But who am I? You think I'm a warrior? No, I'm not a
+warrior; I'm the very least of men, a poor lost orphan! I swore not to
+drink, and now I had a smoke, and.... Well then, do you think I'm
+afraid of you? No fear; I'm afraid of no man! I've taken to drink, and
+I'll drink! Now I'll go it for a fortnight; I'll go it hard! I'll
+drink my last shirt; I'll drink my cap; I'll pawn my passport; and I'm
+afraid of no one! They flogged me in the army to stop me drinking!
+They switched and switched! "Well," they say, "will you leave off?"
+"No," says I! Why should I be afraid of them? Here I am! Such as I am,
+God made me! I swore off drinking, and didn't drink. Now I've took to
+drink, and I'll drink! And I fear no man! 'Cos I don't lie; but just
+as.... Why should one mind them--such muck as they are! "Here you
+are," I say; that's me. A priest told me, the devil's the biggest
+bragger! "As soon," says he, "as you begin to brag, you get
+frightened; and as soon as you fear men then the hoofed one just
+collars you and pushes you where he likes!" But as I don't fear men,
+I'm easy! I can spit in the devil's beard, and at the sow his mother!
+He can't do me no harm! There, put that in your pipe!
+
+NIKITA (crossing himself). True enough! What was I about?
+
+     [Throws down the rope.
+
+MITRITCH. What?
+
+NIKITA (rises). You tell me not to fear men?
+
+MITRITCH. Why fear such muck as they are? You look at 'em in the
+bath-house! All made of one paste! One has a bigger belly, another a
+smaller; that's all the difference there is! Fancy being afraid of
+'em! Deuce take 'em!
+
+MATRYONA (from the yard). Well, are you coming?
+
+NIKITA. Ah! Better so! I'm coming!
+
+     [Goes towards yard.
+
+
+SCENE II
+
+Interior of hut, full of people, some sitting round tables and others
+standing. In the front corner AKOULINA and the BRIDEGROOM. On one of
+the tables an Icon and a loaf of rye-bread. Among the visitors are
+MARINA, her husband, and a POLICE OFFICER, also a HIRED DRIVER, the
+MATCHMAKER, and the BEST MAN. The women are singing. ANISYA carries
+round the drink. The singing stops.
+
+THE DRIVER. If we are to go, let's go! The church ain't so near.
+
+THE BEST MAN. All right; you wait a bit till the step-father has given
+his blessing. But where is he?
+
+ANISYA. He is coming--coming at once, dear friends! Have another
+glass, all of you; don't refuse!
+
+THE MATCHMAKER. Why is he so long? We've been waiting such a time!
+
+ANISYA. He's coming; coming directly, coming in no time! He'll be here
+before one could plait a girl's hair who's had her hair cropped!
+Drink, friends! (Offers the drink.) Coming at once! Sing again, my
+pets, meanwhile!
+
+THE DRIVER. They've sung all their songs, waiting here!
+
+     [The women sing. NIKITA and AKIM enter during the singing.
+
+NIKITA (holds his father's arm and pushes him in before him). Go,
+father; I can't do without you!
+
+AKIM. I don't like--I mean what d'ye call it....
+
+NIKITA (to the women). Enough! Be quiet! (Looks round the hut.)
+Marina, are you there?
+
+THE MATCHMAKER. Go, take the icon, and give them your blessing!
+
+NIKITA. Wait a while! (Looks round.) Akoulina, are you there?
+
+MATCHMAKER. What are you calling everybody for? Where should she be?
+How queer he seems!
+
+ANISYA. Gracious goodness! Why, he's barefoot!
+
+NIKITA. Father, you are here! Look at me! Christian Commune, you are
+all here, and I am here! I am....
+
+     [Falls on his knees.
+
+ANISYA. Nikita, darling, what's the matter with you? Oh, my head, my
+head!
+
+MATCHMAKER. Here's a go!
+
+MATRYONA. I did say he was taking too much of that French wine! Come
+to your senses; what are you about?
+
+     [They try to lift him; he takes no heed of them, but looks in
+      front of him.
+
+NIKITA. Christian Commune! I have sinned, and I wish to confess!
+
+MATRYONA (shakes him by the shoulder). Are you mad? Dear friends, he's
+gone crazy! He must be taken away!
+
+NIKITA (shakes her off). Leave me alone! And you, father, hear me! And
+first, Marina, look here! (Bows to the ground to her and rises.) I
+have sinned towards you! I promised to marry you, I tempted you, and
+forsook you! Forgive me, in Christ's name!
+
+     [Again bows to the ground before her.
+
+ANISYA. And what are you drivelling about? It's not becoming! No one
+wants to know! Get up! It's like your impudence!
+
+MATRYONA. Oh, oh, he's bewitched! And however did it happen? It's a
+spell! Get up! what nonsense are you jabbering?
+
+     [Pulls him.
+
+NIKITA (shakes his head). Don't touch me! Forgive me my sin towards
+you, Marina! Forgive me, for Christ's sake!
+
+     [MARINA covers her face with her hands in silence.
+
+ANISYA. Get up, I tell you! Don't be so impudent! What are you
+thinking about--to recall it? Enough humbug! It's shameful! Oh my poor
+head! He's quite crazy!
+
+NIKITA (pushes his wife away and turns to AKOULINA). Akoulina, now
+I'll speak to you! Listen, Christian Commune! I'm a fiend, Akoulina! I
+have sinned against you! Your father died no natural death! He was
+poisoned!
+
+ANISYA (screams). Oh my head! What's he about?
+
+MATRYONA. The man's beside himself! Lead him away!
+
+     [The folk come up and try to seize him.
+
+AKIM (motions them back with his arms). Wait! You lads, what d'ye call
+it, wait, I mean!
+
+NIKITA. Akoulina, I poisoned him! Forgive me, in Christ's name!
+
+AKOULINA (jumps up). He's telling lies! I know who did it!
+
+MATCHMAKER. What are you about? You sit still!
+
+AKIM. Oh Lord, what sins, what sins!
+
+POLICE OFFICER. Seize him, and send for the Elder! We must draw up an
+indictment and have witnesses to it! Get up and come here!
+
+AKIM (to POLICE OFFICER). Now you--with the bright buttons--I mean,
+you wait! Let him, what d'ye call it, speak out, I mean!
+
+POLICE OFFICER. Mind, old man, and don't interfere! I have to draw up
+an indictment!
+
+AKIM. Eh, what a fellow you are; wait, I say! Don't talk, I mean,
+about, what d'ye call it, 'ditements' Here God's work is being
+done.... A man is confessing, I mean! And you, what d'ye call it ...
+'ditements!
+
+POLICE OFFICER. The Elder!
+
+AKIM. Let God's work be done, I mean, and then you. I mean you, do
+your business!
+
+NIKITA. And, Akoulina, my sin is great towards you; I seduced you;
+forgive me in Christ's name!
+
+     [Bows to the ground before her.
+
+AKOULINA (leaves the table). Let me go! I shan't be married! He told
+me to, but I shan't now!
+
+POLICE OFFICER. Repeat what you have said.
+
+NIKITA. Wait, sir, let me finish!
+
+AKIM (with rapture). Speak, my son! Tell everything--you'll feel
+better! Confess to God, don't fear men! God--God! It is He!
+
+NIKITA. I poisoned the father, dog that I am, and I ruined the
+daughter! She was in my power, and I ruined her, and her baby!
+
+AKOULINA. True, that's true!
+
+NIKITA. I smothered the baby in the cellar with a board! I sat on it
+and smothered it--and its bones crunched! (Weeps.) And I buried it! I
+did it, all alone!
+
+AKOULINA. He raves! I told him to!
+
+NIKITA. Don't shield me! I fear no one now! Forgive me, Christian
+Commune!
+
+     [Bows to the ground.
+
+     [Silence.
+
+POLICE OFFICER. Bind him! The marriage is evidently off!
+
+     [Men come up with their belts.
+
+NIKITA. Wait, there's plenty of time! (Bows to the ground before his
+father.) Father, dear father, forgive me too,--fiend that I am! You
+told me from the first, when I took to bad ways, you said then, "If a
+claw is caught, the bird is lost!" I would not listen to your words,
+dog that I was, and it has turned out as you said! Forgive me, for
+Christ's sake!
+
+AKIM (rapturously). God will forgive you, my own son! (Embraces him.)
+You have had no mercy on yourself; He will show mercy on you! God--
+God! It is He!
+
+     [Enter ELDER.
+
+ELDER. There are witnesses enough here.
+
+POLICE OFFICER. We will have the examination at once.
+
+     [NIKITA is bound.
+
+AKOULINA. (goes and stands by his side). I shall tell the truth! Ask
+me!
+
+NIKITA (bound). No need to ask! I did it all myself. The design was
+mine, and the deed was mine. Take me where you like. I will say no
+more!
+
+CURTAIN
+
+
+
+
+FOOTNOTES FOR THE POWER OF DARKNESS
+
+1.   It is customary to place a dying person under the icon. One or
+     more icons hang in the hut of each Orthodox peasant.
+
+2.   Peasant weddings are usually in autumn. They are forbidden in
+     Lent, and soon after Easter the peasants become too busy to marry
+     till harvest is over.
+
+3.   A formal request for forgiveness is customary among Russians, but
+     it is often no mere formality. Nikita's first reply is evasive;
+     his second reply, "God will forgive you," is the correct one
+     sanctioned by custom.
+
+4.   Loud public wailing of this kind is customary, and considered
+     indispensable, among the peasants.
+
+5.   Where not otherwise mentioned in the stage directions, it is
+     always the winter half of the hut that is referred to as "the
+     hut." The summer half is not heated, and not used in winter
+     under ordinary circumstances.
+
+6.   The Foundlings' Hospital in Moscow, where 80 to 90 percent of the
+     children die.
+
+7.   Nan calls Mitritch "daddy" merely as a term of endearment.
+
+8.   Probably Kurds
+
+9.   This refers to the songs customary at the wedding of Russian
+     peasants, praising the bride and bridegroom.
+
+10.  It is etiquette for a bride to bewail the approaching loss of her
+     maidenhood.
+
+END OF _THE POWER OF DARKNESS_
+
+*       *       *       *       *
+
+FRUITS OF CULTURE
+
+
+
+
+CHARACTERS
+
+LEONID FYODORITCH ZVEZDINTSEF. A retired Lieutenant of the Horse
+Guards. Owner of more than 60,000 acres of land in various provinces.
+A fresh-looking, bland, agreeable gentleman of 60. Believes in
+Spiritualism, and likes to astonish people with his wonderful stories.
+
+ANNA PAVLOVNA ZVEZDINTSEVA. Wife of Leonid. Stout; pretends to be
+young; quite taken up with the conventionalities of life; despises her
+husband, and blindly believes in her doctor. Very irritable.
+
+BETSY. Their daughter. A young woman of 20, fast, tries to be mannish,
+wears a pince-nez, flirts and giggles. Speaks very quickly and
+distinctly.
+
+VASILY LEONIDITCH ZVEZDINTSEF. Their son, aged 25; has studied law,
+but has no definite occupation. Member of the Cycling Club, Jockey
+Club, and of the Society for Promoting the Breeding of Hounds. Enjoys
+perfect health, and has imperturbable self-assurance. Speaks loud and
+abruptly. Is either perfectly serious--almost morose, or is noisily
+gay and laughs loud. Is nicknamed Vovo.
+
+ALEXEY VLADIMIROVITCH KROUGOSVETLOF. A professor and scientist of
+about 50, with quiet and pleasantly self-possessed manners, and quiet,
+deliberate, harmonious speech. Likes to talk. Is mildly disdainful of
+those who do not agree with him. Smokes much. Is lean and active.
+
+THE DOCTOR. About 40. Healthy, fat, red-faced, loud-voiced, and rough;
+with a self-satisfied smile constantly on his lips.
+
+MARYA KONSTANTINOVNA. A girl of 20, from the Conservatoire, teacher of
+music. Wears a fringe, and is super-fashionably dressed. Obsequious,
+and gets easily confused.
+
+PETRISTCHEF. About 28; has taken his degree in philology, and is
+looking out for a position. Member of the same clubs as Vasily
+Leoniditch, and also of the Society for the Organisation of Calico
+Balls. [1] Is bald-headed, quick in movement and speech, and very
+polite.
+
+THE BARONESS. A pompous lady of about 50, slow in her movements,
+speaks with monotonous intonation.
+
+THE PRINCESS. A society woman, a visitor.
+
+HER DAUGHTER. An affected young society woman, a visitor.
+
+THE COUNTESS. An ancient dame, with false hair and teeth. Moves with
+great difficulty.
+
+GROSSMAN. A dark, nervous, lively man of Jewish type. Speaks very
+loud.
+
+THE FAT LADY: MARYA VASILYEVNA TOLBOUHINA. A very distinguished, rich,
+and kindly woman, acquainted with all the notable people of the last
+and present generations. Very stout. Speaks hurriedly, trying to be
+heard above every one else. Smokes.
+
+BARON KLINGEN (nicknamed KOKO). A graduate of Petersburg University.
+Gentleman of the Bedchamber, Attache to an Embassy. Is perfectly
+correct in his deportment, and therefore enjoys peace of mind and is
+quietly gay.
+
+TWO SILENT LADIES.
+
+SERGEY IVANITCH SAHATOF. About 50, an ex-Assistant Minister of State.
+An elegant gentleman, of wide European culture, engaged in nothing and
+interested in everything. His carriage is dignified and at times even
+severe.
+
+THEODORE IVANITCH. Personal attendant on Zvezdintsef, aged about 60. A
+man of some education and fond of information. Uses his pince-nez and
+pocket-handkerchief too much, unfolding the latter very slowly. Takes
+an interest in politics. Is kindly and sensible.
+
+GREGORY. A footman, about 28, handsome, profligate, envious, and
+insolent.
+
+JACOB. Butler, about 40, a bustling, kindly man, to whom the interests
+of his family in the village are all-important.
+
+SIMON. The butler's assistant, about 20, a healthy, fresh, peasant
+lad, fair, beardless as yet; calm and smiling.
+
+THE COACHMAN. A man of about 35, a dandy. Has moustaches but no beard.
+Rude and decided.
+
+A DISCHARGED MAN-COOK. About 45, dishevelled, unshaved, bloated,
+yellow and trembling. Dressed in a ragged, light summer-overcoat and
+dirty trousers. Speaks hoarsely, ejecting the words abruptly.
+
+THE SERVANTS' COOK. A talkative, dissatisfied woman of 30.
+
+THE DOORKEEPER. A retired soldier.
+
+TANYA (TATYANA MARKOVNA). LADY's-maid, 19, energetic, strong, merry,
+with quickly-changing moods. At moments, when strongly excited, she
+shrieks with joy.
+
+FIRST PEASANT. About 60. Has served as village Elder. Imagines that he
+knows how to treat gentlefolk, and likes to hear himself talk.
+
+SECOND PEASANT. About 45, head of a family. A man of few words. Rough
+and truthful. The father of Simon.
+
+THIRD PEASANT. About 70. Wears shoes of plaited bast. Is nervous,
+restless, hurried, and tries to cover his confusion by much talking.
+
+FIRST FOOTMAN (in attendance on the Countess). An old man, with
+old-fashioned manners, and proud of his place.
+
+SECOND FOOTMAN. Of enormous size, strong, and rude.
+
+A PORTER FROM A FASHIONABLE DRESSMAKER'S SHOP. A fresh-faced man in
+dark-blue long coat. Speaks firmly, emphatically, and clearly.
+
+
+The action takes place in Moscow, in Zvesdintsef's house.
+
+
+
+
+ACT I
+
+The entrance hall of a wealthy house in Moscow. There are three doors:
+the front door, the door of LEONID FYODORITCH'S study, and the door of
+VASILY LEONIDITCH'S room. A staircase leads up to the other rooms;
+behind it is another door leading to the servants' quarters.
+
+
+SCENE I
+
+GREGORY (looks at himself in the glass and arranges his hair, etc.). I
+am sorry about those moustaches of mine! "Moustaches are not becoming
+to a footman," she says! And why? Why, so that any one might see
+you're a footman,--else my looks might put her darling son to shame.
+He's a likely one! There's not much fear of his coming anywhere near
+me, moustaches or no moustaches! (Smiling into the glass.) And what a
+lot of 'em swarm round me. And yet I don't care for any of them as
+much as for that Tanya. And she only a lady's-maid! Ah well, she's
+nicer than any young lady. (Smiles.) She's a duck! (Listening.) Ah,
+here she comes. (Smiles.) Yes, that's her, clattering with her little
+heels. Oh!
+
+     [Enter TANYA, carrying a cloak and boots.
+
+GREGORY. My respects to you, Tatyana Markovna.
+
+TANYA. What are you always looking in the glass for? Do you think
+yourself so good-looking?
+
+GREGORY. Well, and are my looks not agreeable?
+
+TANYA. So, so; neither agreeable nor disagreeable, but just betwixt
+and between! Why are all those cloaks hanging there?
+
+GREGORY. I am just going to put them away, your lady-ship! (Takes down
+a fur cloak and, wrapping it round her, embraces her.) I say, Tanya,
+I'll tell you something....
+
+TANYA. Oh, get away, do! What do you mean by it? (Pulls herself
+angrily away.) Leave me alone, I tell you!
+
+GREGORY (looks cautiously around). Then give me a kiss!
+
+TANYA. Now, really, what are you bothering for? I'll give you such a
+kiss!
+
+     [Raises her hand to strike.
+
+VASILY LEONIDITCH (off the scene, rings and then shouts). Gregory!
+
+TANYA. There now, go! Vasily Leoniditch is calling you.
+
+GREGORY. He'll wait! He's only just opened his eyes! I say, why don't
+you love me?
+
+TANYA. What sort of loving have you imagined now? I don't love
+anybody.
+
+GREGORY. That's a fib. You love Simon! You have found a nice one to
+love--a common, dirty-pawed peasant, a butler's assistant!
+
+TANYA. Never mind; such as he is, you are jealous of him!
+
+VASILY LEONIDITCH (off the scene). Gregory!
+
+GREGORY. All in good time.... Jealous indeed! Of what? Why, you have
+only just begun to get licked into shape, and who are you tying
+yourself up with? Now, wouldn't it be altogether a different matter if
+you loved me?.... I say, Tanya....
+
+TANYA (angrily and severely). You'll get nothing from me, I tell you!
+
+VASILY LEONIDITCH (off the scene). Gregory!
+
+GREGORY. You're mighty particular, ain't you?
+
+VASILY LEONIDITCH (off the scene, shouts persistently, monotonously,
+and with all his might) Gregory! Greg--ory! Gregory!
+
+     [TANYA and GREGORY laugh.
+
+GREGORY. You should have seen the girls that have been sweet on me.
+
+     [Bell rings.
+
+TANYA. Well then, go to them, and leave me alone!
+
+GREGORY. You are a silly, now I think of it. I'm not Simon!
+
+TANYA. Simon means marriage, and not tomfoolery!
+
+     [Enter PORTER, carrying a large cardboard box.
+
+PORTER. Good morning!
+
+GREGORY. Good morning! Where are you from?
+
+PORTER. From Bourdey's. I've brought a dress, and here's a note for
+the lady.
+
+TANYA (taking the note). Sit down, and I'll take it in.
+
+     [Exit.
+
+     [VASILY LEONIDITCH looks out of the door in shirt-sleeves and
+      slippers.
+
+VASILY LEONIDITCH. Gregory!
+
+GREGORY. Yes, sir.
+
+VASILY LEONIDITCH. Gregory! Don't you hear me call?
+
+GREGORY. I've only just come, sir.
+
+VASILY LEONIDITCH. Hot water, and a cup of tea.
+
+GREGORY. Yes, sir; Simon will bring them directly.
+
+VASILY LEONIDITCH. And who is this? Ah, from Bourdier?
+
+PORTER. Yes, sir.
+
+     [Exeunt VASILY LEONIDITCH and GREGORY. Bell rings. TANYA runs in
+      at the sound of the bell and opens the front door.
+
+TANYA (to PORTER). Please wait a little. Porter. I am waiting.
+
+     [SAHATOF enters at front door.
+
+TANYA. I beg your pardon, but the footman has just gone away. This
+way, sir. Allow me, please.
+
+     [Takes his fur cloak.
+
+SAHATOF (adjusting his clothes). Is Leonid Fyodoritch at home? Is he
+up?
+
+     [Bell rings.
+
+TANYA. Oh yes, sir. He's been up a long time.
+
+     [DOCTOR enters and looks around for the footman. Sees SAHATOF and
+      addresses him in an offhand manner.
+
+DOCTOR. Ah, my respects to you!
+
+SAHATOF (looks fixedly at him). The Doctor, I believe?
+
+DOCTOR. And I thought you were abroad! Dropped in to see Leonid
+Fyodoritch?
+
+SAHATOF. Yes. And you? Is any one ill?
+
+DOCTOR (laughing). Not exactly ill but, you know.... It's awful with
+these ladies! Sits up at cards till three every morning, and pulls her
+waist into the shape of a wine-glass. And the lady is flabby and fat,
+and carries the weight of a good many years on her back.
+
+SAHATOF. Is this the way you state your diagnosis to Anna Pavlovna? I
+should hardly think it quite pleases her!
+
+DOCTOR (laughing). Well, it's the truth. They do all these tricks--and
+then come derangements of the digestive organs, pressure on the liver,
+nerves, and all sorts of things, and one has to come and patch them
+up. It's just awful! (Laughs.) And you? You are also a spiritualist,
+it seems?
+
+SAHATOF. I? No, I am not also a spiritualist.... Good morning!
+
+     [Is about to go, but is stopped by the DOCTOR.
+
+DOCTOR. No! But I can't myself, you know, positively deny the
+possibility of it, when a man like Krougosvetlof is connected with it
+all. How can one? Is he not a professor,--a European celebrity? There
+must be something in it. I should like to see for myself, but I never
+have the time. I have other things to do.
+
+SAHATOF. Yes, yes! Good morning.
+
+     [Exit, bowing slightly.
+
+DOCTOR (to Tanya). Is Anna Pavlovna up?
+
+TANYA. She's in her bedroom, but please come up.
+
+     [DOCTOR goes upstairs.
+
+     [THEODORE IVANITCH enters with a newspaper In his hand.
+
+THEODORE IVANITCH (to PORTER). What is it you want?
+
+PORTER. I'm from Bourdey's. I brought a dress and a note, and was told
+to wait.
+
+THEODORE IVANITCH. Ah, from Bourdey's! (To Tanya.) Who came in just
+now?
+
+TANYA. It was Sergey Ivanitch Sahatof and the Doctor. They stood
+talking here a bit. It was all about spiritalism.
+
+THEODORE IVANITCH (correcting her). Spiritualism.
+
+TANYA. Yes, that's just what I said--spiritalism. Have you heard how
+well it went off last time, Theodore Ivanitch? (Laughs). There was
+knocks, and things flew about!
+
+THEODORE IVANITCH. And how do you know?
+
+TANYA. Miss Elizabeth told me.
+
+     [JACOB runs in with a tumbler of tea on a tray.
+
+JACOB (to the PORTER). Good morning!
+
+PORTER (disconsolately). Good morning!
+
+     [JACOB knocks at VASILY LEONIDITCH'S door.
+
+     [GREGORY enters.
+
+GREGORY. Give it here.
+
+JACOB. You didn't bring back all yesterday's tumblers, nor the tray
+Vasily Leoniditch had. And it's me that have to answer for them!
+
+GREGORY. The tray is full of cigars.
+
+JACOB. Well, put them somewhere else. It's me who's answerable for it.
+
+GREGORY. I'll bring it back! I'll bring it back!
+
+JACOB. Yes, so you say, but it is not where it ought to be. The other
+day, just as the tea had to be served, it was not to be found.
+
+GREGORY. I'll bring it back, I tell you. What a fuss!
+
+JACOB. It's easy for you to talk. Here am I serving tea for the third
+time, and now there's the lunch to get ready. One does nothing but
+rush about the livelong day. Is there any one in the house who has
+more to do than me? Yet they are never satisfied with me.
+
+GREGORY. Dear me! Who could wish for any one more satisfactory? You're
+such a fine fellow!
+
+TANYA. Nobody is good enough for you! You alone....
+
+GREGORY (to TANYA). No one asked your opinion!
+
+     [Exit.
+
+JACOB. Ah, well, I don't mind. Tatyana Markovna, did the mistress say
+anything about yesterday?
+
+TANYA. About the lamp, you mean?
+
+JACOB. And how it managed to drop out of my hands, the Lord only
+knows! Just as I began rubbing it, and was going to take hold of it in
+another place, out it slips and goes all to pieces. It's just my luck!
+It's easy for that Gregory Mihaylitch to talk--a single man like him!
+But when one has a family, one has to consider things: they have to be
+fed. I don't mind work.... So she didn't say anything? The Lord be
+thanked!... Oh, Theodore Ivanitch, have you one spoon or two?
+
+THEODORE IVANITCH. One. Only one!
+
+     [Reads newspaper.
+
+     [Exit JACOB.
+
+     [Bell rings. Enter GREGORY carrying a tray and the DOORKEEPER.
+
+DOORKEEPER (to GREGORY). Tell the master some peasants have come from
+the village.
+
+GREGORY (pointing to THEODORE IVANITCH). Tell the major-domo here,
+it's his business. I have no time.
+
+     [Exit.
+
+TANYA. Where are these peasants from?
+
+DOORKEEPER. From Koursk, I think.
+
+TANYA. (shrieks with delight). It's them.... It's Simon's father come
+about the land! I'll go and meet them!
+
+     [Runs off.
+
+DOORKEEPER. Well, then what shall I say to them? Shall they come in
+here? They say they've come about the land--the master knows, they
+say.
+
+THEODORE IVANITCH. Yes, they want to purchase some land. All right!
+But he has a visitor now, so you had better tell them to wait.
+
+DOORKEEPER. Where shall they wait?
+
+THEODORE IVANITCH. Let them wait outside. I'll send for them when the
+time comes.
+
+     [Exit DOORKEEPER.
+
+     [Enter TANYA, followed by three PEASANTS.
+
+TANYA. To the right. In here! In here!
+
+THEODORE IVANITCH. I did not want them brought in here!
+
+GREGORY. Forward minx!
+
+TANYA. Oh, Theodore Ivanitch, it won't matter, they'll stand in this
+corner.
+
+THEODORE IVANITCH. They'll dirty the floor.
+
+TANYA. They've scraped their shoes, and I'll wipe the floor up
+afterwards. (To PEASANTS.) Here, stand just here.
+
+     [PEASANTS come forward, carrying presents tied in cotton
+      handkerchiefs: cake, eggs and embroidered towels. They look
+      around for an icon before which to cross themselves; not finding
+      one, they cross themselves, looking at the staircase.
+
+GREGORY (to THEODORE IVANITCH). There now, Theodore Ivanitch, they say
+Pironnet's boots are an elegant shape. But those there are ever so
+much better.
+
+     [Pointing to the third PEASANT'S bast shoes.
+
+THEODORE IVANITCH. Why will you always be ridiculing people?
+
+     [Exit GREGORY.
+
+THEODORE IVANITCH (rises and goes up to the PEASANTS). So you are from
+Koursk? And have come to arrange about buying some land?
+
+FIRST PEASANT. Just so. We might say, it is for the completion of the
+purchase of the land we have come. How could we announce ourselves to
+the master?
+
+THEODORE IVANITCH. Yes, yes, I know. You wait a bit and I'll go and
+inform him.
+
+     [Exit.
+
+     [The PEASANTS look around; they are embarrassed where to put their
+      presents.
+
+FIRST PEASANT. There now, couldn't we have what d'you call it?
+Something to present these here things on? To do it in a genteel way,
+like,--a little dish or something.
+
+TANYA. All right, directly; put them down here for the present.
+
+     [Puts bundles on settle.
+
+FIRST PEASANT. There now,--that respectable gentleman that was here
+just now,--what might be his station?
+
+TANYA. He's the master's valet.
+
+FIRST PEASANT. I see. So he's also in service. And you, now, are you a
+servant too?
+
+TANYA. I am lady's-maid. Do you know, I also come from Demen! I know
+you, and you, but I don't know him.
+
+     [Pointing to THIRD PEASANT.
+
+THIRD PEASANT. Them two you know, but me you don't know?
+
+TANYA. You are Efim Antonitch.
+
+FIRST PEASANT. That's just it!
+
+TANYA. And you are Simon's father, Zachary Trifanitch.
+
+SECOND PEASANT. Right!
+
+THIRD PEASANT. And let me tell you, I'm Mitry Vlasitch Tchilikin. Now
+do you know?
+
+TANYA. Now I shall know you too!
+
+SECOND PEASANT. And who may you be?
+
+TANYA. I am Aksinya's, the soldier's wife's, orphan.
+
+FIRST AND THIRD PEASANTS (with surprise). Never!
+
+SECOND PEASANT. The proverb says true: "Buy a penny pig, put it in the
+rye, And you'll have a wonderful fat porker by-and-by."
+
+FIRST PEASANT. That's just it! She's got the resemblance of a duchess!
+
+THIRD PEASANT. That be so truly. Oh Lord!
+
+VASILY LEONIDITCH (off the scene, rings, and then shouts). Gregory!
+Gregory!
+
+FIRST PEASANT. Now who's that, for example, disturbing himself in such
+a way, if I may say so?
+
+TANYA. That's the young master.
+
+THIRD PEASANT. Oh Lord! Didn't I say we'd better wait outside until
+the time comes?
+
+     [Silence.
+
+SECOND PEASANT. Is it you, Simon wants to marry?
+
+TANYA. Why, has he been writing?
+
+     [Hides her face in her apron.
+
+SECOND PEASANT. It's evident he's written! But it's a bad business
+he's imagined here. I see the lad's got spoilt!
+
+TANYA (quickly). No, he's not at all spoilt! Shall I send him to you?
+
+SECOND PEASANT. Why send him? All in good time. Where's the hurry?
+
+VASILY LEONIDITCH (desperately, behind scene). Gregory! Where the
+devil are you?...
+
+     [Enters from his room in shirt-sleeves, adjusting his pince-nez.
+
+VASILY LEONIDITCH. Is every one dead?
+
+TANYA. He's not here, sir.... I'll send him to you at once.
+
+     [Moves towards the back door.
+
+VASILY LEONIDITCH. I could hear you talking, you know. How have these
+scarecrows sprung up here? Eh? What?
+
+TANYA. They're peasants from the Koursk village, sir.
+
+     [PEASANTS bow.
+
+VASILY LEONIDITCH. And who is this? Oh yes, from Bourdier.
+
+     [VASILY LEONIDITCH pays no attention to the PEASANTS' bow. TANYA
+      meets GREGORY at the doorway and remains on the scene.
+
+VASILY LEONIDITCH (to GREGORY). I told you the other boots.... I can't
+wear these!
+
+GREGORY. Well, the others are also there.
+
+VASILY LEONIDITCH. But where is there?
+
+GREGORY. Just in the same place!
+
+VASILY LEONIDITCH. They're not!
+
+GREGORY. Well, come and see.
+
+     [Exeunt GREGORY and VASILY LEONIDITCH.
+
+THIRD PEASANT. Say, now, might we not in the meantime just go and
+wait, say, in some lodging-house or somewhere?
+
+TANYA. No, no, wait a little. I'll go and bring you some plates to put
+the presents on.
+
+     [Exit.
+
+     [Enter SAHATOF and LEONID FYODORITCH, followed by THEODORE IVANITCH.
+
+     [The PEASANTS take up the presents, and pose themselves.
+
+LEONID FYODORITCH (to PEASANTS). Presently, presently! Wait a bit!
+(Points to PORTER.) Who is this?
+
+PORTER. From Bourdey's.
+
+LEONID FYODORITCH. Ah, from Bourdier.
+
+SAHATOF (smiling). Well, I don't deny it: still you understand that,
+never having seen it, we, the uninitiated, have some difficulty in
+believing.
+
+LEONID FYODORITCH. You say you find it difficult to believe! We do not
+ask for faith; all we demand of you is to investigate! How can I help
+believing in this ring? Yet this ring came from there!
+
+SAHATOF. From there? What do you mean? From where?
+
+LEONID FYODORITCH. From the other world. Yes!
+
+SAHATOF (smiling). That's very interesting--very interesting!
+
+LEONID FYODORITCH. Well, supposing we admit that I'm a man carried
+away by an idea, as you think, and that I am deluding myself. Well,
+but what of Alexey Vladimiritch Krougosvetlof--he is not just an
+ordinary man, but a distinguished professor, and yet he admits it to
+be a fact. And not he alone. What of Crookes? What of Wallace?
+
+SAHATOF. But I don't deny anything. I only say it is very interesting.
+It would be interesting to know how Krougosvetlof explains it!
+
+LEONID FYODORITCH. He has a theory of his own. Could you come
+to-night?--he is sure to be here. First we shall have Grossman--you
+know, the famous thought-reader?
+
+SAHATOF. Yes, I have heard of him but have never happened to meet him.
+
+LEONID FYODORITCH. Then you must come! We shall first have Grossman,
+then Kaptchitch, and our mediumistic seance.... (To THEODORE
+IVANITCH.) Has the man returned from Kaptchitch?
+
+THEODORE IVANITCH. Not yet, sir.
+
+SAHATOF. Then how am I to know?
+
+LEONID FYODORITCH. Never mind, come in any case! If Kaptchitch can't
+come we shall find our own medium. Marya Ignatievna is a medium--not
+such a good one as Kaptchitch, but still....
+
+     [TANYA enters with plates for the presents, and stands listening.
+
+SAHATOF (smiling). Oh, yes, yes. But here is one puzzling point:--how
+is it that the mediums are always of the, so-called, educated class,
+such as Kaptchitch and Marya Ignatievna? If there were such a special
+force, would it not be met with also among the common people--the
+peasants?
+
+LEONID FYODORITCH. Oh yes, and it is! That is very common. Even here
+in our own house we have a peasant whom we discovered to be a medium.
+A few days ago we called him in--a sofa had to be moved, during a
+seance--and we forgot all about him. In all probability he fell
+asleep. And, fancy, after our seance was over and Kaptchitch had come
+to again, we suddenly noticed mediumistic phenomena in another part of
+the room, near the peasant: the table gave a jerk and moved!
+
+TANYA (aside). That was when I was getting out from under it!
+
+LEONID FYODORITCH. It is quite evident he also is a medium. Especially
+as he is very like Home in appearance. You remember Home--a
+fair-haired naif sort of fellow?
+
+SAHATOF (shrugging his shoulders). Dear me, this is very interesting,
+you know. I think you should try him.
+
+LEONID FYODORITCH. So we will! And he is not alone; there are
+thousands of mediums, only we do not know them. Why, only a short time
+ago a bedridden old woman moved a brick wall!
+
+SAHATOF. Moved a brick ... a brick wall?
+
+LEONID FYODORITCH. Yes, yes. She was lying in bed, and did not even
+know she was a medium. She just leant her arm against the wall, and
+the wall moved!
+
+SAHATOF. And did not cave in?
+
+LEONID FYODORITCH. And did not cave in.
+
+SAHATOF. Very strange! Well, then, I'll come this evening.
+
+LEONID FYODORITCH. Pray, do. We shall have a seance in any case.
+
+     [SAHATOF puts on his outdoor things; LEONID FYODORITCH sees him
+      to the door.
+
+PORTER (to TANYA). Do tell your mistress! Am I to spend the night
+here?
+
+TANYA. Wait a little; she's going to drive out with the young lady, so
+she'll soon be coming downstairs.
+
+     [Exit.
+
+LEONID FYODORITCH (comes up to the PEASANTS, who bow and offer him
+their presents). That's not necessary!
+
+FIRST PEASANT (smiling). Oh, but this-here is our first duty, it is!
+It's also the Commune's orders that we should do it!
+
+SECOND PEASANT. That's always been the proper way.
+
+THIRD PEASANT. Say no more about it! 'Cause as we are much
+satisfied.... As our parents, let's say, served, let's say, your
+parents, so we would like the same with all our hearts ... and not
+just anyhow!
+
+     [Bows.
+
+LEONID FYODORITCH. But what is it about? What do you want?
+
+FIRST PEASANT. It's to your honor we've come....
+
+     [Enter PETRISTCHEF briskly, in fur-lined overcoat.
+
+PETRISTCHEF. Is Vasily Leoniditch awake yet?
+
+     [Seeing LEONID FYODORITCH, bows, moving only his head.
+
+LEONID FYODORITCH. You have come to see my son?
+
+PETRISTCHEF. I? Yes, just to see Vovo for a moment.
+
+LEONID FYODORITCH. Step in, step in.
+
+     [PETRISTCHEF takes off his overcoat and walks in briskly. Exit.
+
+LEONID FYODORITCH (to PEASANTS). Well, what is it you want?
+
+SECOND PEASANT. Please accept our presents!
+
+FIRST PEASANT (smiling). That's to say, the peasants' offerings.
+
+THIRD PEASANT. Say no more about it; what's the good? We wish you the
+same as if you were our own father! Say no more about it!
+
+LEONID FYODORITCH. All right. Here, Theodore, take these.
+
+THEODORE IVANITCH (to PEASANTS). Give them here.
+
+     [Takes the presents.
+
+LEONID FYODORITCH. Well, what is the business?
+
+FIRST PEASANT. We've come to your honor....
+
+LEONID FYODORITCH. I see you have; but what do you want?
+
+FIRST PEASANT. It's about making a move towards completing the sale of
+the land. It comes to this....
+
+LEONID FYODORITCH. Do you mean to buy the land?
+
+FIRST PEASANT. That's just it. It comes to this.... I mean the buying
+of the property of the land. The Commune has given us, let's say, the
+power of atturning, to enter, let's say, as is lawful, through the
+Government bank, with a stamp for the lawful amount.
+
+LEONID FYODORITCH. You mean that you want to buy the land through the
+land-bank.
+
+FIRST PEASANT. That's just it. Just as you offered it to us last year.
+It comes to this, then, the whole sum in full for the buying of the
+property of the land is 32,864 roubles.
+
+LEONID FYODORITCH. That's all right, but how about paying up?
+
+FIRST PEASANT. As to the payment, the Commune offers just as it was
+said last year--to pay in 'stalments, and your receipt of the ready
+money by lawful regulations, 4000 roubles in full. [2]
+
+SECOND PEASANT. Take 4000 now, and wait for the rest of the money.
+
+THIRD PEASANT (unwrapping a parcel of money). And about this be quite
+easy. We should pawn our own selves rather than do such a thing just
+anyhow say, but in this way, let's say, as it ought to be done.
+
+LEONID FYODORITCH. But did I not write and tell you that I should not
+agree to it unless you brought the whole sum?
+
+FIRST PEASANT. That's just it. It would be more agreeable, but it is
+not in our possibilities, I mean.
+
+LEONID FYODORITCH. Well then, the thing can't be done!
+
+FIRST PEASANT. The Commune, for example, relied its hopes on that,
+that you made the offer last year to sell it in easy 'stalments....
+
+LEONID FYODORITCH. That was last year. I would have agreed to it then,
+but now I can't.
+
+SECOND PEASANT. But how's that? We've been depending on your promise--
+we've got the papers ready and have collected the money!
+
+THIRD PEASANT. Be merciful, master! We're short of land; we'll say
+nothing about cattle, but even a hen, let's say, we've no room to
+keep. (Bows.) Don't wrong us, master!
+
+     [Bows.
+
+LEONID FYODORITCH. Of course it's quite true, that I agreed last year
+to let you have the land for payment by instalments, but now
+circumstances are such that it would be inconvenient.
+
+SECOND PEASANT. Without this land we cannot live!
+
+FIRST PEASANT. That's just it. Without land our lives must grow weaker
+and come to a decline.
+
+THIRD PEASANT (bowing). Master, we have so little land, let's not talk
+about the cattle, but even a chicken, let's say, we've no room for.
+Master, be merciful, accept the money, master!
+
+LEONID FYODORITCH (examining the document). I quite understand, and
+should like to help you. Wait a little; I will give you an answer in
+half-an-hour.... Theodore, say I am engaged and am not to be
+disturbed.
+
+THEODORE IVANITCH. Yes, sir.
+
+     [Exit LEONID FYODORITCH.
+
+     [The PEASANTS look dejected.
+
+SECOND PEASANT. Here's a go! "Give me the whole sum," he says. And
+where are we to get it from?
+
+FIRST PEASANT. If he had not given us hopes, for example. As it is we
+felt quite insured it would be as was said last year.
+
+THIRD PEASANT. Oh, Lord! and I had begun unwrapping the money. (Begins
+wrapping up the bundle of bank-notes again.) What are we to do now?
+
+THEODORE IVANITCH. What is your business, then?
+
+FIRST PEASANT. Our business, respected sir, depends in this. Last year
+he made us the offer of our buying the land in 'stalments. The Commune
+entered upon these terms and gave us the powers of atturning, and now
+d'you see he makes the offering that we should pay the whole in full!
+And as it turns out, the business is no ways convenient for us.
+
+THEODORE IVANITCH. What is the whole sum?
+
+FIRST PEASANT. The whole sum in readiness is 4000 roubles, you see.
+
+THEODORE IVANITCH. Well, what of that? Make an effort and collect
+more.
+
+FIRST PEASANT. Such as it is, it was collected with much effort. We
+have, so to say, in this sense, not got ammunition enough.
+
+SECOND PEASANT. You can't get blood out of a stone.
+
+THIRD PEASANT. We'd be glad with all our hearts, but we have swept
+even this together, as you might say, with a broom.
+
+     [VASILY LEONIDITCH and PETRISTCHEF appear in the doorway both
+      smoking cigarettes.
+
+VASILY LEONIDITCH. I have told you already I'll do my best, so, of
+course, I will do all that is possible! Eh, what?
+
+PETRISTCHEF. You must just understand that if you do not get it, the
+devil only knows what a mess we shall be in!
+
+VASILY LEONIDITCH. But I've already said I'll do my best, and so I
+will. Eh, what?
+
+PETRISTCHEF. Nothing. I only say, get some at any cost; I will wait.
+
+     [Exit into VASILY LEONIDITCH'S room, closing door.
+
+VASILY LEONIDITCH (waving his arm). It's a deuce of a go!
+
+     [The PEASANTS bow.
+
+VASILY LEONIDITCH (looking at PORTER, to THEODORE IVANITCH). Why don't
+you attend to this fellow from Bourdier? He hasn't come to take
+lodgings with us, has he? Just look, he is asleep! Eh, what?
+
+THEODORE IVANITCH. The note he brought has been sent in, and he has
+been told to wait until Anna Pavlovna comes down.
+
+VASILY LEONIDITCH (looks at PEASANTS and notices the money). And what
+is this? Money? For whom? Is it for us? (To THEODORE IVANITCH.) Who
+are they?
+
+THEODORE IVANITCH. They are peasants from Koursk. They are buying
+land.
+
+VASILY LEONIDITCH. Has it been sold them?
+
+THEODORE IVANITCH. No, they have not yet come to any agreement. They
+are too stingy?
+
+VASILY LEONIDITCH. Eh? Well, we must try and persuade them. (To the
+PEASANTS.) Here, I say, are you buying land? Eh?
+
+FIRST PEASANT. That's just it. We have made an offering as how we
+should like to acquire the possession of the land.
+
+VASILY LEONIDITCH. Then you should not be so stingy, you know. Just
+let me tell you how necessary land is to peasants! Eh, what? It's very
+necessary, isn't it?
+
+FIRST PEASANT. That's just it. The land appears as the very first and
+foremost necessity to a peasant. That's just it.
+
+VASILY LEONIDITCH. Then why be so stingy? Just you think what land is!
+Why, one can sow wheat on it in rows! I tell you, you could get eighty
+bushels of wheat, at a rouble and a half a bushel--that would be 120
+roubles. Eh, what? Or else mint! I tell you, you could collar 400
+roubles off an acre by sowing mint!
+
+FIRST PEASANT. That's just it. All sorts of products one could put
+into action if one had the right understanding.
+
+VASILY LEONIDITCH. Mint! Decidedly mint! I have learnt about it, you
+know. It's all printed in books. I can show them you. Eh, what?
+
+FIRST PEASANT. That's just it, all concerns are clearer to you through
+your books. That's learnedness, of course.
+
+VASILY LEONIDITCH. Then pay up and don't be stingy! (To THEODORE
+IVANITCH.) Where's papa?
+
+THEODORE IVANITCH. He gave orders not to be disturbed just now.
+
+VASILY LEONIDITCH. Oh, I suppose he's consulting a spirit whether to
+sell the land or not? Eh, what?
+
+THEODORE IVANITCH. I can't say. All I know is that be went away
+undecided about it.
+
+VASILY LEONIDITCH. What d'you think, Theodore Ivanitch, is he flush of
+cash? Eh, what?
+
+THEODORE IVANITCH. I don't know. I hardly think so. But what does it
+matter to you? You drew a good sum not more than a week ago.
+
+VASILY LEONIDITCH. But didn't I pay for those dogs? And now, you know,
+there's our new Society, and Petristchef has been chosen, and I had
+borrowed money from Petristchef and must pay the subscription both for
+him and for myself. Eh, what?
+
+THEODORE IVANITCH. And what is this new Society? A Cycling Club?
+
+VASILY LEONIDITCH. No. Just let me tell you. It is quite a new
+Society. It is a very serious Society, you know. And who do you think
+is President? Eh, what?
+
+THEODORE IVANITCH. What's the object of this new Society?
+
+VASILY LEONIDITCH. It is a "Society to Promote the Breeding of
+Pure-Bred Russian Hounds." Eh, what? And I'll tell you, they're
+having the first meeting and a lunch, to-day. And I've no money. I'll
+go to him and have a try!
+
+     [Exit through study door.
+
+FIRST PEASANT (to THEODORE IVANITCH). And who might he be, respected
+sir?
+
+THEODORE IVANITCH (smiles). The young master.
+
+THIRD PEASANT. The heir, so to say. Oh, Lord! (Puts away the money.)
+I'd better hide it meanwhile.
+
+FIRST PEASANT. And we were told he was in military service, in the
+cav'rely, for example.
+
+THEODORE IVANITCH. No, as an only son he is exempt from military
+service.
+
+THIRD PEASANT. Left for to keep his parents, so to say! That's right!
+
+SECOND PEASANT (shaking his head). He's the right sort. He'll feed
+them finely!
+
+THIRD PEASANT. Oh, Lord!
+
+     [Enter VASILY LEONIDITCH, followed by LEONID FYODORITCH.
+
+VASILY LEONIDITCH. That's always the way. It's really surprising!
+First I'm asked why I have no occupation, and now when I have found a
+field and am occupied, when a Society with serious and noble aims has
+been founded, I can't even have 300 roubles to go on with!...
+
+LEONID FYODORITCH. I tell you I can't do it, and I can't! I haven't
+got it.
+
+VASILY LEONIDITCH. Why, you have just sold some land.
+
+LEONID FYODORITCH. In the first place I have not sold it! And above
+all, do leave me in peace! Weren't you told I was engaged?
+
+     [Exit, slamming door.
+
+THEODORE IVANITCH. I told you this was not the right moment.
+
+VASILY LEONIDITCH. Well, I say! Here's a position to be in! I'll go
+and see mamma--that's my only hope. He's going crazy over his
+spiritualism and forgets everything else.
+
+     [Goes upstairs.
+
+     [THEODORE IVANITCH takes newspaper and is just going to sit down,
+      when BETSY and MARYA KONSTANTINOVNA, followed by GREGORY, come
+      down the stairs.
+
+BETSY. Is the carriage ready?
+
+GREGORY. Just coming to the door.
+
+BETSY (to MARYA KONSTANTINOVNA). Come along, come along, I know it is
+he.
+
+MARYA KONSTANTINOVNA. Which he?
+
+BETSY. You know very well whom I mean--Petristchef, of course.
+
+MARYA KONSTANTINOVNA. But where is he?
+
+BETSY. Sitting in Vovo's room. You'll see!
+
+MARYA KONSTANTINOVNA. And suppose it is not he?
+
+     [The PEASANTS and PORTER bow.
+
+BETSY (to PORTER). You brought a dress from Bourdier's?
+
+PORTER. Yes, Miss. May I go?
+
+BETSY. Well, I don't know. Ask my mother.
+
+PORTER. I don't know whose it is, Miss; I was ordered to bring it here
+and receive the money.
+
+BETSY. Well, then, wait.
+
+MARYA KONSTANTINOVNA. Is it still that costume for the charade?
+
+BETSY. Yes, a charming costume. But mamma won't take it or pay for it.
+
+MARYA KONSTANTINOVNA. But why not?
+
+BETSY. You'd better ask mamma. She doesn't grudge Vovo 500 roubles for
+his dogs, but 100 is too much for a dress. I can't act dressed like a
+scarecrow. (Pointing to PEASANTS.) And who are these?
+
+GREGORY. Peasants who have come to buy some land or other.
+
+BETSY. And I thought they were the beaters. Are you not beaters?
+
+FIRST PEASANT. No, no, lady. We have come to see Leonid Fyodoritch
+about the signing into our possession of the title-deeds to some land.
+
+BETSY. Then how is it? Vovo was expecting some beaters who were to
+come to-day. Are you sure you are not the beaters? (The PEASANTS are
+silent.) How stupid they are! (Goes to VASILY LEONIDITCH'S door.)
+Vovo?
+
+     [Laughs.
+
+MARYA KONSTANTINOVNA. But we met him just now upstairs!
+
+BETSY. Why need you remember that? Vovo, are you there?
+
+     [PETRISTCHEF enters.
+
+PETRISTCHEF. Vovo is not here, but I am prepared to fulfil on his
+behalf anything that may be required. How do you do? How do you do,
+Marya Konstantinovna?
+
+     [Shakes hands long and violently with BETSY, and then with MARYA
+      KONSTANTINOVNA.
+
+SECOND PEASANT. See, it's as if he were pumping water!
+
+BETSY. You can't replace him,--still you're better than nobody.
+(Laughs.) What are these affairs of yours with Vovo?
+
+PETRISTCHEF. What affairs? Our affairs are fie-nancial that is, our
+business is fie! It's also nancial, and besides it is financial.
+
+BETSY. What does nancial mean?
+
+PETRISTCHEF. What a question! It means nothing, that's just the point.
+
+BETSY. No, no, you have missed fire.
+
+     [Laughs.
+
+PETRISTCHEF. One can't always hit the mark, you know. It's something
+like a lottery. Blanks and blanks again, and at last you win!
+
+     [THEODORE IVANITCH goes into the study.
+
+BETSY. Well, this was blank then; but tell me, were you at the
+Mergasofs' last night?
+
+PETRISTCHEF. Not exactly at the Mere Gasof's, but rather at the Pere
+Gasof's, or better still, at the Fils Gasof's.
+
+BETSY. You can't do without puns. It's an illness. And were the
+Gypsies there? [3]
+
+     [Laughs.
+
+PETRISTCHEF (sings). "On their aprons silken threads, little birds
+with golden heads!"....
+
+BETSY. Happy mortals! And we were yawning at Fofo's.
+
+PETRISTCHEF (continues to sing). "And she promised and she swore, she
+would ope' her ... her ... her...." how does it go on, Marya
+Konstantinovna?
+
+MARYA KONSTANTINOVNA. "Closet door."
+
+PETRISTCHEF. How? What? How, Marya Konstantinovna?
+
+BETSY. Cessez, vous devenez impossible! [4]
+
+PETRISTCHEF. J'ai cesse, j'ai bebe, j'ai dede....[5]
+
+BETSY. I see the only way to rid ourselves of your wit is to make you
+sing! Let us go into Vovo's room, his guitar is there. Come, Marya
+Konstantinovna, come!
+
+     [Exeunt BETSY, MARYA KONSTANTINOVNA, and PETRISTCHEF.
+
+FIRST PEASANT. Who be they?
+
+GREGORY. One is our young lady, the other is a girl who teaches her
+music.
+
+FIRST PEASANT. Administrates learning, so to say. And ain't she smart?
+A reg'lar picture!
+
+SECOND PEASANT. Why don't they marry her? She is old enough, I should
+say.
+
+GREGORY. Do you think it's the same as among you peasants,--marry at
+fifteen?
+
+FIRST PEASANT. And that man, for example, is he also in the musitional
+line?
+
+GREGORY (mimicking him). "Musitional," indeed! You don't understand
+anything!
+
+FIRST PEASANT. That's just so. And stupidity, one might say, is our
+ignorance.
+
+THIRD PEASANT. Oh, Lord!
+
+     [Gypsy songs and guitar accompaniment are heard from VASILY
+      LEONIDITCH'S room.
+
+     [Enter SIMON, followed by TANYA, who watches the meeting between
+      father and son.
+
+GREGORY (to SIMON). What do you want?
+
+SIMON. I have been to Mr. Kaptchitch.
+
+GREGORY. Well, and what's the answer?
+
+SIMON. He sent word he couldn't possibly come to-night.
+
+GREGORY. All right, I'll let them know.
+
+     [Exit.
+
+SIMON (to his father). How d'you do, father! My respects to Daddy Efim
+and Daddy Mitry! How are all at home?
+
+SECOND PEASANT. Very well, Simon.
+
+FIRST PEASANT. How d'you do, lad?
+
+THIRD PEASANT. How d'you do, sonny?
+
+SIMON (smiles). Well, come along, father, and have some tea.
+
+SECOND PEASANT. Wait till we've finished our business. Don't you see
+we are not ready yet?
+
+SIMON. Well, I'll wait for you by the porch.
+
+     [Wishes to go away.
+
+TANYA (running after him). I say, why didn't you tell him anything?
+
+SIMON. How could I before all those people? Give me time, I'll tell
+him over our tea.
+
+     [Exit.
+
+     [THEODORE IVANITCH enters and sits down by the window.
+
+FIRST PEASANT. Respected sir, how's our business proceeding?
+
+THEODORE IVANITCH. Wait a bit, he'll be out presently, he's just
+finishing.
+
+TANYA (to THEODORE IVANITCH). And how do you know, Theodore Ivanitch,
+he is finishing?
+
+THEODORE IVANITCH. I know that when he has finished questioning, he
+reads the question and answer aloud.
+
+TANYA. Can one really talk with spirits by means of a saucer?
+
+THEODORE IVANITCH. It seems so.
+
+TANYA. But supposing they tell him to sign, will he sign?
+
+THEODORE IVANITCH. Of course he will.
+
+TANYA. But they do not speak with words?
+
+THEODORE IVANITCH. Oh, yes. By means of the alphabet. He notices at
+which letter the saucer stops.
+
+TANYA. Yes, but at a si-ance?....
+
+     [Enter LEONID FYODORITCH.
+
+LEONID FYODORITCH. Well, friends, I can't do it! I should be very glad
+to, but it is quite impossible. If it were for ready money it would be
+a different matter.
+
+FIRST PEASANT. That's just so. What more could any one desire? But the
+people are so inpennycuous--it is quite impossible!
+
+LEONID FYODORITCH. Well, I can't do it, I really can't. Here is your
+document; I can't sign it.
+
+THIRD PEASANT. Show some pity, master; be merciful!
+
+SECOND PEASANT. How can you act so? It is doing us a wrong.
+
+LEONID FYODORITCH. Nothing wrong about it, friends. I offered it you
+in summer, but then you did not agree; and now I can't agree to it.
+
+THIRD PEASANT. Master, be merciful! How are we to get along? We have
+so little land. We'll say nothing about the cattle; a hen, let's say,
+there's no room to let a hen run about.
+
+     [LEONID FYODORITCH goes up to the door and stops. Enter,
+      descending the staircase, ANNA PAVLOVNA and DOCTOR, followed by
+      VASILY LEONIDITCH, who is in a merry and playful mood and is
+      putting some bank-notes into his purse.
+
+ANNA PAVLOVNA (tightly laced, and wearing a bonnet). Then I am to take
+it?
+
+DOCTOR. If the symptoms recur you must certainly take it, but above
+all, you must behave better. How can you expect thick syrup to pass
+through a thin little hair tube, especially when we squeeze the tube?
+It's impossible; and so it is with the biliary duct. It's simple
+enough.
+
+ANNA PAVLOVNA. All right, all right!
+
+DOCTOR. Yes. "All right, all right," and you go on in the same old
+way. It won't do, madam--it won't do. Well, good-bye!
+
+ANNA PAVLOVNA. No, not good-bye, only au revoir! For I still expect
+you to-night. I shall not be able to make up my mind without you.
+
+DOCTOR. All right, if I have time I'll pop in.
+
+     [Exit.
+
+ANNA PAVLOVNA (noticing the PEASANTS). What's this? What? What people
+are these?
+
+     [PEASANTS bow.
+
+THEODORE IVANITCH. These are peasants from Koursk, come to see Leonid
+Fyodoritch about the sale of some land.
+
+ANNA PAVLOVNA. I see they are peasants, but who let them in?
+
+THEODORE IVANITCH. Leonid Fyodoritch gave the order. He has just been
+speaking to them about the sale of the land.
+
+ANNA PAVLOVNA. What sale? There is no need to sell any. But above all,
+how can one let in people from the street into the house? One can't
+let people in from the street! One can't let people into the house who
+have spent the night heaven knows where!... (Getting more and more
+excited.) I daresay every fold of their clothes is full of microbes--
+of scarlet-fever microbes, of smallpox microbes, of diphtheria
+microbes! Why, they are from Koursk Government, where there is an
+epidemic of diphtheria ... Doctor! Doctor! Call the doctor back!
+
+     [LEONID FYODORITCH goes into his room and shuts the door. GREGORY
+      goes to recall the DOCTOR.
+
+VASILY LEONIDITCH (smokes at the PEASANTS). Never mind, mamma; if you
+like I'll fumigate them so that all the microbes will go to pot! Eh,
+what?
+
+     [ANNA PAVLOVNA remains severely silent, awaiting the DOCTOR'S
+      return.
+
+VASILY LEONIDITCH (to PEASANTS). And do you fatten pigs? There's a
+first-rate business!
+
+FIRST PEASANT. That's just so. We do go in for the pig-fattening line
+now and then.
+
+VASILY LEONIDITCH. This kind?...
+
+     [Grunts like a pig.
+
+ANNA PAVLOVNA. Vovo, Vovo, leave off!
+
+VASILY LEONIDITCH. Isn't it like? Eh, what?
+
+FIRST PEASANT. That's just so. It's very resemblant.
+
+ANNA PAVLOVNA. Vovo, leave off, I tell you!
+
+SECOND PEASANT. What's it all about?
+
+THIRD PEASANT. I said, we'd better go to some lodging meanwhile!
+
+     [Enter DOCTOR and GREGORY.
+
+DOCTOR. What's the matter? What's happened?
+
+ANNA PAVLOVNA. Why, you're always saying I must not get excited. Now,
+how is it possible to keep calm? I do not see my own sister for two
+months, and am careful about any doubtful visitor--and here are people
+from Koursk, straight from Koursk, where there is an epidemic of
+diphtheria, right in my house!
+
+DOCTOR. These good fellows you mean, I suppose?
+
+ANNA PAVLOVNA. Of course. Straight from a diphtheric place!
+
+DOCTOR. Well, of course, if they come from an infected place it is
+rash; but still there is no reason to excite yourself so much about
+it.
+
+ANNA PAVLOVNA. But don't you yourself advise carefulness?
+
+DOCTOR. Of course, of course. Still, why excite yourself?
+
+ANNA PAVLOVNA. How can I help it? Now we shall have to have the house
+completely disinfected.
+
+DOCTOR. Oh, no! Why completely? That would cost 300 roubles or more.
+I'll arrange it cheaply and well for you. Take, to a large bottle of
+water....
+
+ANNA PAVLOVNA. Boiled?
+
+DOCTOR. It's all the same. Boiled would be better. To one bottle of
+water take a tablespoon of salicylic acid, and have everything they
+have come in contact with washed with the solution. As to the fellows
+themselves, they must be off, of course. That's all. Then you're quite
+safe. And it would do no harm to sprinkle some of the same solution
+through a spray--two or three tumblers--you'll see how well it will
+act. No danger whatever.
+
+ANNA PAVLOVNA. Tanya! Where is Tanya?
+
+     [Enter TANYA.
+
+TANYA. Did you call, M'm?
+
+ANNA PAVLOVNA. You know that big bottle in my dressing-room?
+
+TANYA. Out of which we sprinkled the laundress yesterday?
+
+ANNA PAVLOVNA. Well, of course! What other bottle could I mean? Well,
+then, take that bottle and first wash with soap the place where they
+have been standing, and then with....
+
+TANYA. Yes, M'm; I know how.
+
+ANNA PAVLOVNA. And then take the spray.... However, I had better do
+that myself when I get back.
+
+DOCTOR. Well, then, do so, and don't be afraid! Well, au revoir till
+this evening.
+
+     [Exit.
+
+ANNA PAVLOVNA. And they must be off! Not a trace of them must remain!
+Get out, get out! Go--what are you looking at?
+
+FIRST PEASANT. That's just so. It's because of our stupidity, as we
+were instructed....
+
+GREGORY (pushes the PEASANTS out). There, there; be off!
+
+SECOND PEASANT. Let me have my handkerchief back!
+
+     [The handkerchief in which the presents were wrapped.
+
+THIRD PEASANT. Oh, Lord, oh, Lord! didn't I say--some lodging-house
+meanwhile!
+
+     [GREGORY pushes him out. Exeunt PEASANTS.
+
+PORTER (who has repeatedly tried to say something).--Will there be any
+answer?
+
+ANNA PAVLOVNA. Ah, from Bourdier? (Excitedly.) None! None! You can
+take it back. I told her I never ordered such a costume, and I will
+not allow my daughter to wear it!
+
+PORTER. I know nothing about it. I was sent....
+
+ANNA PAVLOVNA. Go, go, take it back! I will call myself about it!
+
+VASILY LEONIDITCH (solemnly). Sir Messenger from Bourdier, depart!
+
+PORTER. I might have been told that long ago. I have sat here nearly
+five hours!
+
+VASILY LEONIDITCH. Ambassador from Bourdier, begone!
+
+ANNA PAVLOVNA. Cease, please!
+
+     [Exit PORTER.
+
+ANNA PAVLOVNA. Betsy! Where is she? I always have to wait for her.
+
+VASILY LEONIDITCH (shouting at the top of his voice). Betsy!
+PETRISTCHEF! Come quick, quick, quick! Eh? What?
+
+     [Enter PETRISTCHEF, BETSY, and MARYA KONSTANTINOVNA.
+
+ANNA PAVLOVNA. You always keep one waiting!
+
+BETSY. On the contrary, I was waiting for you!
+
+     [PETRISTCHEF bows with his head only, then kisses ANNA PAVLOVNA'S
+      hand.
+
+ANNA PAVLOVNA. How d'you do! (To BETSY.) You always have an answer
+ready!
+
+BETSY. If you are upset, mamma, I had better not go.
+
+ANNA PAVLOVNA. Are we going or not?
+
+BETSY. Well, let us go; it can't be helped.
+
+ANNA PAVLOVNA. Did you see the man from Bourdier?
+
+BETSY. Yes, and I was very glad. I ordered the costume, and am going
+to wear it when it is paid for.
+
+ANNA PAVLOVNA. I am not going to pay for a costume that is indecent!
+
+BETSY. Why has it become indecent? First it was decent, and now you
+have a fit of prudery.
+
+ANNA PAVLOVNA. Not prudery at all! If the bodice were completely
+altered, then it would do.
+
+BETSY. Mamma, that is quite impossible.
+
+ANNA PAVLOVNA. Well, get dressed.
+
+     [They sit down. GREGORY puts on their over-shoes for them.
+
+VASILY LEONIDITCH. Marya Konstantinovna, do you notice a vacuum in the
+hall?
+
+MARYA KONSTANTINOVNA. What is it?
+
+     [Laughs in anticipation.
+
+VASILY LEONIDITCH. Bourdier's man has gone! Eh, what? Good, eh?
+
+     [Laughs loudly.
+
+ANNA PAVLOVNA. Well, let us go. (Goes out of the door, but returns at
+once.) Tanya!
+
+TANYA. Yes, M'm?
+
+ANNA PAVLOVNA. Don't let Frisk catch cold while I am away. If she
+wants to be let out, put on her little yellow cloak. She is not quite
+well to-day.
+
+TANYA. Yes, M'm.
+
+     [Exeunt ANNA PAVLOVNA, BETSY, and GREGORY.
+
+PETRISTCHEF. Well, have you got it?
+
+VASILY LEONIDITCH. Not without trouble, I can tell you! First I rushed
+at the gov'nor; he began to bellow and turned me out. Off to the
+mater--I got it out of her. It's here! (Slaps his breast pocket.) If
+once I make up my mind, there's no getting away from me. I have a
+deadly grip! Eh, what? And d'you know, my wolf-hounds are coming
+to-day.
+
+     [PETRISTCHEF and VASILY LEONIDITCH put on their outdoor things
+      and go out. TANYA follows.
+
+THEODORE IVANITCH (alone). Yes, nothing but unpleasantness. How is it
+they can't live in peace? But one must say the new generation are not
+--the thing. And as to the women's dominion!... Why, Leonid Fyodoritch
+just now was going to put in a word, but seeing what a frenzy she was
+in--slammed the door behind him. He is a wonderfully kind-hearted man.
+Yes, wonderfully kind. What's this? Here's Tanya bringing them back
+again!
+
+TANYA. Come in, come in, grand-dads, never mind!
+
+     [Enter TANYA and the PEASANTS.
+
+THEODORE IVANITCH. Why have you brought them back?
+
+TANYA. Well, Theodore Ivanitch, we must do something about their
+business. I shall have to wash the place anyhow.
+
+THEODORE IVANITCH. But the business will not come off, I see that
+already.
+
+FIRST PEASANT. How could we best put our affair into action, respected
+sir? Your reverence might take a little trouble over it, and we should
+give you full thankings from the Commune for your trouble.
+
+THIRD PEASANT. Do try, honey! We can't live! We have so little land.
+Talk of cattle--why, we have no room to keep a hen!
+
+     [They bow.
+
+THEODORE IVANITCH. I am sorry for you, friends, but I can't think of
+any way to help you. I understand your case very well, but he has
+refused. So what can one do? Besides, the lady is also against it.
+Well, give me your papers--I'll try and see what I can do, but I
+hardly hope to succeed.
+
+     [Exit.
+
+     [TANYA and the three PEASANTS sigh.
+
+TANYA. But tell me, grand-dads, what is it that is wanted?
+
+FIRST PEASANT. Why, only that he should put his signature to our
+document.
+
+TANYA. That the master should sign? Is that all?
+
+FIRST PEASANT. Yes, only lay his signature on the deed and take the
+money, and there would be an end of the matter.
+
+THIRD PEASANT. He only has to write and sign, as the peasants, let's
+say, desire, so, let's say, I also desire. That's the whole affair--if
+he'd only take it and sign it, it's all done.
+
+TANYA (considering). He need only sign the paper and it's done?
+
+FIRST PEASANT. That's just so. The whole matter is in dependence on
+that, and nothing else. Let him sign, and we ask no more.
+
+TANYA. Just wait and see what Theodore Ivanitch will say. If he cannot
+persuade the master, I'll try something.
+
+FIRST PEASANT. Get round him, will you?
+
+TANYA. I'll try.
+
+THIRD PEASANT. Ay, the lass is going to bestir herself. Only get the
+thing settled, and the Commune will bind itself to keep you all your
+life. See there, now!
+
+FIRST PEASANT. If the affair can be put into action, truly we might
+put her in a gold frame.
+
+SECOND PEASANT. That goes without saying!
+
+TANYA. I can't promise for certain, but as the saying is: "An attempt
+is no sin, if you try...."
+
+FIRST PEASANT. "You may win." That's just so.
+
+     [Enter THEODORE IVANITCH.
+
+THEODORE IVANITCH. No, friends, it's no go! He has not done it, and he
+won't do it. Here, take your document. You may go.
+
+FIRST PEASANT (gives TANYA the paper). Then it's on you we pin all our
+reliance, for example.
+
+TANYA. Yes, yes! You go into the street, and I'll run out to you in a
+minute and have a word with you.
+
+     [Exeunt PEASANTS.
+
+TANYA. Theodore Ivanitch, dear Theodore Ivanitch, ask the master to
+come out and speak to me for a moment. I have something to say to him.
+
+THEODORE IVANITCH. What next?
+
+TANYA. I must, Theodore Ivanitch. Ask him, do; there's nothing wrong
+about it, on my sacred word.
+
+THEODORE IVANITCH. But what do you want with him?
+
+TANYA. That's a little secret. I will tell you later on, only ask him.
+
+THEODORE IVANITCH (smiling). I can't think what you are up to! All
+right, I'll go and ask him.
+
+     [Exit.
+
+TANYA. I'll do it! Didn't he say himself that there is that power in
+Simon? And I know how to manage. No one found me out that time, and
+now I'll teach Simon what to do. If it doesn't succeed it's no great
+matter. After all it's not a sin.
+
+     [Enter LEONID FYODORITCH, followed by THEODORE IVANITCH.
+
+LEONID FYODORITCH (smiling). Is this the petitioner? Well, what is
+your business?
+
+TANYA. It's a little secret, Leonid Fyodoritch; let me tell it you
+alone.
+
+LEONID FYODORITCH. What is it? Theodore, leave us for a minute.
+
+     [Exit THEODORE IVANITCH.
+
+TANYA. As I have grown up and lived in your house, Leonid Fyodoritch,
+and as I am very grateful to you for everything, I shall open my heart
+to you as to a father. Simon, who is living in your house, wants to
+marry me.
+
+LEONID FYODORITCH. So that's it!
+
+TANYA. I open my heart to you as to a father! I have no one to advise
+me, being an orphan.
+
+LEONID FYODORITCH. Well, and why not? He seems a nice lad.
+
+TANYA. Yes, that's true. He would be all right; there is only one
+thing I have my doubts about. It's something about him that I have
+noticed and can't make out ... perhaps it is something bad.
+
+LEONID FYODORITCH. What is it? Does he drink?
+
+TANYA. God forbid! But since I know that there is such a thing as
+spiritalism....
+
+LEONID FYODORITCH. Ah, you know that?
+
+TANYA. Of course! I understand it very well. Some, of course, through
+ignorance, don't understand it.
+
+LEONID FYODORITCH. Well, what then?
+
+TANYA. I am very much afraid for Simon. It does happen to him.
+
+LEONID FYODORITCH. What happens to him?
+
+TANYA. Something of a kind like spiritalism. You ask any of the
+servants. As soon as he gets drowsy at the table, the table begins to
+tremble, and creak like that: tuke, ... tuke! All the servants have
+heard it.
+
+LEONID FYODORITCH. Why, it's the very thing I was saying to Sergey
+Ivanitch this morning! Yes?...
+
+TANYA. Or else ... when was it?... Oh, yes, last Wednesday. We sat
+down to dinner, and the spoon just jumps into his hand of itself!
+
+LEONID FYODORITCH. Ah, that is interesting! Jumps into his hand? When
+he was drowsing?
+
+TANYA. That I didn't notice. I think he was, though.
+
+LEONID FYODORITCH. Yes?...
+
+TANYA. And that's what I'm afraid of, and what I wanted to ask you
+about. May not some harm come of it? To live one's life together, and
+him having such a thing in him!
+
+LEONID FYODORITCH (smiling). No, you need not be afraid, there is
+nothing bad in that. It only proves him to be a medium--simply a
+medium. I knew him to be a medium before this.
+
+TANYA. So that's what it is! And I was afraid!
+
+LEONID FYODORITCH. No, there's nothing to be afraid of. (Aside.)
+That's capital! Kaptchitch can't come, so we will test him
+to-night.... (To TANYA.) No, my dear, don't be afraid, he will be a
+good husband and ... that is only a kind of special power, and every
+one has it, only in some it is weaker and in others stronger.
+
+TANYA. Thank you, sir. Now I shan't think any more about it; but I was
+so frightened.... What a thing it is, our want of education!
+
+LEONID FYODORITCH. No, no, don't be frightened.... Theodore!
+
+     [Enter THEODORE IVANITCH.
+
+LEONID FYODORITCH. I am going out now. Get everything ready for
+to-night's seance.
+
+THEODORE IVANITCH. But Mr. Kaptchitch is not coming.
+
+LEONID FYODORITCH. That does not matter. (Puts on overcoat.) We shall
+have a trial seance with our own medium.
+
+     [Exit. THEODORE IVANITCH goes out with him.
+
+TANYA (alone). He believes it! He believes it! (Shrieks and jumps with
+joy.) He really believes it! Isn't it wonderful! (Shrieks.) Now I'll
+do it, if only Simon has pluck for it!
+
+     [THEODORE IVANITCH returns.
+
+THEODORE IVANITCH. Well, have you told him your secret?
+
+TANYA. I'll tell you, too, only later on.... But I have a favor to ask
+of you, too, Theodore Ivanitch.
+
+THEODORE IVANITCH. Yes? What is it?
+
+TANYA (shyly). You have been a second father to me, and I will open my
+heart before you as before God.
+
+THEODORE IVANITCH. Don't beat about the bush, but come straight to the
+point.
+
+TANYA. The point is ... well, the point is, that Simon wants to marry
+me.
+
+THEODORE IVANITCH. Is that it? I thought I noticed....
+
+TANYA. Well, why should I hide it? I am an orphan, and you know
+yourself how matters are in these town establishments. Every one comes
+bothering; there's that Gregory Mihaylitch, for instance, he gives me
+no peace. And also that other one ... you know. They think I have no
+soul, and am only here for their amusement.
+
+THEODORE IVANITCH. Good girl, that's right! Well, what then?
+
+TANYA. Well, Simon wrote to his father; and he, his father, sees me
+to-day, and says: "He's spoilt"--he means his son. Theodore Ivanitch
+(bows), take the place of a father to me, speak to the old man,--to
+Simon's father! I could take them into the kitchen, and you might come
+in and speak to the old man!
+
+THEODORE IVANITCH (smiling). Then I am to turn match-maker--am I?
+Well, I can do that.
+
+TANYA. Theodore Ivanitch, dearest, be a father to me, and I'll pray
+for you all my life long.
+
+THEODORE IVANITCH. All right, all right, I'll come later on. Haven't I
+promised?
+
+     [Takes up newspaper.
+
+TANYA. You are a second father to me!
+
+THEODORE IVANITCH. All right, all right.
+
+TANYA. Then I'll rely on you.
+
+     [Exit.
+
+THEODORE IVANITCH (alone, shaking his head). A good affectionate girl.
+To think that so many like her perish! Get but once into trouble and
+she'll go from hand to hand until she sinks into the mire, and can
+never be found again! There was that dear little Nataly. She, too, was
+a good girl, reared and cared for by a mother. (Takes up paper.) Well,
+let's see what tricks Ferdinand is up to in Bulgaria.
+
+CURTAIN
+
+
+
+
+ACT II
+
+Evening of the same day. The scene represents the interior of the
+servants' kitchen. The PEASANTS have taken off their outer garments
+and sit drinking tea at the table, and perspiring. THEODORE IVANITCH
+is smoking a cigar at the other side of the stage. The discharged COOK
+is lying on the brick oven, and is unseen during the early part of the
+scene.
+
+THEODORE IVANITCH. My advice is, don't hinder him! If it's his wish
+and hers, in Heaven's name, let him do it. She is a good, honest girl.
+Never mind her being a bit dressy; she can't help that, living in
+town: she is a good girl all the same.
+
+SECOND PEASANT. Well, of course, if it is his wish, let him! He'll
+have to live with her, not me. But she's certainly uncommon spruce.
+How's one to take her into one's hut? Why, she'll not let her
+mother-in-law so much as pat her on the head.
+
+THEODORE IVANITCH. That does not depend on the spruceness, but on
+character. If her nature is good, she's sure to be docile and
+respectful.
+
+SECOND PEASANT. Ah, well, we'll have her if the lad's bent on having
+her. After all, it's a bad job to live with one as one don't care for.
+I'll consult my missus, and then may Heaven bless them!
+
+THEODORE IVANITCH. Then let's shake hands on it!
+
+SECOND PEASANT. Well, it seems it will have to come off.
+
+FIRST PEASANT. Eh, Zachary! fortune's a-smiling on you! You've come to
+accomplish a piece of business, and just see what a duchess of a
+daughter-in-law you've obtained. All that's left to be done is to have
+a drink on it, and then it will be all in order.
+
+THEODORE IVANITCH. That's not at all necessary.
+
+     [An awkward silence.
+
+THEODORE IVANITCH. I know something of your way of life, too, you
+know. I am even thinking of purchasing a bit of land, building a
+cottage, and working on the land myself somewhere; maybe in your
+neighborhood.
+
+SECOND PEASANT. A very good thing, too.
+
+FIRST PEASANT. That's just it. When one has got the money one can get
+all kinds of pleasure in the country.
+
+THIRD PEASANT. Say no more about it! Country life let's say, is freer
+in every way, not like the town!
+
+THEODORE IVANITCH. There now, would you let me join your Commune if I
+settled among you?
+
+SECOND PEASANT. Why not? If you stand drink for the Elders, they'll
+accept you soon enough!
+
+FIRST PEASANT. And if you open a public-house, for example, or an inn,
+why, you'd have such a life you'd never need to die! You might live
+like a king, and no mistake.
+
+THEODORE IVANITCH. Well, we'll see. I should certainly like to have a
+few quiet years in my old age. Though my life here is good enough, and
+I should be sorry to leave. Leonid Fyodoritch is an exceedingly
+kind-hearted man.
+
+FIRST PEASANT. That's just it. But how about our business? Is it
+possible that he is going to leave it without any termination?
+
+THEODORE IVANITCH. He'd do it willingly.
+
+SECOND PEASANT. It seems he's afraid of his wife.
+
+THEODORE IVANITCH. It's not that he's afraid, but they don't hit
+things off together.
+
+THIRD PEASANT. But you should try, father! How are we to live else?
+We've so little land....
+
+THEODORE IVANITCH. We'll see what comes of Tanya's attempt. She's
+taken the business into her hands now!
+
+THIRD PEASANT (takes a sip of tea). Father, be merciful. We've so
+little land. A hen, let's say, we've no room for a hen, let alone the
+cattle.
+
+THEODORE IVANITCH. If the business depended on me.... (To SECOND
+PEASANT.) Well, friend, so we've done our bit of match-making! It's
+agreed then about Tanya?
+
+SECOND PEASANT. I've given my word, and I'll not go back on it without
+a good reason. If only our business succeeds!
+
+     [Enter SERVANTS' COOK, who looks up at the oven, makes a sign,
+      and then begins to speak animatedly to THEODORE IVANITCH.
+
+SERVANTS' COOK. Just now Simon was called upstairs from the front
+kitchen! The master and that other bald-headed one who calls up
+spirits with him, ordered him to sit down and take the place of
+Kaptchitch!
+
+THEODORE IVANITCH. You don't say so!
+
+SERVANTS' COOK. Yes, Jacob told Tanya.
+
+THEODORE IVANITCH. Extraordinary!
+
+     [Enter COACHMAN.
+
+THEODORE IVANITCH. What do you want?
+
+COACHMAN (to THEODORE IVANITCH). You may just tell them I never agreed
+to live with a lot of dogs! Let any one who likes do it, but I will
+never agree to live among dogs!
+
+THEODORE IVANITCH. What dogs?
+
+COACHMAN. Three dogs have been sent into our room by Vasily
+Leoniditch! They've messed it all over. They're whining, and if one
+comes near them they bite--the devils! They'd tear you to pieces if
+you didn't mind. I've a good mind to take a club and smash their legs
+for them!
+
+THEODORE IVANITCH. But when did they come?
+
+COACHMAN. Why, to-day, from the Dog Show; the devil knows what kind
+they are, but they're an expensive sort. Are we or the dogs to live in
+the coachmen's quarters? You just go and ask!
+
+THEODORE IVANITCH. Yes, that will never do. I'll go and ask about it.
+
+COACHMAN. They'd better be brought here to Loukerya.
+
+SERVANTS' COOK (angrily). People have to eat here, and you'd like to
+lock dogs in here! As it is....
+
+COACHMAN. And I've got the liveries, and the sledge-covers and the
+harness there, and they expect things kept clean! Perhaps the porter's
+lodge might do.
+
+THEODORE IVANITCH. I must ask Vasily Leoniditch.
+
+COACHMAN (angrily). He'd better hang the brutes round his neck and lug
+them about with him! But no fear: he'd rather ride on horseback
+himself. It's he as spoilt. Beauty without rhyme or reason. That was a
+horse!... Oh, dear! what a life!
+
+     [Exit, slamming door.
+
+THEODORE IVANITCH. That's not right! Certainly not right! (To
+PEASANTS.) Well, then, it's time we were saying good-bye, friends.
+
+PEASANTS. Good-bye!
+
+     [Exit THEODORE IVANITCH.
+
+     [As soon as he is gone a sound of groaning is heard from the top
+      of the oven.
+
+SECOND PEASANT. He's sleek, that one; looks like a general.
+
+SERVANTS' COOK. Rather! Why he has a room all to himself; he gets his
+washing, his tea and sugar, and food from the master's table.
+
+DISCHARGED COOK (on the oven). Why shouldn't the old beggar live well?
+He's lined his pockets all right!
+
+SECOND PEASANT. Who's that up there, on the oven?
+
+SERVANTS' COOK. Oh, it's only a man.
+
+     [Silence.
+
+FIRST PEASANT. Well, and you, too, as I noticed a while since when you
+were supping, have capital food to eat.
+
+SERVANTS' COOK. We can't complain. She's not mean about the food. We
+have wheat bread every Sunday, and fish when a holiday happens to be a
+fast-day, too, and those who like may eat meat.
+
+SECOND PEASANT. And does any one tuck into flesh on fast-days?
+
+SERVANTS' COOK. Oh, they nearly all do! Only the old coachman--not the
+one who was here just now but the old one--and Simon, and I and the
+housekeeper, fast--all the others eat meat.
+
+SECOND PEASANT. And the master himself?
+
+SERVANTS' COOK. Catch him! Why, I bet he's forgotten there is such a
+thing as fasting!
+
+THIRD PEASANT. Oh, Lord!
+
+FIRST PEASANT. That's the gentlefolks' way: they have got it all out
+of their books. 'Cos of their intelex!
+
+THIRD PEASANT. Shouldn't wonder if they feed on wheat bread every day!
+
+SERVANTS' COOK. Wheat bread, indeed! Much they think of wheat bread!
+You should see what food they eat. No end of different things!
+
+FIRST PEASANT. In course gentlefolks' food is of an airial kind.
+
+SERVANTS' COOK. Airial, of course, but all the same they're good at
+stuffing themselves, they are!
+
+FIRST PEASANT. Have healthy appekites, so to say.
+
+SERVANTS' COOK. 'Cos they always rinse it down! All with sweet wines,
+and spirits, and fizzy liquors. They have a different one to suit
+every kind of food. They eat and rinse it down, and eat and rinse it
+down, they do.
+
+FIRST PEASANT. And so the food's floated down in proportion, so to
+say.
+
+SERVANTS' COOK. Ah, yes, they are good at stuffing! It's awful! You
+see, it's not just sitting down, eating, then saying grace and going
+away--they're always at it!
+
+SECOND PEASANT. Like pigs with their feet in the trough!
+
+     [Peasants laugh.
+
+SERVANTS' COOK. As soon as, by God's grace, they have opened their
+eyes, the samovar is brought in--tea, coffee, chocolate. Hardly is the
+second samovar emptied, a third has to be set. Then lunch, then
+dinner, then again coffee. They've hardly left off, then comes tea,
+and all sorts of tit-bits and sweetmeats--there's never an end to it!
+They even lie in bed and eat!
+
+THIRD PEASANT. There now; that's good.
+
+     [Laughs.
+
+FIRST AND SECOND PEASANTS. What are you about?
+
+THIRD PEASANT. If I could only live a single day like that!
+
+SECOND PEASANT. But when do they do their work?
+
+SERVANTS' COOK. Work indeed! What is their work? Cards and piano--
+that's all their work. The young lady used to sit down to the piano as
+soon as she opened her eyes, and off she'd go! And that other one who
+lives here, the teacher, stands and waits. "When will the piano be
+free?" When one has finished, off rattles the other, and sometimes
+they'd put two pianos near one another and four of 'em would bust out
+at once. Bust out in such a manner, you could hear 'em down here!
+
+THIRD PEASANT. Oh, Lord!
+
+SERVANTS' COOK. Well, and that's all the work they do! Piano or cards!
+As soon as they have met together--cards, wine, smoking, and so on,
+all night long. And as soon as they are up: eating again!
+
+     [Enter SIMON.
+
+SIMON. Hope you're enjoying your tea!
+
+FIRST PEASANT. Come and join us.
+
+SIMON. (comes up to the table). Thank you kindly.
+
+     [First PEASANT pours out a cup of tea for him.
+
+SECOND PEASANT. Where have you been?
+
+SIMON. Upstairs.
+
+SECOND PEASANT. Well, and what was being done there?
+
+SIMON. Why, I couldn't make it out at all! I don't know how to explain
+it.
+
+SECOND PEASANT. But what was it?
+
+SIMON. I can't explain it. They have been trying some kind of strength
+in me. I can't make it out. Tanya says, "Do it, and we'll get the land
+for our peasants; he'll sell it them."
+
+SECOND PEASANT. But how is she going to manage it?
+
+SIMON. I can't make it out, and she won't say. She says, "Do as I tell
+you," and that's all.
+
+SECOND PEASANT. But what is it you have to do?
+
+SIMON. Nothing just now. They made me sit down, put out the lights and
+told me to sleep. And Tanya had hidden herself there. They didn't see
+her, but I did.
+
+SECOND PEASANT. Why? What for?
+
+SIMON. The Lord only knows--I can't make it out.
+
+FIRST PEASANT. Naturally, it is for the distraction of time.
+
+SECOND PEASANT. Well, it's clear you and I can make nothing of it. You
+had better tell me whether you have taken all your wages yet.
+
+SIMON. No, I've not drawn any. I have twenty-eight roubles to the
+good, I think.
+
+SECOND PEASANT. That's all right! Well, if God grants that we get the
+land, I'll take you home, Simon.
+
+SIMON. With all my heart!
+
+SECOND PEASANT. You've got spoilt, I should say. You'll not want to
+plough?
+
+SIMON. Plough? Only give me the chance! Plough or mow,--I'm game.
+Those are things one doesn't forget.
+
+FIRST PEASANT. But it don't seem very desirous after town life, for
+example? Eh!
+
+SIMON. It's good enough for me. One can live in the country, too.
+
+FIRST PEASANT. And Daddy Mitry here is already on the look-out for
+your place; he's hankering after a life of luckshury!
+
+SIMON. Eh, Daddy Mitry, you'd soon get sick of it. It seems easy
+enough when one looks at it, but there's a lot of running about that
+takes it out of one.
+
+SERVANTS' COOK. You should see one of their balls, Daddy Mitry, then
+you would be surprised!
+
+THIRD PEASANT. Why, do they eat all the time?
+
+SERVANTS' COOK. My eye! You should have seen what we had here awhile
+ago. Theodore Ivanitch took me upstairs and I peeped in. The ladies--
+awful! Dressed up! Dressed up, bless my heart, and all bare down to
+here, and their arms bare.
+
+THIRD PEASANT. Oh, Lord!
+
+SECOND PEASANT. Faugh! How beastly!
+
+FIRST PEASANT. I take it the climate allows of that sort of thing!
+
+SERVANTS' COOK. Well, daddy, so I peeped in. Dear me, what it was
+like! All of 'em in their natural skins! Would you believe it: old
+women--our mistress, only think, she's a grandmother, and even she'd
+gone and bared her shoulders.
+
+THIRD PEASANT. Oh, Lord!
+
+SERVANTS' COOK. And what next? The music strikes up, and each man of
+'em went up to his own, catches hold of her, and off they go twirling
+round and round!
+
+SECOND PEASANT. The old women, too?
+
+SERVANTS' COOK. Yes, the old ones, too.
+
+SIMON. No, the old ones sit still.
+
+SERVANTS' COOK. Get along,--I've seen it myself!
+
+SIMON. No, they don't.
+
+DISCHARGED COOK (in a hoarse voice, looking down from the oven).
+That's the Polka-Mazurka. You fools don't understand what dancing is.
+The way they dance....
+
+SERVANTS' COOK. Shut up, you dancer! And keep quiet--there's some one
+coming.
+
+     [Enter GREGORY; old COOK hides hurriedly.
+
+GREGORY (to SERVANTS' COOK). Bring some sour cabbage.
+
+SERVANTS' COOK. I am only just up from the cellar, and now I must go
+down again! Who is it for?
+
+GREGORY. For the young ladies. Be quick, and send it up with Simon. I
+can't wait!
+
+SERVANTS' COOK. There now, they tuck into sweetmeats till they are
+full up, and then they crave for sour cabbage!
+
+FIRST PEASANT. That's to make a clearance.
+
+SERVANTS' COOK. Of course, and as soon as there is room inside, they
+begin again!
+
+     [Takes basin, and exit.
+
+GREGORY (at PEASANTS). Look at them, how they've established
+themselves down here! Mind, if the mistress finds it out she'll give
+it you hot, like she did this morning!
+
+     [Exit, laughing.
+
+FIRST PEASANT. That's just it, she did raise a storm that time--awful!
+
+SECOND PEASANT. That time it looked as if the master was going to step
+in, but seeing that the missus was about to blow the very roof off the
+house, he slams the door. Have your own way, thinks he.
+
+THIRD PEASANT (waving his arm). It's the same everywhere. My old
+woman, let's say, she kicks up such a rumpus sometimes--it's just
+awful! Then I just get out of the hut. Let her go to Jericho! She'll
+give you one with the poker if you don't mind. Oh, Lord!
+
+     [JACOB enters hurriedly with a prescription.
+
+JACOB. Here, Simon, you run to the chemist's and get these powders for
+the mistress!
+
+SIMON. But master told me not to go out.
+
+JACOB. You've plenty of time; your business won't begin till after
+their tea. Hope you are enjoying your tea!
+
+FIRST PEASANT. Thanks, come and join us.
+
+     [Exit SIMON.
+
+JACOB. I haven't time. However, I'll just have one cup for company's
+sake.
+
+FIRST PEASANT. And we've just been having a conversation as to how
+your mistress carried on so haughty this morning.
+
+JACOB. Oh, she's a reg'lar fury! So hot-tempered, that she gets quite
+beside herself. Sometimes she even bursts out crying.
+
+FIRST PEASANT. Now, there's a thing I wanted to ask you about. What,
+for example, be these mikerots she was illuding to erewhile? "They've
+infested the house with mikerots, with mikerots," she says. What is
+one to make of these same mikerots?
+
+JACOB. Mikerogues, you mean! Well, it seems there is such a kind of
+bugs; all illnesses come from them, they say. So she says there are
+some of 'em on you. After you were gone, they washed and washed and
+sprinkled the place where you had stood. There's a kind of physic as
+kills these same bugs, they say. Second Peasant. Then where have we
+got these bugs on us?
+
+JACOB (drinking his tea). Why, they say they're so small that one
+can't see 'em even through a glass.
+
+SECOND PEASANT. Then how does she know I've got 'em on me? Perhaps
+there's more of that muck on her than on me!
+
+JACOB. There now, you go and ask her!
+
+SECOND PEASANT. I believe it's humbug.
+
+JACOB. Of course it's bosh. The doctors must invent something, or else
+what are they paid for? There's one comes to us every day. Comes,--
+talks a bit,--and pockets ten roubles!
+
+SECOND PEASANT. Nonsense!
+
+JACOB. Why, there's one as takes a hundred!
+
+FIRST PEASANT. A hundred? Humbug!
+
+JACOB. A hundred. Humbug, you say? Why, if he has to go out of town,
+he'll not do it for less than a thousand! "Give a thousand," he says,
+"or else you may kick the bucket for what I care!"
+
+THIRD PEASANT. Oh, Lord!
+
+SECOND PEASANT. Then does he know some charm?
+
+JACOB. I suppose he must. I served at a General's outside Moscow once:
+a cross, terrible proud old fellow he was--just awful. Well, this
+General's daughter fell ill. They send for that doctor at once. "A
+thousand roubles, then I'll come." Well, they agreed, and he came.
+Then they did something or other he didn't like, and he bawled out at
+the General and says, "Is this the way you show your respect for me?
+Then I'll not attend her!" And, oh, my! The old General forgot all his
+pride, and starts wheedling him in every way not to chuck up the job!
+
+FIRST PEASANT. And he got the thousand?
+
+JACOB. Of course!
+
+SECOND PEASANT. That's easy got money. What wouldn't a peasant do with
+such a sum!
+
+THIRD PEASANT. And I think it's all bosh. That time my foot was
+festering I had it doctored ever so long. I spent nigh on five roubles
+on it,--then I gave up doctoring, and it got all right!
+
+     [DISCHARGED COOK on the oven coughs.
+
+JACOB. Ah, the old crony is here again!
+
+FIRST PEASANT. Who might that man be?
+
+JACOB. He used to be our master's cook. He comes to see Loukerya.
+
+FIRST PEASANT. Kitchen-master, as one might say. Then, does he live
+here?
+
+JACOB. No, they won't allow that. He's here one day, there another. If
+he's got a copper he goes to a dosshouse; but when he has drunk all,
+he comes here.
+
+SECOND PEASANT. How did he come to this?
+
+JACOB. Simply grew weak. And what a man he used to be--like a
+gentleman! Went about with a gold watch; got forty roubles a month
+wages. And now look at him! He'd have starved to death long ago if it
+hadn't been for Loukerya.
+
+     [Enter SERVANTS' COOK with the sour cabbage.
+
+JACOB (to SERVANTS' COOK). I see you've got Paul Petrovitch here
+again?
+
+SERVANTS' COOK. And where's he to go to? Is he to go and freeze?
+
+THIRD PEASANT. What liquor does.... Liquor, let's say....
+
+     [Clicks his tongue sympathetically.
+
+SECOND PEASANT. Of course. A firm man's firm as a rock; a weak man's
+weaker than water.
+
+DISCHARGED COOK (gets off the oven with trembling hands and legs).
+Loukerya, I say, give us a drop!
+
+SERVANTS' COOK. What are you up to? I'll give you such a drop!...
+
+DISCHARGED COOK. Have you no conscience? I'm dying! Brothers, a
+copper....
+
+SERVANTS' COOK. Get back on the oven, I tell you!
+
+DISCHARGED COOK. Half a glass only, cook, for Heaven's sake! I say, do
+you understand? I ask you in the name of Heaven, now!
+
+SERVANTS' COOK. Come along, here's some tea for you.
+
+DISCHARGED COOK. Tea; what is tea? Weak, sloppy stuff. A little vodka
+--just one little drop.... Loukerya!
+
+THIRD PEASANT. Poor old soul, what agony it is!
+
+SECOND PEASANT. You'd better give him some.
+
+SERVANTS' COOK (gets out a bottle and fills a wine-glass). Here you
+are; you'll get no more.
+
+DISCHARGED COOK (clutches hold of it and drinks, trembling all over).
+Loukerya, Cook! I am drinking, and you must understand....
+
+SERVANTS' COOK. Now, then, stop your chatter! Get on to the oven, and
+let not a breath of you be heard!
+
+     [The old COOK meekly begins to climb up, muttering something to
+      himself.
+
+SECOND PEASANT. What it is, when a man gives way to his weakness!
+
+FIRST PEASANT. That's just it--human weakness.
+
+THIRD PEASANT. That goes without saying.
+
+     [The DISCHARGED COOK settles down, muttering all the time.
+
+     [Silence.
+
+SECOND PEASANT. I want to ask you something: that girl of Aksinya's as
+comes from our village and is living here. How is she? What is she
+like? How is she living--I mean, does she live honest?
+
+JACOB. She's a nice girl; one can say nothing but good of her.
+
+SERVANTS' COOK. I'll tell you straight, daddy; I know this here
+establishment out and out, and if you mean to have Tanya for your
+son's wife--be quick about it, before she comes to grief, or else
+she'll not escape!
+
+JACOB. Yes, that's true. A while ago we had a girl here, Nataly. She
+was a good girl too. And she was lost without rhyme or reason. No
+better than that chap!
+
+     [Pointing to the old COOK.
+
+SERVANTS' COOK. There's enough to dam a mill-pool, with the likes of
+us, as perish! 'Cos why, every one is tempted by the easy life and the
+good food. And see there,--as soon as one has tasted the good food she
+goes and slips. And once she's slipped, they don't want her, but get a
+fresh one in her place. So it was with dear little Nataly; she also
+slipped, and they turned her out. She had a child and fell ill, and
+died in the hospital last spring. And what a girl she used to be!
+
+THIRD PEASANT. Oh, Lord! People are weak; they ought to be pitied.
+
+DISCHARGED COOK. Those devils pity? No fear! (He hangs his legs down
+from the oven.) I have stood roasting myself by the kitchen range for
+thirty years, and now that I am not wanted, I may go and die like a
+dog.... Pity indeed!...
+
+FIRST PEASANT. That's just it. It's the old circumstances.
+
+SECOND PEASANT. While they drank and they fed, you were "curly head."
+When they'd finished the prog, 'twas "Get out, mangy dog!"
+
+THIRD PEASANT. Oh Lord!
+
+DISCHARGED COOK. Much you know. What is "Sautey a la Bongmont"? What
+is "Bavassary"? Oh, the things I could make! Think of it! The Emperor
+tasted my work, and now the devils want me no longer. But I am not
+going to stand it!
+
+SERVANTS' COOK. Now, then, stop that noise, mind.... Get up right into
+the corner, so that no one can see you, or else Theodore Ivanitch or
+some one may come in, and both you and me'll be turned out!
+
+     [Silence.
+
+JACOB. And do you know my part of the country? I'm from Voznesensky.
+
+SECOND PEASANT. Not know it? Why, it's no more'n ten miles from our
+village; not that across the ford! Do you cultivate any land there?
+
+JACOB. My brother does, and I send my wages. Though I live here, I am
+dying for a sight of home.
+
+FIRST PEASANT. That's just it.
+
+SECOND PEASANT. Then Anisim is your brother?
+
+JACOB. Own brother. He lives at the farther end of the village.
+
+SECOND PEASANT. Of course, I know; his is the third house.
+
+     [Enter TANYA, running.
+
+TANYA. Jacob, what are you doing, amusing yourself here? She is
+calling you!
+
+JACOB. I'm coming; but what's up?
+
+TANYA. Frisk is barking; it's hungry. And she's scolding you. "How
+cruel he is," she says. "He's no feeling," she says. "It's long past
+Frisk's dinner-time, and he has not brought her food!"
+
+     [Laughs.
+
+JACOB (rises to go). Oh, she's cross? What's going to happen now, I
+wonder?
+
+SERVANTS' COOK. Here, take the cabbage with you.
+
+JACOB. All right, give it here.
+
+     [Takes basin, and exit.
+
+FIRST PEASANT. Who is going to dine now?
+
+TANYA. Why, the dog! It's her dog. (Sits down and takes up the
+tea-pot.) Is there any more tea? I've brought some.
+
+     [Puts fresh tea into the tea-pot.
+
+FIRST PEASANT. Dinner for a dog?
+
+TANYA. Yes, of course! They prepare a special cutlet for her; it must
+not be too fat. And I do the washing--the dog's washing, I mean.
+
+THIRD PEASANT. Oh Lord!
+
+TANYA. It's like that gentleman who had a funeral for his dog.
+
+SECOND PEASANT. What's that?
+
+TANYA. Why, some one told me he had a dog--I mean the gentleman had a
+dog. And it died. It was winter, and he went in his sledge to bury
+that dog. Well, he buried it, and on the way home he sits and cries--
+the gentleman does. Well, there was such a bitter frost that the
+coachman's nose keeps running, and he has to keep wiping it. Let me
+fill your cup! (Fills it.) So he keeps wiping his nose, and the
+gentleman sees it, and says, "What are you crying about?" And the
+coachman, he says, "Why, sir, how can I help it; is there another dog
+like him?"
+
+     [Laughs.
+
+SECOND PEASANT. And I daresay he thinks to himself, "If your own self
+was to kick the bucket I'd not cry."
+
+     [Laughs.
+
+DISCHARGED COOK (from up on the oven). That is true; that's right!
+
+TANYA. Well, the gentleman, he gets home and goes straight to his
+lady: "What a good-hearted man our coachman is; he was crying all the
+way home about poor Dash. Have him called.... Here, drink this glass
+of vodka," he says, "and here's a rouble as a reward for you." That's
+just like her saying Jacob has no feelings for her dog!
+
+     [The PEASANTS laugh.
+
+FIRST PEASANT. That's the style!
+
+SECOND PEASANT. That was a go!
+
+THIRD PEASANT. Aye, lassie, but you've set us a-laughing!
+
+TANYA (pouring out more tea). Have some more! Yes, it only seems that
+our life is pleasant; but sometimes it is very disgusting,--clearing
+up all their messes! Faugh! It's better in the country. (PEASANTS turn
+their cups upside-down, as a polite sign that they have had enough.
+TANYA pours out more tea.) Have some more, Efim Antonitch. I'll fill
+your cup, Mitry Vlasitch.
+
+THIRD PEASANT. All right, fill it, fill it.
+
+FIRST PEASANT. Well, dear, and what progression is our business
+making?
+
+TANYA. It's getting on....
+
+FIRST PEASANT. Simon told us....
+
+TANYA. (quickly). Did he?
+
+SECOND PEASANT. But he could not make us understand.
+
+TANYA. I can't tell you now, but I'm doing my best--all I can! And
+I've got your paper here! (Shows the paper hidden under the bib of her
+apron.) If only one thing succeeds ... (Shrieks.) Oh, how nice it
+would be!
+
+SECOND PEASANT. Don't lose that paper, mind. It has cost money.
+
+TANYA. Never fear. You only want him to sign it? Is that all?
+
+THIRD PEASANT. Why, what else? Let's say he's signed it, and it's
+done! (Turns his cup upside-down.) I've had enough.
+
+TANYA (aside). He'll sign it; you'll see he will.... Have some more.
+
+     [Pours out tea.
+
+FIRST PEASANT. If only you get this business about the sale of the
+land settled, the Commune would pay your marriage expenses.
+
+     [Refuses the tea.
+
+TANYA (pouring out tea). Do have another cup.
+
+THIRD PEASANT. You get it done, and we'll arrange your marriage, and I
+myself, let's say, will dance at the wedding. Though I've never danced
+in all my born days, I'll dance then!
+
+TANYA (laughing). All right, I'll be in hopes of it.
+
+     [Silence.
+
+SECOND PEASANT (examines TANYA). That's all very well, but you're not
+fit for peasant work.
+
+TANYA. Who? I? Why, don't you think me strong enough? You should see
+me lacing up my mistress. There's many a peasant couldn't tug as hard.
+
+SECOND PEASANT. Where do you tug her to?
+
+TANYA. Well, there's a thing made with bone, like--something like a
+stiff jacket, only up to here! Well, and I pull the strings just as
+when you saddle a horse--when you ... what d'ye call it? You know,
+when you spit on your hands!
+
+SECOND PEASANT. Tighten the girths, you mean.
+
+TANYA. Yes, yes, that's it. And you know I mustn't shove against her
+with my knee.
+
+     [Laughs.
+
+SECOND PEASANT. Why do you pull her in?
+
+TANYA. For a reason!
+
+SECOND PEASANT. Why, is she doing penance?
+
+TANYA. No, it's for beauty's sake!
+
+FIRST PEASANT. That's to say, you pull in her paunch for appearance'
+sake.
+
+TANYA. Sometimes I lace her up so that her eyes are ready to start
+from her head, and she says, "Tighter," till my hands tingle. And you
+say I'm not strong!
+
+     [PEASANTS laugh and shake their heads.
+
+TANYA. But here, I've been jabbering.
+
+     [Runs away, laughing.
+
+THIRD PEASANT. Ah, the lassie has made us laugh!
+
+FIRST PEASANT. She's a tidy one!
+
+SECOND PEASANT. She's not bad.
+
+     [Enter SAHATOF and VASILY LEONIDITCH. SAHATOF holds a teaspoon in
+      his hand.
+
+VASILY LEONIDITCH. Not exactly a dinner, but a dejeuner dinatoire. And
+first-rate it was, I tell you. Ham of sucking-pig, delicious! Roulier
+feeds one splendidly! I've only just returned. (Sees PEASANTS.) Ah,
+the peasants are here again!
+
+SAHATOF. Yes, yes, that's all very well, but we came here to hide this
+article. Where shall we hide it?
+
+VASILY LEONIDITCH. Excuse me a moment. (To SERVANTS' COOK.) Where are
+the dogs?
+
+SERVANTS' COOK. In the coachman's quarters. You can't keep dogs in the
+servants' kitchen!
+
+VASILY LEONIDITCH. Ah, in the coachman's quarters? All right.
+
+SAHATOF. I am waiting.
+
+VASILY LEONIDITCH. Excuse me, please. Eh, what? Hide it? I'll tell you
+what. Let's put it into one of the peasants' pockets. That one. I say,
+where's your pocket? Eh, what?
+
+THIRD PEASANT. What for d'ye want my pocket? You're a good 'un! My
+pocket! There's money in my pocket!
+
+VASILY LEONIDITCH. Where's your bag, then?
+
+THIRD PEASANT. What for?
+
+SERVANTS' COOK. What d'you mean? That's the young master!
+
+VASILY LEONIDITCH (laughs. To SAHATOF). D'you know why he's so
+frightened? Shall I tell you? He's got a heap of money. Eh, what?
+
+SAHATOF. Yes, yes, I see. Well, you talk to them a bit, and I'll put
+it into that bag without being observed, so that they should not
+notice and could not point it out to him. Talk to them.
+
+VASILY LEONIDITCH. All right! (To PEASANTS.) Well then, old fellows,
+how about the land? Are you buying it? Eh, what?
+
+FIRST PEASANT. We have made an offering, so to say, with our whole
+heart. But there,--the business don't come into action nohow.
+
+VASILY LEONIDITCH. You should not be so stingy! Land is an important
+matter! I told you about planting mint. Or else tobacco would also do.
+
+FIRST PEASANT. That's just it. Every kind of producks.
+
+THIRD PEASANT. And you help us, master. Ask your father. Or else how
+are we to live? There's so little land. A fowl, let's say, there's not
+enough room for a fowl to run about.
+
+SAHATOF (having put the spoon into a bag belonging to the THIRD
+PEASANT). C'est fait. Ready. Come along.
+
+     [Exit.
+
+VASILY LEONIDITCH. So don't be stingy! Eh? Well, good-bye.
+
+     [Exit.
+
+THIRD PEASANT. Didn't I say, come to some lodging-house? Well,
+supposing we'd had to give three-pence each, then at least we'd have
+been in peace. As to here, the Lord be merciful! "Give us the money,"
+he says. What's that for?
+
+SECOND PEASANT. He's drunk, I daresay.
+
+     [PEASANTS turn their cups upside-down, rise, and cross themselves.
+
+FIRST PEASANT. And d'you mind what a saying he threw out? Sowing mint!
+One must know how to understand them, that one must!
+
+SECOND PEASANT. Sow mint indeed! He'd better bend his own back at that
+work, and then it's not mint he'll hanker after, no fear! Well, many
+thanks!... And now, good woman, would you tell us where we could lie
+down to sleep?
+
+SERVANTS' COOK. One of you can lie on the oven, and the others on
+these benches.
+
+THIRD PEASANT. Christ save you!
+
+     [Prays, crossing himself.
+
+FIRST PEASANT. If only by God's help we get our business settled!
+(Lies down.) Then to-morrow, after dinner, we'd be off by the train,
+and on Tuesday we'd be home again.
+
+SECOND PEASANT. Are you going to put out the light?
+
+SERVANTS' COOK. Put it out? Oh, no! They'll keep running down here,
+first for one thing then another.... You lie down, I'll lower it.
+
+SECOND PEASANT. How is one to live, having so little land? Why, this
+year, I have had to buy corn since Christmas. And the oat-straw is all
+used up. I'd like to get hold of ten acres, and then I could take
+Simon back.
+
+THIRD PEASANT. You're a man with a family. You'd get the land
+cultivated without trouble. If only the business comes off.
+
+SECOND PEASANT. We must pray to the Holy Virgin, maybe she'll help us
+out. (Silence, broken by sighs. Then footsteps and voices are heard
+outside. The door opens. Enter GROSSMAN hurriedly, with his eyes
+bandaged, holding SAHATOF'S hand, and followed by the PROFESSOR and
+the DOCTOR, the FAT LADY and LEONID FYODORITCH, BETSY and PETRISTCHEF,
+VASILY LEONIDITCH and MARYA KONSTANTINOVNA, ANNA PAVLOVNA and the
+BARONESS, THEODORE IVANITCH and TANYA.)
+
+     [PEASANTS jump up. GROSSMAN comes forward stepping quickly, then
+      stops.
+
+FAT LADY. You need not trouble yourselves; I have undertaken the task
+of observing, and am strictly fulfilling my duty! Mr. Sahatof, are you
+not leading him?
+
+SAHATOF. Of course not!
+
+FAT LADY. You must not lead him, but neither must you resist! (To
+LEONID FYODORITCH.) I know these experiments. I have tried them
+myself. Sometimes I used to feel a certain effluence, and as soon as I
+felt it....
+
+LEONID FYODORITCH. May I beg of you to keep perfect silence?
+
+FAT LADY. Oh, I understand so well! I have experienced it myself. As
+soon as my attention was diverted I could no longer....
+
+LEONID FYODORITCH. Sh...!
+
+     [GROSSMAN goes about, searches near the FIRST and SECOND
+      PEASANTS, then approaches the THIRD, and stumbles over a bench.
+
+BARONESS. Mais dites-moi, on le paye?[6]
+
+ANNA PAVLOVNA. Je ne saurais vous dire.
+
+BARONESS. Mais c'est un monsieur?
+
+ANNA PAVLOVNA. Oh, oui!
+
+BARONESS. Ca tient du miraculeux. N'est ce pas? Comment est-ce qu'il
+trouve?
+
+ANNA PAVLOVNA. Je ne saurais vous dire. Mon mari vous l'expliquera.
+(Noticing PEASANTS, turns round, and sees the SERVANTS' COOK.) Pardon
+... what is this?
+
+     [BARONESS goes up to the group.
+
+ANNA PAVLOVNA. (to SERVANTS' COOK). Who let the peasants in?
+
+SERVANTS' COOK. Jacob brought them in.
+
+ANNA PAVLOVNA. Who gave Jacob the order?
+
+SERVANTS' COOK. I can't say. Theodore Ivanitch has seen them.
+
+ANNA PAVLOVNA. Leonid!
+
+     [LEONID FYODORITCH does not hear, being absorbed in the search,
+      and says, Sh....
+
+ANNA PAVLOVNA. Theodore Ivanitch! What is the meaning of this? Did you
+not see me disinfecting the whole hall, and now the whole kitchen is
+infected, all the rye bread, the milk....
+
+THEODORE IVANITCH. I thought there would not be any danger if they
+came here. The men have come on business. They have far to go, and are
+from our village.
+
+ANNA PAVLOVNA. That's the worst of it! They are from the Koursk
+village, where people are dying of diphtheria like flies! But the
+chief thing is, I ordered them out of the house!... Did I, or did I
+not? (Approaches the others that have gathered round the PEASANTS.) Be
+careful! Don't touch them--they are all infected with diphtheria!
+
+     [No one heeds her, and she steps aside in a dignified manner and
+      stands quietly waiting.
+
+PETRISTCHEF (sniffs loudly). I don't know if it is diphtheria, but
+there is some kind of infection in the air. Don't you notice it?
+
+BETSY. Stop your nonsense! Vovo, which bag is it in?
+
+VASILY LEONIDITCH. That one, that one. He is getting near, very near!
+
+PETRISTCHEF. Is it spirits divine, or spirits of wine?
+
+BETSY. Now your cigarette comes in handy for once. Smoke closer,
+closer to me.
+
+     [PETRISTCHEF leans over her and smokes at her.
+
+VASILY LEONIDITCH. He's getting near, I tell you. Eh, what?
+
+GROSSMAN (searches excitedly round the THIRD PEASANT). It is here; I
+feel it is!
+
+FAT LADY. Do you feel an effluence?
+
+     [GROSSMAN stoops and finds the spoon in the bag.
+
+ALL. Bravo!
+
+     [General enthusiasm.
+
+VASILY LEONIDITCH. Ah! So that's where our spoon was. (To PEASANTS.)
+Then that's the sort you are!
+
+THIRD PEASANT. What sort? I didn't take your spoon! What are you
+making out? I didn't take it, and my soul knows nothing about it. I
+didn't take it--there! Let him do what he likes. I knew he came here
+for no good. "Where's your bag?" says he. I didn't take it, the Lord
+is my witness! (Crosses himself.) I didn't take it!
+
+     [The young people group round the PEASANT, laughing.
+
+LEONID FYODORITCH (angrily to his son). Always playing the fool! (To
+the THIRD PEASANT.) Never mind, friend! We know you did not take it;
+it was only an experiment.
+
+GROSSMAN (removes bandage from his eyes, and pretends to be coming
+to). Can I have a little water?
+
+     [All fuss round him.
+
+VASILY LEONIDITCH. Let's go straight from here into the coachman's
+room. I've got a bitch there--epatante![7]
+
+BETSY. What a horrid word! Couldn't you say dog?
+
+VASILY LEONIDITCH. No. I can't say--Betsy is a man, epatante. I should
+have to say young woman; it's a parallel case. Eh, what? Marya
+Konstantinovna, isn't it true? Good, eh?
+
+     [Laughs loudly.
+
+MARYA KONSTANTINOVNA. Well, let us go.
+
+     [Exeunt MARYA KONSTANTINOVNA, BETSY, PETRISTCHEF, and VASILY
+      LEONIDITCH.
+
+FAT LADY (to GROSSMAN). Well? how are you? Have you rested? (GROSSMAN
+does not answer. To SAHATOF.) And you, Mr. Sahatof, did you feel the
+effluence?
+
+SAHATOF. I felt nothing. Yes, it was very fine--very fine. Quite a
+success!
+
+BARONESS.--Admirable! Ca ne le fait pas souffrir? [8]
+
+LEONID FYODORITCH. Pas le moins du monde.
+
+PROFESSOR (to GROSSMAN). May I trouble you? (Hands him a thermometer.)
+At the beginning of the experiment it was 37 decimal 2 degrees. [9]
+(To DOCTOR.) That's right, I think? Would you mind feeling his pulse?
+Some loss is inevitable.
+
+DOCTOR (to GROSSMAN). Now then, sir, let's have your hand; we'll see,
+we'll see.
+
+     [Takes out his watch and feels GROSSMAN'S pulse.
+
+FAT LADY (to GROSSMAN). One moment! The condition you were in could
+not be called sleep?
+
+GROSSMAN (wearily). It was hypnosis.
+
+SAHATOF. In that case, are we to understand that you hypnotised
+yourself?
+
+GROSSMAN. And why not? An hypnotic state may ensue not only in
+consequence of association--the sound of the tom-tom, for instance, in
+Charcot's method--but by merely entering an hypnogenetic zone.
+
+SAHATOF. Granting that, it would still be desirable to define what
+hypnotism is, more exactly?
+
+PROFESSOR. Hypnotism is a phenomenon resulting from the transmutation
+of one energy into another.
+
+GROSSMAN. Charcot does not so define it.
+
+SAHATOF. A moment, just a moment! That is your definition, but
+Liebault told me himself....
+
+DOCTOR (lets go of GROSSMAN'S pulse). Ah, that's all right; well, now,
+the temperature?
+
+FAT LADY (interrupting). No, allow me! I agree with the Professor. And
+here's the very best proof. After my illness, when I lay insensible, a
+desire to speak came over me. In general I am of a silent disposition,
+but then I was overcome by this desire to speak, and I spoke and
+spoke, and I was told that I spoke in such a way that every one was
+astonished! (To SAHATOF.) But I think I interrupted you?
+
+SAHATOF (with dignity). Not at all. Pray continue.
+
+DOCTOR. Pulse 82, and the temperature has risen three-tenths of a
+degree.
+
+PROFESSOR. There you are! That's a proof! That's just as it should be.
+(Takes out pocket-book and writes.) 82, yes? And 37 and 5. When the
+hypnotic state is induced, it invariably produces a heightened action
+of the heart.
+
+DOCTOR. I can, as a medical man, bear witness that your prognosis was
+justified by the event.
+
+PROFESSOR (to SAHATOF). You were saying?...
+
+SAHATOF. I wished to say that Liebault told me himself that the
+hypnotic is only one particular psychical state, increasing
+susceptibility to suggestion.
+
+PROFESSOR. That is so, but still the law of equivalents is the chief
+thing.
+
+GROSSMAN. Moreover, Liebault is far from being an authority, while
+Charcot has studied the subject from all sides, and has proved that
+hypnotism produced by a blow, a trauma....
+
+     [All talking together--
+
+     SAHATOF. Yes, but I don't reject Charcot's labor. I know him
+     also, I am only repeating what Liebault told me...
+
+     GROSSMAN (excitedly). There are 3000 patients together in the
+     Salpetriere, and I have gone through the whole course.
+
+     PROFESSOR. Excuse me, gentlemen, but that is not the point.
+
+FAT LADY (interrupting). One moment, I will explain it to you in two
+words. When my husband was ill, all the doctors gave him up....
+
+LEONID FYODORITCH. However, we had better go upstairs again. Baroness,
+this way!
+
+     [Exeunt GROSSMAN, SAHATOF, PROFESSOR, DOCTOR, the FAT LADY, and
+      BARONESS, talking loudly and interrupting each other.
+
+ANNA PAVLOVNA (catching hold of LEONID FYODORITCH'S arm). How often
+have I asked you not to interfere in household matters! You think of
+nothing but your nonsense, and the whole house is on my shoulders. You
+will infect us all!
+
+LEONID FYODORITCH. What? How? I don't understand what you mean.
+
+ANNA PAVLOVNA. How? Why, people ill of diphtheria sleep in the
+kitchen, which is in constant communication with the whole house.
+
+LEONID FYODORITCH. Yes, but I....
+
+ANNA PAVLOVNA. What, I?
+
+LEONID FYODORITCH. I know nothing about it.
+
+ANNA PAVLOVNA. It's your duty to know, if you are the head of the
+family. Such things must not be done.
+
+LEONID FYODORITCH. But I never thought.... I thought....
+
+ANNA PAVLOVNA. It is sickening to listen to you!
+
+     [LEONID FYODORITCH remains silent.
+
+ANNA PAVLOVNA (to THEODORE IVANITCH). Turn them out at once! They are
+to leave my kitchen immediately! It is terrible! No one listens to me;
+they do it out of spite.... I turn them out from there, and they bring
+them in here! And with my illness.... (Gets more and more excited, and
+at last begins to cry.) Doctor! Doctor! Peter Petrovitch!... He's gone
+too!...
+
+     [Exit, sobbing, followed by LEONID FYODORITCH.
+
+     [All stand silent for a long time.
+
+THIRD PEASANT. Botheration take them all! If one don't mind, the
+police will be after one here. And I have never been to law in all my
+born days. Let's go to some lodging-house, lads!
+
+THEODORE IVANITCH. (to TANYA). What are we to do?
+
+TANYA. Never mind, Theodore Ivanitch, let them sleep with the
+coachman.
+
+THEODORE IVANITCH. How can we do that? The coachman was complaining as
+it is, that his place is full of dogs.
+
+TANYA. Well, then, the porter's lodge.
+
+THEODORE IVANITCH. And supposing it's found out?
+
+TANYA. It won't be found out! Don't trouble about that, Theodore
+Ivanitch. How can one turn them out now, at night? They'll not find
+anywhere to go to.
+
+THEODORE IVANITCH. Well, do as you please. Only they must go away from
+here.
+
+     [Exit.
+
+     [PEASANTS take their bags.
+
+DISCHARGED COOK. Oh those damned fiends! It's all their fat! Fiends!
+
+SERVANTS' COOK. You be quiet there. Thank goodness they didn't see
+you!
+
+TANYA. Well then, daddy, come along to the porter's lodge.
+
+FIRST PEASANT. Well, but how about our business? How, for example,
+about the applience of his hand to the signature? May we be in hopes?
+
+TANYA. We'll see in an hour's time.
+
+SECOND PEASANT. You'll do the trick?
+
+TANYA (laughs). Yes, God willing!
+
+CURTAIN
+
+
+
+
+ACT III
+
+Evening of the same day. The small drawing-room in LEONID FYODORITCH'S
+house, where the seances are always held. LEONID FYODORITCH and the
+PROFESSOR.
+
+LEONID FYODORITCH. Well then, shall we risk a seance with our new
+medium?
+
+PROFESSOR. Yes, certainly. He is a powerful medium, there is no doubt
+about it. And it is especially desirable that the seance should take
+place to-day with the same people. Grossman will certainly respond to
+the influence of the mediumistic energy, and then the connection and
+identity of the different phenomena will be still more evident. You
+will see then that, if the medium is as strong as he was just now,
+Grossman will vibrate.
+
+LEONID FYODORITCH. Then I will send for Simon and ask those who wish
+to attend to come in.
+
+PROFESSOR. Yes, all right! I will just jot down a few notes.
+
+     [Takes out his note-book and writes.
+
+     [Enter SAHATOF.
+
+SAHATOF. They have just settled down to whist in Anna Pavlovna's
+drawing-room, and as I am not wanted there--and as I am interested in
+your seance--I have put in an appearance here. But will there be a
+seance?
+
+LEONID FYODORITCH. Yes, certainly!
+
+SAHATOF. In spite of the absence of Mr. Kaptchitch's mediumistic
+powers?
+
+LEONID FYODORITCH. Vous avez la main heureuse. [10] Fancy, that very
+peasant whom I mentioned to you this morning turns out to be an
+undoubted medium.
+
+SAHATOF. Dear me! Yes, that is peculiarly interesting!
+
+LEONID FYODORITCH. Yes, we tried a few preliminary experiments with
+him just after dinner.
+
+SAHATOF. So you've had time already to experiment, and to convince
+yourself....
+
+LEONID FYODORITCH. Yes, perfectly! And he turns out to be an
+exceptionally powerful medium.
+
+SAHATOF (incredulously). Dear me!
+
+LEONID FYODORITCH. It turns out that it has long been noticed in the
+servants' hall. When he sits down to table, the spoon springs into his
+hand of its own accord! (To the PROFESSOR.) Had you heard about it?
+
+PROFESSOR. No, I had not heard that detail.
+
+SAHATOF (to the PROFESSOR). But still, you admit the possibility of
+such phenomena?
+
+PROFESSOR. What phenomena?
+
+SAHATOF. Well, spiritualistic, mediumistic, and supernatural phenomena
+in general.
+
+PROFESSOR. The question is, what do we consider supernatural? When,
+not a living man but a piece of stone attracted a nail to itself, how
+did the phenomena strike the first observers? As something natural? Or
+supernatural?
+
+SAHATOF. Well, of course; but phenomena such as the magnet attracting
+iron always repeat themselves.
+
+PROFESSOR. It is just the same in this case. The phenomenon repeats
+itself and we experiment with it. And not only that, but we apply to
+the phenomena we are investigating the laws common to other phenomena.
+These phenomena seem supernatural only because their causes are
+attributed to the medium himself. But that is where the mistake lies.
+The phenomena are not caused by the medium, but by psychic energy
+acting through a medium, and that is a very different thing. The whole
+matter lies in the law of equivalents.
+
+SAHATOF. Yes, certainly, but....
+
+     [Enter TANYA, who hides behind the hangings.
+
+LEONID FYODORITCH. Only remember that we cannot reckon on any results
+with certainty, with this medium any more than with Home or
+Kaptchitch. We may not succeed, but on the other hand we may even have
+perfect materialisation.
+
+SAHATOF. Materialisation even? What do you mean by materialisation?
+
+LEONID FYODORITCH. Why, I mean that some one who is dead--say, your
+father or your grandfather--may appear, take you by the hand, or give
+you something; or else some one may suddenly rise into the air, as
+happened to Alexey Vladimiritch last time.
+
+PROFESSOR. Of course, of course. But the chief thing is the
+explanation of the phenomena, and the application to them of general
+laws.
+
+     [Enter the FAT LADY.
+
+FAT LADY. Anna Pavlovna has allowed me to join you.
+
+LEONID FYODORITCH. Very pleased.
+
+FAT LADY. Oh, how tired Grossman seems! He could scarcely hold his
+cup. Did you notice (to the PROFESSOR) how pale he turned at the
+moment he approached the hiding-place? I noticed it at once, and was
+the first to mention it to Anna Pavlovna.
+
+PROFESSOR. Undoubtedly,--loss of vital energy.
+
+FAT LADY. Yes, it's just as I say, one should not abuse that sort of
+thing. You know, a hypnotist once suggested to a friend of mine, Vera
+Konshin (oh, you know her, of course)--well, he suggested that she
+should leave off smoking,--and her back began to ache!
+
+PROFESSOR (trying to have his say). The temperature and the pulse
+clearly indicate....
+
+FAT LADY. One moment! Allow me! Well, I said to her: it's better to
+smoke than to suffer so with one's nerves. Of course, smoking is
+injurious; I should like to give it up myself, but, do what I will, I
+can't! Once I managed not to smoke for a fortnight, but could hold out
+no longer.
+
+PROFESSOR (again trying to speak). Clearly proves....
+
+FAT LADY. Yes, no! Allow me, just one word! You say, "loss of
+strength." And I was also going to say that, when I travelled with
+post-horses ... the roads used to be dreadful in those days--you
+don't remember--but I have noticed that all our nervousness comes from
+railways! I, for instance, can't sleep while travelling; I cannot fall
+asleep to save my life!
+
+PROFESSOR (makes another attempt, which the FAT LADY baffles). The
+loss of strength....
+
+SAHATOF (smiling). Yes; oh yes!
+
+     [LEONID FYODORITCH rings.
+
+FAT LADY. I am awake one night, and another, and a third, and still I
+can't sleep!
+
+     [Enter GREGORY.
+
+LEONID FYODORITCH. Please tell Theodore to get everything ready for
+the seance, and send Simon here--Simon, the butler's assistant,--do
+you hear?
+
+GREGORY. Yes, sir.
+
+     [Exit.
+
+PROFESSOR (to SAHATOF). The observation of the temperature and the
+pulse have shown loss of vital energy. The same will happen in
+consequence of the mediumistic phenomena. The law of the conservation
+of energy....
+
+FAT LADY. Oh yes, yes; I was just going to say that I am very glad
+that a simple peasant turns out to be a medium. That's very good. I
+always did say that the Slavophils....
+
+LEONID FYODORITCH. Let's go into the drawing-room in the meantime.
+
+FAT LADY. Allow me, just one word! The Slavophils are right; but I
+always told my husband that one ought never to exaggerate anything!
+"The golden mean," you know. What is the use of maintaining that the
+common people are all perfect, when I have myself seen....
+
+LEONID FYODORITCH. Won't you come into the drawing-room?
+
+FAT LADY. A boy--that high--who drank! I gave him a scolding at once.
+And he was grateful to me afterwards. They are children, and, as I
+always say, children need both love and severity!
+
+     [Exeunt all, all talking together.
+
+     [TANYA enters from behind the hangings.
+
+TANYA. Oh, if it would only succeed!
+
+     [Begins fastening some threads.
+
+     [Enter BETSY hurriedly.
+
+BETSY. Isn't papa here? (Looks inquiringly at TANYA.) What are you
+doing here?
+
+TANYA. Oh, Miss Elizabeth, I have only just come; I only wished ...
+only came in....
+
+     [Embarrassed.
+
+BETSY. But they are going to have a seance here directly (Notices
+TANYA drawing in the threads, looks at her, and suddenly bursts out
+laughing.) Tanya! Why, it's you who do it all? Now don't deny it. And
+last time it was you too? Yes, it was, it was!
+
+TANYA. Miss Elizabeth, dearest!
+
+BETSY (delighted). Oh, that is a joke! Well, I never. But why do you
+do it?
+
+TANYA. Oh miss, dear miss, don't betray me!
+
+BETSY. Not for the world! I'm awfully glad. Only tell me how you
+manage it?
+
+TANYA. Well, I just hide, and then, when it's all dark, I come out and
+do it. That's how.
+
+BETSY (pointing to threads). And what is this for? You needn't tell
+me. I see; you draw....
+
+TANYA. Miss Elizabeth, darling! I will confess it, but only to you. I
+used to do it just for fun, but now I mean business.
+
+BETSY. What? How? What business?
+
+TANYA. Well, you see, those peasants that came this morning, you saw
+them. They want to buy some land, and your father won't sell it; well,
+and Theodore Ivanitch, he says it's the spirits as forbid him. So I
+have had a thought as....
+
+BETSY. Oh, I see! Well, you are a clever girl! Do it, do it.... But
+how will you manage it?
+
+TANYA. Well, I thought, when they put out the lights, I'll at once
+begin knocking and shying things about, touching their heads with the
+threads, and at last I'll take the paper about the land and throw it
+on the table. I've got it here.
+
+BETSY. Well, and then?
+
+TANYA. Why, don't you see? They will be astonished. The peasants had
+the paper, and now it's here. I will teach....
+
+BETSY. Why, of course! Simon is the medium to-day!
+
+TANYA. Well, I'll teach him.... (Laughs so that she can't continue.)
+I'll tell him to squeeze with his hands any one he can get hold of! Of
+course, not your father--he'd never dare do that--but any one else;
+he'll squeeze till it's signed.
+
+BETSY (laughing). But that's not the way it is done. Mediums never do
+anything themselves.
+
+TANYA. Oh, never mind. It's all one; I daresay it'll turn out all
+right.
+
+     [Enter THEODORE IVANITCH.
+
+     [Exit BETSY, making signs to TANYA.
+
+THEODORE IVANITCH. Why are you here?
+
+TANYA. It's you I want, Theodore Ivanitch, dear....
+
+THEODORE IVANITCH. Well, what is it?
+
+TANYA. About that affair of mine as I spoke of.
+
+THEODORE IVANITCH (laughs). I've made the match; yes, I've made the
+match. The matter is settled; we have shaken hands on it, only not had
+a drink on it.
+
+TANYA (with a shriek). Never! So it's all right?
+
+THEODORE IVANITCH. Don't I tell you so? He says, "I shall consult the
+missus, and then, God willing...."
+
+TANYA. Is that what he said? (Shrieks.) Dear Theodore Ivanitch, I'll
+pray for you all the days of my life!
+
+THEODORE IVANITCH. All right! All right! Now is not the time. I've
+been ordered to arrange the room for the seance.
+
+TANYA. Let me help you. How's it to be arranged?
+
+THEODORE IVANITCH. How? Why, the table in the middle of the room--
+chairs--the guitar--the accordion. The lamp is not wanted, only
+candles.
+
+TANYA (helps THEODORE IVANITCH to place the things). Is that right?
+The guitar here, and here the inkstand. (Places it.) So?
+
+THEODORE IVANITCH. Can it be true that they'll make Simon sit here?
+
+TANYA. I suppose so; they've done it once.
+
+THEODORE IVANITCH. Wonderful! (Puts on his pince-nez.) But is he
+clean?
+
+TANYA. How should I know?
+
+THEODORE IVANITCH. Then, I'll tell you what....
+
+TANYA. Yes, Theodore Ivanitch?
+
+THEODORE IVANITCH. Go and take a nail-brush and some Pears' soap; you
+may take mine ... and go and cut his claws and scrub his hands as
+clean as possible.
+
+TANYA. He can do it himself.
+
+THEODORE IVANITCH. Well then, tell him to. And tell him to put on a
+clean shirt as well.
+
+TANYA. All right, Theodore Ivanitch.
+
+     [Exit.
+
+THEODORE IVANITCH (sits down in an easy-chair). They're educated and
+learned--Alexey Vladimiritch now, he's a professor--and yet sometimes
+one can't help doubting very much. The people's rude superstitions are
+being abolished: hobgoblins, sorcerers, witches.... But if one
+considers it, is not this equally superstitious? How is it possible
+that the souls of the dead should come and talk, and play the guitar?
+No! Some one is fooling them, or they are fooling themselves. And as
+to this business with Simon--it's simply incomprehensible. (Looks at
+an album.) Here's their spiritualistic album. How is it possible to
+photograph a spirit? But here is the likeness of a Turk and Leonid
+Fyodoritch sitting by.... Extraordinary human weakness!
+
+     [Enter LEONID FYODORITCH.
+
+LEONID FYODORITCH. Is it all ready?
+
+THEODORE IVANITCH (rising leisurely). Quite ready. (Smiles.) Only I
+don't know about your new medium. I hope he won't disgrace you, Leonid
+Fyodoritch.
+
+LEONID FYODORITCH. No, I and Alexey Vladimiritch have tested him. He
+is a wonderfully powerful medium!
+
+THEODORE IVANITCH. Well, I don't know. But is he clean enough? I don't
+suppose you have thought of ordering him to wash his hands? It might
+be rather inconvenient.
+
+LEONID FYODORITCH. His hands? Oh yes! They're not clean, you think?
+
+THEODORE IVANITCH. What can you expect? He's a peasant, and there will
+be ladies present, and Marya Vasilevna.
+
+LEONID FYODORITCH. It will be all right.
+
+THEODORE IVANITCH. And then I have something to report to you.
+Timothy, the coachman, complains that he can't keep things clean
+because of the dogs.
+
+LEONID FYODORITCH (arranging the things on the table absentmindedly).
+What dogs?
+
+THEODORE IVANITCH. The three hounds that came for Vasily Leoniditch
+to-day.
+
+LEONID FYODORITCH (vexed). Tell Anna Pavlovna! She can do as she likes
+about it. I have no time.
+
+THEODORE IVANITCH. But you know her weakness....
+
+LEONID FYODORITCH. 'Tis just as she likes, let her do as she pleases.
+As for him,--one never gets anything but unpleasantness from him.
+Besides, I am busy.
+
+     [Enter SIMON, smiling; he has a sleeveless peasant's coat on.
+
+SIMON. I was ordered to come.
+
+LEONID FYODORITCH. Yes, it's all right. Let me see your hands. That
+will do, that will do very well! Well, then, my good fellow, you must
+do just as you did before,--sit down, and give way to your mood. But
+don't think at all.
+
+SIMON. Why should I think? The more one thinks, the worse it is.
+
+LEONID FYODORITCH. Just so, just so, exactly! The less conscious one
+is, the greater is the power. Don't think, but give in to your mood.
+If you wish to sleep, sleep; if you wish to walk, walk. Do you
+understand?
+
+SIMON. How could one help understanding? It's simple enough.
+
+LEONID FYODORITCH. But above all, don't be frightened. Because you
+might be surprised yourself. You must understand that just as we live
+here, so a whole world of invisible spirits live here also.
+
+THEODORE IVANITCH (improving on what LEONID FYODORITCH has said).
+Invisible feelings, do you understand?
+
+SIMON (laughs). How can one help understanding! It's very plain as you
+put it.
+
+LEONID FYODORITCH. You may rise up in the air, or something of the
+kind, but don't be frightened.
+
+SIMON. Why should I be frightened? That won't matter at all.
+
+LEONID FYODORITCH. Well then, I'll go and call them all.... Is
+everything ready?
+
+THEODORE IVANITCH. I think so.
+
+LEONID FYODORITCH. But the slates?
+
+THEODORE IVANITCH. They are downstairs. I'll bring them.
+
+     [Exit.
+
+LEONID FYODORITCH. All right then. So don't be afraid, but be at your
+ease.
+
+SIMON. Had I not better take off my coat? One would be more easy like.
+
+LEONID FYODORITCH. Your coat? Oh no. Don't take that off.
+
+     [Exit.
+
+SIMON. She tells me to do the same again, and she will again shy
+things about. How isn't she afraid?
+
+     [Enter TANYA in her stockings and in a dress of the color of the
+      wall-paper. SIMON laughs.
+
+TANYA. Shsh!... They'll hear! There, stick these matches on your
+fingers as before. (Sticks them on.) Well, do you remember everything?
+
+SIMON (bending his fingers in, one by one). First of all, wet the
+matches and wave my hands about, that's one. Then make my teeth
+chatter, like this ... that's two. But I've forgotten the third thing.
+
+TANYA. And it's the third as is the chief thing. Don't forget as soon
+as the paper falls on the table--I shall ring the little bell--then
+you do like this.... Spread your arms out far and catch hold of some
+one, whoever it is as sits nearest, and catch hold of him. And then
+squeeze! (Laughs.) Whether it's a gentleman or a lady, it's all one,
+you just squeeze 'em, and don't let 'em go,--as if it were in your
+sleep, and chatter with your teeth, or else howl like this. (Howls
+sotto-voce.) And when I begin to play on the guitar, then stretch
+yourself as if you were waking up, you know.... Will you remember
+everything?
+
+SIMON. Yes, I'll remember, but it is too funny.
+
+TANYA. But mind you don't laugh. Still, it won't matter much if you do
+laugh; they'd think it was in your sleep. Only take care you don't
+really fall asleep when they put out the lights.
+
+SIMON. No fear, I'll pinch my ears.
+
+TANYA. Well, then, Sim, darling, only mind do as I tell you, and don't
+get frightened. He'll sign the paper, see if he don't! They're coming!
+
+     [Gets under the sofa.
+
+     [Enter GROSSMAN and the PROFESSOR, LEONID FYODORITCH and the FAT
+      LADY, the DOCTOR, SAHATOF and ANNA PAVLOVNA. SIMON stands near
+      the door.
+
+LEONID FYODORITCH. Please come in, all you doubters! Though we have a
+new and accidentally discovered medium, I expect very important
+phenomena to-night.
+
+SAHATOF. That's very, very interesting.
+
+FAT LADY (pointing to SIMON). Mais il est tres bien! [11]
+
+ANNA PAVLOVNA. Yes, as a butler's assistant, but hardly....
+
+SAHATOF. Wives never have any faith in their husbands' work. You don't
+believe in anything of this kind?
+
+ANNA PAVLOVNA. Of course not. Kaptchitch, it is true, has something
+exceptional about him, but Heaven knows what all this is about!
+
+FAT LADY. No, Anna Pavlovna, permit me, you can't decide it in such a
+way. Before I was married, I once had a remarkable dream. Dreams, you
+know, are often such that you don't know where they begin and where
+they end; it was just such a dream that I....
+
+     [Enter VASILY LEONIDITCH and PETRISTCHEF.
+
+FAT LADY. And much was revealed to me by that dream. Nowadays the
+young people (points to PETRISTCHEF and VASILY LEONIDITCH) deny
+everything.
+
+VASILY LEONIDITCH. But look here, you know--now I, for instance, never
+deny anything! Eh, what?
+
+     [BETSY and MARYA KONSTANTINOVNA enter, and begin talking to
+      PETRISTCHEF.
+
+FAT LADY. And how can one deny the supernatural? They say it is
+unreasonable. But what if one's reason is stupid; what then? There
+now, on Garden Street, you know ... why, well, it appeared every
+evening! My husband's brother--what do you call him? Not beau-frere--
+what's the other name for it?--I never can remember the names of these
+different relationships--well, he went there three nights running, and
+still he saw nothing; so I said to him....
+
+LEONID FYODORITCH. Well, who is going to stay here?
+
+FAT LADY. I! I!
+
+SAHATOF. I.
+
+ANNA PAVLOVNA (to DOCTOR). Do you mean to say you are going to stay?
+
+DOCTOR. Yes; I must see, if only once, what it is that Alexey
+Vladimiritch has discovered in it. How can we deny anything without
+proof?
+
+ANNA PAVLOVNA. Then I am to take it to-night for certain?
+
+DOCTOR. Take what?... Oh, the powder. Yes, it would perhaps be better.
+Yes, yes, take it.... However, I shall come upstairs again.
+
+ANNA PAVLOVNA. Yes, please do. (Loud.) When it is over, mesdames et
+messieurs, I shall expect you to come to me upstairs to rest from your
+emotions, and then we will finish our rubber.
+
+FAT LADY. Oh, certainly.
+
+SAHATOF. Yes, thanks!
+
+     [Exit ANNA PAVLOVNA.
+
+BETSY (to PETRISTCHEF). You must stay, I tell you. I promise you
+something extraordinary. Will you bet?
+
+MARYA KONSTANTINOVNA. But you don't believe in it?
+
+BETSY. To-day I do.
+
+MARYA KONSTANTINOVNA (to PETRISTCHEF). And do you believe?
+
+PETRISTCHEF. "I can't believe, I cannot trust a heart for falsehood
+framed." Still, if Elizabeth Leonidovna commands....
+
+VASILY LEONIDITCH. Let us stay, Marya Konstantinovna. Eh, what? I
+shall invent something epatant.
+
+MARYA KONSTANTINOVNA. No, you mustn't make me laugh. You know I can't
+restrain myself.
+
+VASILY LEONIDITCH (loud). I remain!
+
+LEONID FYODORITCH (severely). But I beg those who remain not to joke
+about it. It is a serious matter.
+
+PETRISTCHEF. Do you hear? Well then, let's stay. Vovo, sit here, and
+don't be too shy.
+
+BETSY. Yes, it's all very well for you to laugh; but just wait till
+you see what will happen.
+
+VASILY LEONIDITCH. Oh, but supposing it's true? Won't it be a go! Eh,
+what?
+
+PETRISTCHEF (trembles). Oh, I'm afraid, I'm afraid! Marya
+Konstantinovna, I'm afraid! My tootsies tremble.
+
+BETSY (laughing). Not so loud.
+
+     [All sit down.
+
+LEONID FYODORITCH. Take your seats, take your seats. Simon, sit down!
+
+SIMON. Yes, sir.
+
+     [Sits down on the edge of the chair.
+
+LEONID FYODORITCH. Sit properly.
+
+PROFESSOR. Sit straight in the middle of the chair, and quite at your
+ease.
+
+     [Arranges SIMON on his chair.
+
+     [BETSY, MARYA KONSTANTINOVNA and VASILY LEONIDITCH laugh.
+
+LEONID FYODORITCH (raising his voice). I beg those who are going to
+remain here not to behave frivolously, but to regard this matter
+seriously, or bad results might follow. Do you hear, Vovo! If you
+can't be quiet, go away!
+
+VASILY LEONIDITCH. Quiet, quiet!
+
+     [Hides behind FAT LADY.
+
+LEONID FYODORITCH. Alexey Vladimiritch, will you mesmerise him?
+
+PROFESSOR. No; why should I do it when Anton Borisitch is here? He has
+had far more practice and has more power in that department than I ...
+Anton Borisitch!
+
+GROSSMAN. Ladies and gentlemen, I am not, strictly speaking, a
+spiritualist. I have only studied hypnotism. It is true I have studied
+hypnotism in all its known manifestations; but what is called
+spiritualism, is entirely unknown to me. When a subject is thrown into
+a trance, I may expect the hypnotic phenomena known to me: lethargy,
+abulia, anaesthesia, analgesia, catalepsy, and every kind of
+susceptibility to suggestion. Here it is not these but other phenomena
+we expect to observe. Therefore it would be well to know of what kind
+are the phenomena we expect to witness, and what is their scientific
+significance.
+
+SAHATOF. I thoroughly agree with Mr. Grossman. Such an explanation
+would be very interesting.
+
+LEONID FYODORITCH. I think Alexey Vladimiritch will not refuse to give
+us a short explanation.
+
+PROFESSOR. Why not? I can give an explanation if it is desired. (To
+the DOCTOR.) Will you kindly note his temperature and pulse? My
+explanation must, of necessity, be cursory and brief.
+
+LEONID FYODORITCH. Yes, please; briefly, quite briefly.
+
+DOCTOR. All right. (Takes out thermometer.) Now then, my lad....
+
+     [Places the thermometer.
+
+SIMON. Yes, sir!
+
+PROFESSOR (rising and addressing the FAT LADY--then reseating
+himself). Ladies and gentlemen! The phenomenon we are investigating
+to-night is regarded, on the one hand, as something new; and, on the
+other, as something transcending the limits of natural conditions.
+Neither view is correct. This phenomenon is not new but is as old as
+the world; and it is not supernatural but is subject to the eternal
+laws that govern all that exists. This phenomenon has been usually
+defined as "intercourse with the spirit world." That definition is
+inexact. Under such a definition the spirit world is contrasted with
+the material world. But this is erroneous; there is no such contrast!
+Both worlds are so closely connected that it is impossible to draw a
+line of demarcation, separating the one from the other. We say matter
+is composed of molecules....
+
+PETRISTCHEF. Prosy matter!
+
+     [Whispering and laughter.
+
+PROFESSOR (pauses, then continues). Molecules are composed of atoms,
+but the atoms, having no extension, are in reality nothing but the
+points of application of forces. Strictly speaking, not of forces but
+of energy, that same energy which is as much a unity and just as
+indestructible as matter. But matter, though one, has many different
+aspects, and the same is true of energy. Till recently only four forms
+of energy, convertible into one another, have been known to us:
+energies known as the dynamic, the thermal, the electric, and the
+chemic. But these four aspects of energy are far from exhausting all
+the varieties of its manifestation. The forms in which energy may
+manifest itself are very diverse, and it is one of these new and as
+yet but little known phases of energy, that we are investigating
+to-night. I refer to mediumistic energy.
+
+     [Renewed whispering and laughter among the young people.
+
+PROFESSOR (stops and casts a severe look round). Mediumistic energy
+has been known to mankind for ages: prophecy, presentiments, visions
+and so on, are nothing but manifestations of mediumistic energy. The
+manifestations produced by it have, I say, been known to mankind for
+ages. But the energy itself has not been recognised as such till quite
+recently--not till that medium, the vibrations of which cause the
+manifestations of mediumistic energy, was recognised. In the same way
+that the phenomena of light were inexplicable until the existence of
+an imponderable substance--an ether--was recognised, so mediumistic
+phenomena seemed mysterious until the now fully established fact was
+recognised, that between the particles of ether there exists another
+still more rarefied imponderable substance not subject to the law of
+the three dimensions....
+
+     [Renewed laughter, whispers, and giggling.
+
+PROFESSOR (again looks round severely). And just as mathematical
+calculations have irrefutably proved the existence of imponderable
+ether which gives rise to the phenomena of light and electricity, so
+the successive investigations of the ingenious Hermann, of Schmidt,
+and of Joseph Schmatzhofen, have confirmed beyond a doubt the
+existence of a substance which fills the universe and may be called
+spiritual ether.
+
+FAT LADY. Ah, now I understand. I am so grateful....
+
+LEONID FYODORITCH. Yes, but Alexey Vladimiritch, could you not ...
+condense it a little?
+
+PROFESSOR (not heeding the remark). And so, as I have just had the
+honor of mentioning to you, a succession of strictly scientific
+experiments have made plain to us the laws of mediumistic phenomena.
+These experiments have proved that, when certain individuals are
+plunged into a hypnotic state (a state differing from ordinary sleep
+only by the fact that man's physiological activity is not lowered by
+the hypnotic influence but, on the contrary, is always heightened--as
+we have recently witnessed), when, I say, any individual is plunged
+into such a state, this always produces certain perturbations in the
+spiritual ether--perturbations quite similar to those produced by
+plunging a solid body into liquid matter. These perturbations are what
+we call mediumistic phenomena....
+
+     [Laughter and whispers.
+
+SAHATOF. That is quite comprehensible and correct; but if, as you are
+kind enough to inform us, the plunging of the medium into a trance
+produces perturbations of the spiritual ether, allow me to ask why (as
+is usually supposed to be the case in spiritualistic seances) these
+perturbations result in an activity on the part of the souls of dead
+people?
+
+PROFESSOR. It is because the molecules of this spiritual ether are
+nothing but the souls of the living, the dead, and the unborn, and any
+vibration of the spiritual ether must inevitably cause a certain
+vibration of its atoms. These atoms are nothing but human souls, which
+enter into communication with one another by means of these movements.
+
+FAT LADY (to SAHATOF). What is it that puzzles you? It is so
+simple.... Thank you so, so much!
+
+LEONID FYODORITCH. I think everything has now been explained, and that
+we may commence.
+
+DOCTOR. The fellow is in a perfectly normal condition: temperature 37
+decimal 2, pulse 74.
+
+PROFESSOR (takes out his pocket-book and notes this down). What I have
+just had the honor of explaining will be confirmed by the fact, which
+we shall presently have an opportunity of observing, that after the
+medium has been thrown into a trance his temperature and pulse will
+inevitably rise, just as occurs in cases of hypnotism.
+
+LEONID FYODORITCH. Yes, yes. But excuse me a moment. I should like to
+reply to Sergey Ivanitch's question: How do we know we are in
+communication with the souls of the dead? We know it because the
+spirit that appears, plainly tells us--as simply as I am speaking to
+you--who he is, and why he has come, and whether all is well with him!
+At our last seance a Spaniard, Don Castillos, came to us, and he told
+us everything. He told us who he was, and when he died, and that he
+was suffering for having taken part in the Inquisition. He even told
+us what was happening to him at the very time that he was speaking to
+us, namely, that at the very time he was talking to us he had to be
+born again on earth, and, therefore, could not continue his
+conversation with us.... But you'll see for yourselves....
+
+FAT LADY (interrupting). Oh, how interesting! Perhaps the Spaniard was
+born in one of our houses and is a baby now!
+
+LEONID FYODORITCH. Quite possibly.
+
+PROFESSOR. I think it is time we began.
+
+LEONID FYODORITCH. I was only going to say....
+
+PROFESSOR. It is getting late.
+
+LEONID FYODORITCH. Very well. Then we will commence. Anton Borisitch,
+be so good as to hypnotize the medium.
+
+GROSSMAN. What method would you like me to use? There are several
+methods. There is Braid's system, there is the Egyptian symbol, and
+there is Charcot's system.
+
+LEONID FYODORITCH (to the PROFESSOR). I think it is quite immaterial.
+
+PROFESSOR. Quite.
+
+GROSSMAN. Then I will make use of my own method, which I showed in
+Odessa.
+
+LEONID FYODORITCH. If you please!
+
+     [GROSSMAN waves his arms above SIMON. SIMON closes his eyes and
+      stretches himself.
+
+GROSSMAN (looking closely at him). He is falling asleep! He is asleep!
+A remarkably rapid occurrence of hypnosis. The subject has evidently
+already reached a state of anaesthesia. He is remarkable,--an
+unusually impressionable subject, and might be subjected to
+interesting experiments!... (Sits down, rises, sits down again.) Now
+one might run a needle into his arm. If you like....
+
+PROFESSOR (to LEONID FYODORITCH). Do you notice how the medium's
+trance acts on Grossman? He is beginning to vibrate.
+
+LEONID FYODORITCH. Yes, yes ... can the lights be extinguished now?
+
+SAHATOF. But why is darkness necessary?
+
+PROFESSOR. Darkness? Because it is a condition of the manifestation of
+mediumistic energy, just as a given temperature is a condition
+necessary for certain manifestations of chemical or dynamic energy.
+
+LEONID FYODORITCH. But not always. Manifestations have been observed
+by me, and by many others, both by candlelight and daylight.
+
+PROFESSOR (interrupting). May the lights be put out?
+
+LEONID FYODORITCH. Yes, certainly. (Puts out candles.) Ladies and
+gentlemen! attention, if you please.
+
+     [TANYA gets from under the sofa and takes hold of a thread tied
+      to a chandelier.
+
+PETRISTCHEF. I like that Spaniard! Just in the midst of a
+conversation--off he goes head downwards ... as the French say: piquer
+une tete. [12]
+
+BETSY. You just wait a bit, and see what will happen!
+
+PETRISTCHEF. I have only one fear, and that is that Vovo may be moved
+by the spirit to grunt like a pig!
+
+VASILY LEONIDITCH. Would you like me to? I will....
+
+LEONID FYODORITCH. Gentlemen! Silence, if you please!
+
+     [Silence. SIMON licks the matches on his fingers and rubs his
+      knuckles with them. Leonid Fyodoritch. A light! Do you see the
+      light?
+
+SAHATOF. A light? Yes, yes, I see; but allow me....
+
+FAT LADY. Where? Where? Oh, dear, I did not see it! Ah, there it is.
+Oh!...
+
+PROFESSOR (whispers to LEONID FYODORITCH, and points to GROSSMAN, who
+is moving). Do you notice how he vibrates? It is the dual influence.
+
+     [The light appears again.
+
+LEONID FYODORITCH (to the PROFESSOR). It must be he--you know!
+
+SAHATOF. Who?
+
+LEONID FYODORITCH. A Greek, Nicholas. It is his light. Don't you think
+so, Alexey Vladimiritch?
+
+SAHATOF. Who is this Greek, Nicholas?
+
+PROFESSOR. A certain Greek, who was a monk at Constantinople under
+Constantine and who has been visiting us lately.
+
+FAT LADY. Where is he? Where is he? I don't see him.
+
+LEONID FYODORITCH. He is not yet visible ... Alexey Vladimiritch, he
+is particularly well disposed towards you. You question him.
+
+PROFESSOR (in a peculiar voice). Nicholas! Is that you?
+
+     [TANYA raps twice on the wall.
+
+LEONID FYODORITCH (joyfully). It is he! It is he!
+
+FAT LADY. Oh, dear! Oh! I shall go away!
+
+SAHATOF. Why do you suppose it is he?
+
+LEONID FYODORITCH. Why, the two knocks. It is an affirmative answer;
+else all would have been silence.
+
+     [Silence. Suppressed giggling in the young people's corner.
+      TANYA throws a lampshade, pencil and penwiper upon the table.
+
+LEONID FYODORITCH (whispers). Do you notice, gentlemen, here is a
+lamp-shade, and something else--a pencil!... Alexey Vladimiritch, it
+is a pencil!
+
+PROFESSOR. All right, all right! I am watching both him and Grossman!
+
+     [GROSSMAN rises and feels the things that have fallen on the table.
+
+SAHATOF. Excuse me, excuse me! I should like to see whether it is not
+the medium who is doing it all himself?
+
+LEONID FYODORITCH. Do you think so? Well, sit by him and hold his
+hands. But you may be sure he is asleep.
+
+SAHATOF (approaches, TANYA lets a thread touch his head. He is
+frightened, and stoops). Ye ... ye ... yes! Strange, very strange!
+
+     [Takes hold of SIMON'S elbow. SIMON howls.
+
+PROFESSOR (to LEONID FYODORITCH). Do you notice the effect of
+Grossman's presence? It is a new phenomenon--I must note it....
+
+     [Runs out to note it down, and returns again.
+
+LEONID FYODORITCH. Yes.... But we cannot leave Nicholas without an
+answer. We must begin....
+
+GROSSMAN (rises, approaches Simon and raises and lowers his arm). It
+would be interesting to produce contraction! The subject is in
+profound hypnosis.
+
+PROFESSOR (to LEONID FYODORITCH). Do you see? Do you see?
+
+GROSSMAN. If you like....
+
+DOCTOR. Now then, my dear sir, leave the management to Alexey
+Vladimiritch; the affair is turning out serious.
+
+PROFESSOR. Leave him alone, he (referring to GROSSMAN) is talking in
+his sleep!
+
+FAT LADY. How glad I now am that I resolved to be present! It is
+frightening, but all the same I am glad, for I always said to my
+husband....
+
+LEONID FYODORITCH. Silence, if you please.
+
+     [TANYA draws a thread over the FAT LADY'S head.
+
+FAT LADY. Aie!
+
+LEONID FYODORITCH. What? What is it?
+
+FAT LADY. He took hold of my hair!
+
+LEONID FYODORITCH (whispers). Never mind, don't be afraid, give him
+your hand. His hand will be cold, but I like it.
+
+FAT LADY (hides her hands). Not for the world!
+
+SAHATOF. Yes, it is strange, very strange!
+
+LEONID FYODORITCH. He is here and is seeking for intercourse. Who
+wishes to put a question to him?
+
+SAHATOF. I should like to put a question, if I may.
+
+PROFESSOR. Please do.
+
+SAHATOF. Do I believe or not?
+
+     [TANYA knocks twice.
+
+PROFESSOR. The answer is affirmative.
+
+SAHATOF. Allow me to ask again. Have I a ten rouble note in my pocket?
+
+     [TANYA knocks several times and passes a thread over SAHATOF'S head.
+
+SAHATOF. Ah!
+
+     [Seizes the thread and breaks it.
+
+PROFESSOR. I should ask those present not to ask indefinite or trivial
+questions. It is unpleasant to him!
+
+SAHATOF. No, but allow me! Here I have a thread in my hand!
+
+LEONID FYODORITCH. A thread? Hold it fast; that happens often, and not
+only threads but sometimes even silk cords--very ancient ones!
+
+SAHATOF. No--but where did this thread come from?
+
+     [TANYA throws a cushion at him.
+
+SAHATOF. Wait a bit; wait! Something soft has hit me on the head.
+Light a candle--there is something....
+
+PROFESSOR. We beg of you not to interrupt the manifestations.
+
+FAT LADY. For goodness' sake, don't interrupt! I should also like to
+ask something. May I?
+
+LEONID FYODORITCH. Yes, if you like.
+
+FAT LADY. I should like to ask about my digestion. May I? I want to
+know what to take: aconite or belladonna?
+
+     [Silence, whispers among the young people; suddenly VASILY
+      LEONIDITCH begins to cry like a baby: "ou-a, ou-a!" (Laughter.)
+      Holding their mouths and noses, the girls and PETRISTCHEF run
+      away bursting with laughter.
+
+FAT LADY. Ah, that must be the monk who's been born again!
+
+LEONID FYODORITCH (beside himself with anger, whispers). One gets
+nothing but tomfoolery from you! If you don't know how to behave
+decently, go away!
+
+     [Exit VASILY LEONIDITCH. Darkness and silence.
+
+FAT LADY. Oh, what a pity! Now one can't ask any more! He is born!
+
+LEONID FYODORITCH. Not at all. It is only Vovo's nonsense. But he is
+here. Ask him.
+
+PROFESSOR. That often happens. These jokes and ridicule are quite
+usual occurrences. I expect he is still here. But we may ask. Leonid
+Fyodoritch, will you?
+
+LEONID FYODORITCH. No, you, if you please. This has upset me. So
+unpleasant! Such want of tact!...
+
+PROFESSOR. Very well.... Nicholas, are you here?
+
+     [TANYA raps twice and rings. SIMON roars, spreads his arms out,
+      seizes SAHATOF and the PROFESSOR--squeezing them.
+
+PROFESSOR. What an unexpected phenomenon! The medium himself reacted
+upon! This never happened before! Leonid Fyodoritch, will you watch?
+It is difficult for me to do so. He squeezes me so! Mind you observe
+GROSSMAN! This needs the very greatest attention!
+
+     [TANYA throws the PEASANTS' paper on the table.
+
+LEONID FYODORITCH. Something has fallen upon the table.
+
+PROFESSOR. See what it is!
+
+LEONID FYODORITCH. Paper! A folded paper!
+
+     [TANYA throws a travelling inkstand on the table.
+
+LEONID FYODORITCH. An inkstand!
+
+     [TANYA throws a pen.
+
+LEONID FYODORITCH. A pen!
+
+     [SIMON roars and squeezes.
+
+PROFESSOR (crushed). Wait a bit, wait: a totally new manifestation!
+The action proceeding not from the mediumistic energy produced, but
+from the medium himself! However, open the inkstand, and put the pen
+on the table, and he will write!
+
+     [TANYA goes behind LEONID FYODORITCH and strikes him on the head
+      with the guitar.
+
+LEONID FYODORITCH. He has struck me on the head! (Examining table.)
+The pen is not writing yet and the paper remains folded.
+
+PROFESSOR. See what the paper is, and quickly; evidently the dual
+influence--his and Grossman's--has produced a perturbation!
+
+LEONID FYODORITCH (goes out and returns at once). Extraordinary! This
+paper is an agreement with some peasants that I refused to sign this
+morning and returned to the peasants. Probably he wants me to sign it?
+
+PROFESSOR. Of course! Of course! But ask him.
+
+LEONID FYODORITCH. Nicholas, do you wish....
+
+     [TANYA knocks twice.
+
+PROFESSOR. Do you hear? It is quite evident!
+
+     [LEONID FYODORITCH takes the paper and pen and goes out. TANYA
+      knocks, plays on the guitar and the accordion, and then creeps
+      under the sofa. LEONID FYODORITCH returns. SIMON stretches
+      himself and coughs.
+
+LEONID FYODORITCH. He is waking up. We can light the candles.
+
+PROFESSOR (hurriedly). Doctor, Doctor, please, his pulse and
+temperature! You will see that a rise of both will be apparent.
+
+LEONID FYODORITCH (lights the candles). Well, what do you gentlemen
+who were sceptical think of it now?
+
+DOCTOR (goes up to SIMON and places thermometer). Now then my lad.
+Well, have you had a nap? There, put that in there, and give me your
+hand.
+
+     [Looks at his watch.
+
+SAHATOF (shrugging his shoulders). I must admit that all that has
+occurred cannot have been done by the medium. But the thread?... I
+should like the thread explained.
+
+LEONID FYODORITCH. A thread! A thread! We have been witnessing
+manifestations more important than a thread.
+
+SAHATOF. I don't know. At all events, je reserve mon opinion.
+
+FAT LADY (to SAHATOF). Oh, no, how can you say: "je reserve mon
+opinion"? And the infant with the little wings? Didn't you see? At
+first I thought it was only an illusion, but afterwards it became
+clearer and clearer, like a live....
+
+SAHATOF. I can only speak of what I have seen. I did not see that--
+nothing of the kind.
+
+FAT LADY. You don't mean to say so? Why, it was quite plainly visible!
+And to the left there was a monk clothed in black bending over it....
+
+SAHATOF (moves away. Aside). What exaggeration!
+
+FAT LADY (addressing the DOCTOR). You must have seen it! It rose up
+from your side.
+
+     [DOCTOR goes on counting the pulse without heeding her.
+
+FAT LADY (to GROSSMAN). And that light, the light around it,
+especially around its little face! And the expression so mild and
+tender, something so heavenly!
+
+     [Smiles tenderly herself.
+
+GROSSMAN. I saw phosphorescent light, and objects changed their
+places, but I saw nothing more than that.
+
+FAT LADY. Don't tell me! You don't mean it! It is simply that you
+scientists of Charcot's school do not believe in a life beyond the
+grave! As for me, no one could now make me disbelieve in a future
+life--no one in the world!
+
+     [GROSSMAN moves away from her.
+
+FAT LADY. No, no, whatever you may say, this is one of the happiest
+moments of my life! When I heard Sarasate play, and now.... Yes! (No
+one listens to her. She goes up to SIMON.) Now tell me, my friend,
+what did you feel? Was it very trying?
+
+SIMON (laughs). Yes, ma'm, just so.
+
+FAT LADY. Still not unendurable?
+
+SIMON. Just so, ma'm. (To LEONID FYODORITCH.) Am I to go?
+
+LEONID FYODORITCH. Yes, you may go.
+
+DOCTOR (to the PROFESSOR). The pulse is the same, but the temperature
+is lower.
+
+PROFESSOR. Lower! (Considers awhile, then suddenly divines the
+conclusion.) It had to be so--it had to descend! The dual influence
+crossing had to produce some kind of reflex action. Yes, that's it!
+
+     [Exeunt, all talking at once--
+
+     LEONID FYODORITCH. I'm only sorry we had no complete
+     materialisation. But still.... Come, gentlemen, let us go to the
+     drawing-room?
+
+     FAT LADY. What specially struck me was when he flapped his wings,
+     and one saw how he rose!
+
+     GROSSMAN (to SAHATOF). If we had kept to hypnotism, we might have
+     produced a thorough state of epilepsy. The success might have
+     been complete!
+
+     SAHATOF. It is very interesting, but not entirely convincing. That
+     is all I can say.
+
+     [Enter THEODORE IVANITCH.
+
+LEONID FYODORITCH (with paper in his hand). Ah, Theodore, what a
+remarkable seance we have had! It turns out that the peasants must
+have the land on their own terms.
+
+THEODORE IVANITCH. Dear me!
+
+LEONID FYODORITCH. Yes, indeed. (Showing paper.) Fancy, this paper
+that I returned to them, suddenly appeared on the table! I have signed
+it.
+
+THEODORE IVANITCH. How did it get there?
+
+LEONID FYODORITCH. Well, it did get there!
+
+     [Exit. THEODORE IVANITCH follows him out.
+
+TANYA (gets from under the sofa and laughs). Oh, dear, oh dear! Well,
+I did get a fright when he got hold of the thread! (Shrieks.) Well,
+anyhow, it's all right--he has signed it!
+
+     [Enter GREGORY.
+
+GREGORY. So it was you that was fooling them?
+
+TANYA. What business is it of yours?
+
+GREGORY. And do you think the missis will be pleased with you for it?
+No, you bet; you're caught now! I'll tell them what tricks you're up
+to, if you don't let me have my way!
+
+TANYA. And you'll not get your way, and you'll not do me any harm!
+
+CURTAIN
+
+
+
+
+ACT IV
+
+The same scene as in Act I. The next day. Two liveried footmen,
+THEODORE IVANITCH and GREGORY.
+
+FIRST FOOTMAN (with grey whiskers). Yours is the third house to-day.
+Thank goodness that all the at-homes are in this direction. Yours used
+to be on Thursdays.
+
+THEODORE IVANITCH. Yes, we changed to Saturday so as to be on the same
+day as the Golovkins and Grade von Grabes....
+
+SECOND FOOTMAN. The Stcherbakofs do the thing well. There's
+refreshments for the footmen every time they've a ball.
+
+     [The two PRINCESSES, mother and daughter, come down the stairs
+      accompanied by BETSY. The old PRINCESS looks in her note-book
+      and at her watch, and sits down on the settle. GREGORY puts on
+      her overshoes.
+
+YOUNG PRINCESS. Now, do come. Because, if you refuse, and Dodo
+refuses, the whole thing will be spoilt.
+
+BETSY. I don't know. I must certainly go to the Shoubins. And then
+there is the rehearsal.
+
+YOUNG PRINCESS. You'll have plenty of time. Do, please. Ne nous fais
+pas faux bond.[13] Fedya and Koko will come.
+
+BETSY. J'en ai par-dessus la tete de votre Koko.[14]
+
+YOUNG PRINCESS. I thought I should see him here. Ordinairement il est
+d'une exactitude....[15]
+
+BETSY. He is sure to come.
+
+YOUNG PRINCESS. When I see you together, it always seems to me that he
+has either just proposed or is just going to propose.
+
+BETSY. Yes, I don't suppose it can be avoided. I shall have to go
+through with it. And it is so unpleasant!
+
+YOUNG PRINCESS. Poor Koko! He is head over ears in love.
+
+BETSY. Cessez, les gens![16]
+
+     [YOUNG PRINCESS sits down, talking in whispers. GREGORY puts on
+      her overshoes.
+
+YOUNG PRINCESS. Well then, good-bye till this evening.
+
+BETSY. I'll try to come.
+
+OLD PRINCESS. Then tell your papa that I don't believe in anything of
+the kind, but will come to see his new medium. Only he must let me
+know when. Good afternoon, ma toute belle.
+
+     [Kisses BETSY, and exit, followed by her daughter. BETSY goes
+      upstairs.
+
+GREGORY. I don't like putting on an old woman's overshoes for her; she
+can't stoop, can't see her shoe for her stomach, and keeps poking her
+foot in the wrong place. It's different with a young one; it's
+pleasant to take her foot in one's hand.
+
+SECOND FOOTMAN. Hear him! Making distinctions!
+
+FIRST FOOTMAN. It's not for us footmen to make such distinctions.
+
+GREGORY. Why shouldn't one make distinctions; are we not men? It's
+they think we don't understand! Just now they were deep in their talk,
+then they look at me, and at once it's "lay zhon!"
+
+SECOND FOOTMAN. And what's that?
+
+GREGORY. Oh, that means, "Don't talk, they understand!" It's the same
+at table. But I understand! You say, there's a difference? I say there
+is none.
+
+FIRST FOOTMAN. There is a great difference for those who understand.
+
+GREGORY. There is none at all. To-day I am a footman, and to-morrow I
+may be living no worse than they are. Has it never happened that
+they've married footmen? I'll go and have a smoke.
+
+     [Exit.
+
+SECOND FOOTMAN. That's a bold young man you've got.
+
+THEODORE IVANITCH. A worthless fellow, not fit for service. He used to
+be an office boy and has got spoilt. I advised them not to take him,
+but the mistress liked him. He looks well on the carriage when they
+drive out.
+
+FIRST FOOTMAN. I should like to send him to our Count; he'd put him in
+his place! Oh, he don't like those scatterbrains. "If you're a
+footman, be a footman and fulfil your calling." Such pride is not
+befitting.
+
+     [PETRISTCHEF comes running downstairs, and takes out a cigarette.
+
+PETRISTCHEF (deep in thought). Let's see, my second is the same as my
+first. Echo, a-co, co-coa. (Enter KOKO KLINGEN, wearing his
+pince-nez.) Ko-ko, co-coa. Cocoa tin, where do you spring from?
+
+KOKO KLINGEN. From the Stcherbakofs. You are always playing the
+fool....
+
+PETRISTCHEF. No, listen to my charade. My first is the same as my
+second, my third may be cracked, my whole is like your pate.
+
+KOKO KLINGEN. I give it up. I've no time.
+
+PETRISTCHEF. Where else are you going?
+
+KOKO KLINGEN. Where? Of course to the Ivins, to practice for the
+concert. Then to the Shoubins, and then to the rehearsal. You'll be
+there too, won't you?
+
+PETRISTCHEF. Most certainly. At the re-her-Sall and also at the
+re-her-Sarah. Why, at first I was a savage, and now I am both a savage
+and a general.
+
+KOKO KLINGEN. How did yesterday's seance go off?
+
+PETRISTCHEF. Screamingly funny! There was a peasant, and above all, it
+was all in the dark. Vovo cried like an infant, the Professor defined,
+and Marya Vasilevna refined. Such a lark! You ought to have been
+there.
+
+KOKO KLINGEN. I'm afraid, mon cher. You have a way of getting off with
+a jest, but I always feel that if I say a word they'll construe it
+into a proposal. Et ca ne m'arrange pas du tout, du tout. Mais du
+tout, du tout! [17]
+
+PETRISTCHEF. Instead of a proposal, make a proposition, and receive a
+sentence! Well, I shall go in to Vovo's. If you'll call for me, we can
+go to the re-her-Sarah together.
+
+KOKO KLINGEN. I can't think how you can be friends with such a fool.
+He is so stupid--a regular blockhead!
+
+PETRISTCHEF. And I am fond of him. I love Vovo, but ... "with a love
+so strange, ne'er towards him the path untrod shall be"....
+
+     [Exit into Vovo's room.
+
+     [BETSY comes down with a LADY. KOKO bows significantly to BETSY.
+
+BETSY (shaking KOKO'S hand without turning towards him. To LADY). You
+are acquainted?
+
+LADY. No.
+
+BETSY. Baron Klingen.... Why were you not here last night?
+
+KOKO KLINGEN. I could not come, I was engaged.
+
+BETSY. What a pity, it was so interesting! (Laughs.) You should have
+seen what manifestations we had! Well, how is our charade getting on?
+
+KOKO KLINGEN. Oh, the verses for mon second are ready. Nick composed
+the verses, and I the music.
+
+BETSY. What are they? What are they? Do tell me!
+
+KOKO KLINGEN. Wait a minute; how does it go?... Oh, the knight sings:
+
+          "Oh, naught so beautiful as nature:
+           The Nautilus sails by.
+           Oh, naughty lass, oh, naughty lass!
+           Oh, nought, oh, nought! Oh, fie!"
+
+LADY. I see, my second is "nought," and what is my first?
+
+KOKO KLINGEN. My first is Aero, the name of a girl savage.
+
+BETSY. Aero, you see, is a savage who wished to devour the object of
+her love. (Laughs.) She goes about lamenting, and sings--
+
+          "My appetite,"
+
+KOKO KLINGEN (interrupts)--
+
+          "How can I fight,"....
+
+BETSY (chimes in)--
+
+          "Some one to chew I long.
+           I seeking go ...."
+
+KOKO KLINGEN--
+
+          "But even so...."
+
+BETSY--
+
+          "No one to chew can find."
+
+KOKO KLINGEN--
+
+          "A raft sails by,"
+
+BETSY--
+
+          "It cometh nigh;
+           Two generals upon it...."
+
+KOKO KLINGEN--
+
+          "Two generals are we:
+           By fate's hard decree,
+           To this island we flee."
+
+And then, the refrain--
+
+          "By fate's hard decree,
+           To this island we flee."
+
+LADY. Charmant!
+
+BETSY. But just think how silly!
+
+KOKO KLINGEN. Yes, that's the charm of it!
+
+LADY. And who is to be Aero?
+
+BETSY. I am. And I have had a costume made, but mamma says it's "not
+decent." And it is not a bit less decent than a ball dress. (To
+THEODORE IVANITCH.) Is Bourdier's man here?
+
+THEODORE IVANITCH. Yes, he is waiting in the kitchen.
+
+LADY. Well, and how will you represent Aeronaut?
+
+BETSY. Oh, you'll see. I don't want to spoil the pleasure for you. Au
+revoir.
+
+LADY. Good-bye!
+
+     [They bow. Exit LADY.
+
+BETSY (to KOKO KLINGEN). Come up to mamma.
+
+     [BETSY and KOKO go upstairs. JACOB enters from servants'
+      quarters, carrying a tray with teacups, cakes, etc., and goes
+      panting across the stage.
+
+JACOB (to the FOOTMEN). How d'you do? How d'you do?
+
+     [FOOTMEN bow.
+
+JACOB (to THEODORE IVANITCH). Couldn't you tell Gregory to help a bit!
+I'm ready to drop....
+
+     [Exit up the stairs.
+
+FIRST FOOTMAN. That is a hard-working chap you've got there.
+
+THEODORE IVANITCH. Yes, a good fellow. But there now--he doesn't
+satisfy the mistress, she says his appearance is ungainly. And now
+they've gone and told tales about him for letting some peasants into
+the kitchen yesterday. It is a bad look-out: they may dismiss him. And
+he is a good fellow.
+
+SECOND FOOTMAN. What peasants were they?
+
+THEODORE IVANITCH. Peasants that had come from our Koursk village to
+buy some land. It was night, and they were our fellow-countrymen, one
+of them the father of the butler's assistant. Well, so they were asked
+into the kitchen. It so happened that there was thought-reading going
+on. Something was hidden in the kitchen, and all the gentlefolk came
+down, and the mistress saw the peasants. There was such a row! "How is
+this," she says; "these people may be infected, and they are let into
+the kitchen!".... She is terribly afraid of this infection.
+
+     [Enter GREGORY.
+
+THEODORE IVANITCH. Gregory, you go and help Jacob. I'll stay here. He
+can't manage alone.
+
+GREGORY. He's awkward, that's why he can't manage.
+
+     [Exit.
+
+FIRST FOOTMAN. And what is this new mania they have got? This
+infection!... So yours also is afraid of it?
+
+THEODORE IVANITCH. She fears it worse than fire! Our chief business,
+nowadays, is fumigating, washing, and sprinkling.
+
+FIRST FOOTMAN. I see. That's why there is such a stuffy smell here.
+(With animation.) I don't know what we're coming to with these
+infection notions. It's just detestable! They seem to have forgotten
+the Lord. There's our master's sister, Princess Mosolova, her daughter
+was dying, and, will you believe it, neither father nor mother would
+come near her! So she died without their having taken leave of her.
+And the daughter cried, and called them to say good-bye--but they
+didn't go! The doctor had discovered some infection or other! And yet
+their own maid and a trained nurse were with her, and nothing happened
+to them; they're still alive!
+
+     [Enter VASILY LEONIDITCH and PETRISTCHEF from VASILY LEONIDITCH'S
+      room, smoking cigarettes.
+
+PETRISTCHEF. Come along then, only I must take Koko--Cocoanut, with
+me.
+
+VASILY LEONIDITCH. Your Koko is a regular dolt; I can't bear him. A
+hare-brained fellow, a regular gad-about! Without any kind of
+occupation, eternally loafing around! Eh, what?
+
+PETRISTCHEF. Well, anyhow, wait a bit, I must say goodbye.
+
+VASILY LEONIDITCH. All right. And I will go and look at my dogs in the
+coachman's room. I've got a dog there that's so savage, the coachman
+said, he nearly ate him.
+
+PETRISTCHEF. Who ate whom? Did the coachman really eat the dog?
+
+VASILY LEONIDITCH. You are always at it!
+
+     [Puts on outdoor things and goes out.
+
+PETRISTCHEF (thoughtfully). Ma - kin - tosh, Co - co - tin.... Let's
+see.
+
+     [Goes upstairs.
+
+     [JACOB runs across the stage.
+
+THEODORE IVANITCH. What's the matter?
+
+JACOB. There is no more thin bread and butter. I said....
+
+     [Exit.
+
+SECOND FOOTMAN. And then our master's little son fell ill, and they
+sent him at once to an hotel with his nurse, and there he died without
+his mother.
+
+FIRST FOOTMAN. They don't seem to fear sin! I think you cannot escape
+from God anywhere.
+
+THEODORE IVANITCH. That's what I think.
+
+     [JACOB runs upstairs with bread and butter.
+
+FIRST FOOTMAN. One should consider too, that if we are to be afraid of
+everybody like that, we'd better shut ourselves up within four walls,
+as in a prison, and stick there!
+
+     [Enter TANYA; she bows to the FOOTMEN.
+
+TANYA. Good afternoon.
+
+     [FOOTMEN bow.
+
+TANYA. Theodore Ivanitch, I have a word to say to you.
+
+THEODORE IVANITCH. Well, what?
+
+TANYA. The peasants have come again, Theodore Ivanitch....
+
+THEODORE IVANITCH. Well? I gave the paper to Simon.
+
+TANYA. I have given them the paper. They were that grateful! I can't
+say how! Now they only ask you to take the money.
+
+THEODORE IVANITCH. But where are they?
+
+TANYA. Here, by the porch.
+
+THEODORE IVANITCH. All right, I'll tell the master.
+
+TANYA. I have another request to you, dear Theodore Ivanitch.
+
+THEODORE IVANITCH. What now?
+
+TANYA. Why, don't you see, Theodore Ivanitch, I can't remain here any
+longer. Ask them to let me go.
+
+     [Enter JACOB, running.
+
+THEODORE IVANITCH (to JACOB). What d'you want?
+
+JACOB. Another samovar, and oranges.
+
+THEODORE IVANITCH. Ask the housekeeper.
+
+     [Exit JACOB.
+
+THEODORE IVANITCH (to TANYA). How is that?
+
+TANYA. Why, don't you see, my position is such....
+
+JACOB (runs in). There are not enough oranges.
+
+THEODORE IVANITCH. Serve up as many as you've got. (Exit JACOB.) Now's
+not the time! Just see what a bustle we are in.
+
+TANYA. But you know yourself, Theodore Ivanitch, there is no end to
+this bustle; one might wait for ever--you know yourself--and my affair
+is for life.... Dear Theodore Ivanitch, you have done me a good turn,
+be a father to me now, choose the right moment and tell her, or else
+she'll get angry and won't let me have my passport.[18]
+
+THEODORE IVANITCH. Where's the hurry?
+
+TANYA. Why, Theodore Ivanitch, it's all settled now.... And I could go
+to my godmother's and get ready, and then after Easter we'd get
+married.[19] Do tell her, dear Theodore Ivanitch!
+
+THEODORE IVANITCH. Go away--this is not the place.
+
+     [An elderly GENTLEMAN comes downstairs, puts on overcoat, and
+      goes out, followed by the SECOND FOOTMAN.
+
+     [Exit TANYA. Enter JACOB.
+
+JACOB. Just fancy, Theodore Ivanitch, it's too bad! She wants to
+discharge me now! She says, "You break everything, and forget Frisk,
+and you let the peasants into the kitchen against my orders!" And you
+know very well that I knew nothing about it. Tatyana told me, "Take
+them into the kitchen"; how could I tell whose order it was?
+
+THEODORE IVANITCH. Did the mistress speak to you?
+
+JACOB. She's just spoken. Do speak up for me, Theodore Ivanitch! You
+see, my people in the country are only just getting on their feet, and
+suppose I lose my place, when shall I get another? Theodore Ivanitch,
+do, please!
+
+     [ANNA PAVLOVNA comes down with the old COUNTESS, whom she is
+      seeing off. The COUNTESS has false teeth and hair. The FIRST
+      FOOTMAN helps the COUNTESS into her outdoor things.
+
+ANNA PAVLOVNA. Oh, most certainly, of course! I am so deeply touched.
+
+COUNTESS. If it were not for my illness, I should come oftener to see
+you.
+
+ANNA PAVLOVNA. You should really consult Peter Petrovitch. He is
+rough, but nobody can soothe one as he does. He is so clear, so
+simple.
+
+COUNTESS. Oh no, I shall keep to the one I am used to.
+
+ANNA PAVLOVNA. Pray, take care of yourself.
+
+COUNTESS. Merci, mille fois merci.[20]
+
+     [GREGORY, dishevelled and excited, jumps out from the servants'
+      quarters. SIMON appears behind him in the doorway.
+
+SIMON. You'd better leave her alone!
+
+GREGORY. You rascal! I'll teach you how to fight, you scamp, you!
+
+ANNA PAVLOVNA. What do you mean? Do you think you are in a
+public-house?
+
+GREGORY. This coarse peasant makes life impossible for me.
+
+ANNA PAVLOVNA (provoked). You've lost your senses. Don't you see? (To
+COUNTESS.) Merci, mille fois merci. A mardi! [21]
+
+     [Exeunt COUNTESS and FIRST FOOTMAN.
+
+ANNA PAVLOVNA (to GREGORY). What is the meaning of this?
+
+GREGORY. Though I do occupy the position of a footman, still I won't
+allow every peasant to hit me; I have my pride too.
+
+ANNA PAVLOVNA. Why, what has happened?
+
+GREGORY. Why, this Simon of yours has got so brave, sitting with the
+gentlemen, that he wants to fight!
+
+ANNA PAVLOVNA. Why? What for?
+
+GREGORY. Heaven only knows!
+
+ANNA PAVLOVNA (to SIMON). What is the meaning of it?
+
+SIMON. Why does he bother her?
+
+ANNA PAVLOVNA. What has happened?
+
+SIMON (smiles). Well, you see, he is always catching hold of Tanya,
+the lady's-maid, and she won't have it. Well, so I just moved him
+aside a bit, just so, with my hand.
+
+GREGORY. A nice little bit! He's almost caved my ribs in, and has torn
+my dress-coat, and he says, "The same power as came over me yesterday
+comes on me again," and he begins to squeeze me.
+
+ANNA PAVLOVNA (to SIMON). How dare you fight in my house?
+
+THEODORE IVANITCH. May I explain it to you, ma'am? I must tell you
+Simon is not indifferent to Tanya, and is engaged to her. And Gregory
+--one must admit the truth--does not behave properly, nor honestly, to
+her. Well, so I suppose Simon got angry with him.
+
+GREGORY. Not at all! It is all his spite, because I have discovered
+their trickery.
+
+ANNA PAVLOVNA. What trickery?
+
+GREGORY. Why, at the seance. All those things, last night,--it was not
+Simon but Tanya who did them! I saw her getting out from under the
+sofa with my own eyes.
+
+ANNA PAVLOVNA. What is that? From under the sofa?
+
+GREGORY. I give you my word of honor. And it was she who threw the
+paper on the table. If it had not been for her the paper would not
+have been signed, nor the land sold to the peasants.
+
+ANNA PAVLOVNA. And you saw it yourself?
+
+GREGORY. With my own eyes. Shall I call her? She'll not deny it.
+
+ANNA PAVLOVNA. Yes, call her.
+
+     [Exit GREGORY.
+
+     [Noise behind the scenes. The voice of the DOORKEEPER, "No, no,
+      you cannot." DOORKEEPER is seen at the front door, the three
+      PEASANTS rush in past him, the SECOND PEASANT first; the THIRD
+      one stumbles, falls on his nose, and catches hold of it.
+
+DOORKEEPER. You must not go in!
+
+SECOND PEASANT. Where's the harm? We are not doing anything wrong. We
+only wish to pay the money!
+
+FIRST PEASANT. That's just it; as by laying on the signature the
+affair is come to a conclusion, we only wish to make payment with
+thanks.
+
+ANNA PAVLOVNA. Wait a bit with your thanks. It was all done by fraud!
+It is not settled yet. Not sold yet.... Leonid.... Call Leonid
+Fyodoritch.
+
+     [Exit DOORKEEPER.
+
+     [LEONID FYODORITCH enters, but, seeing his wife and the PEASANTS,
+      wishes to retreat.
+
+ANNA PAVLOVNA. No, no, come here, please! I told you the land must not
+be sold on credit, and everybody told you so, but you let yourself be
+deceived like the veriest blockhead.
+
+LEONID FYODORITCH. How? I don't understand who is deceiving?
+
+ANNA PAVLOVNA. You ought to be ashamed of yourself! You have grey
+hair, and you let yourself be deceived and laughed at like a silly
+boy. You grudge your son some three hundred roubles which his social
+position demands, and let yourself be tricked of thousands--like a
+fool!
+
+LEONID FYODORITCH. Now come, Annette, try to be calm.
+
+FIRST PEASANT. We are only come about the acceptation of the sum, for
+example....
+
+THIRD PEASANT (taking out the money). Let us finish the matter, for
+Christ's sake!
+
+ANNA PAVLOVNA. Wait, wait!
+
+     [Enter TANYA and GREGORY.
+
+ANNA PAVLOVNA (angrily). You were in the small drawing-room during the
+seance last night?
+
+     [TANYA looks around at THEODORE IVANITCH, LEONID FYODORITCH, and
+      SIMON, and sighs.
+
+GREGORY. It's no use beating about the bush; I saw you myself....
+
+ANNA PAVLOVNA. Tell me, were you there? I know all about it, so you'd
+better confess! I'll not do anything to you. I only want to expose him
+(pointing to LEONID FYODORITCH) your master.... Did you throw the
+paper on the table?
+
+TANYA. I don't know how to answer. Only one thing,--let me go home.
+
+     [Enter BETSY unobserved.
+
+ANNA PAVLOVNA (to LEONID FYODORITCH). There, you see! You are being
+made a fool of.
+
+TANYA. Let me go home, Anna Pavlovna!
+
+ANNA PAVLOVNA. No, my dear! You may have caused us a loss of thousands
+of roubles. Land has been sold that ought not to be sold!
+
+TANYA. Let me go, Anna Pavlovna!
+
+ANNA PAVLOVNA. No; you'll have to answer for it! Such tricks won't do.
+We'll have you up before the Justice of the Peace!
+
+BETSY (comes forward). Let her go, mamma. Or, if you wish to have her
+tried, you must have me tried too! She and I did it together.
+
+ANNA PAVLOVNA. Well, of course, if you have a hand in anything, what
+can one expect but the very worst results!
+
+     [Enter the PROFESSOR.
+
+PROFESSOR. How do you do, Anna Pavlovna? How do you do, Miss Betsy?
+Leonid Fyodoritch, I have brought you a report of the Thirteenth
+Congress of Spiritualists at Chicago. An amazing speech by Schmidt!
+
+LEONID FYODORITCH. Oh, that is interesting!
+
+ANNA PAVLOVNA. I will tell you something much more interesting! It
+turns out that both you and my husband were fooled by this girl! Betsy
+takes it on herself, but that is only to annoy me. It was an
+illiterate peasant girl who fooled you, and you believed it all.
+There were no mediumistic phenomena last night; it was she (pointing
+to TANYA) who did it!
+
+PROFESSOR (taking off his overcoat). What do you mean?
+
+ANNA PAVLOVNA. I mean that it was she who, in the dark, played on the
+guitar and beat my husband on the head and performed all your idiotic
+tricks--and she has just confessed!
+
+PROFESSOR (smiling). What does that prove?
+
+ANNA PAVLOVNA. It proves that your mediumism is--tomfoolery; that's
+what it proves!
+
+PROFESSOR. Because this young girl wished to deceive, we are to
+conclude that mediumism is "tomfoolery," as you are pleased to express
+it? (Smiles.) A curious conclusion! Very possibly this young girl may
+have wished to deceive: that often occurs. She may even have done
+something; but then, what she did--she did. But the manifestations of
+mediumistic energy still remain manifestations of mediumistic energy!
+It is even very probable that what this young girl did evoked (and so
+to say solicited) the manifestation of mediumistic energy,--giving it
+a definite form.
+
+ANNA PAVLOVNA. Another lecture!
+
+PROFESSOR (sternly). You say, Anna Pavlovna, that this girl, and
+perhaps this dear young lady also, did something; but the light we all
+saw, and, in the first case the fall, and in the second the rise of
+temperature, and Grossman's excitement and vibration--were those
+things also done by this girl? And these are facts, Anna Pavlovna,
+facts! No! Anna Pavlovna, there are things which must be investigated
+and fully understood before they can be talked about, things too
+serious, too serious....
+
+LEONID FYODORITCH. And the child that Marya Vasilevna distinctly saw?
+Why, I saw it too.... That could not have been done by this girl.
+
+ANNA PAVLOVNA. You think yourself wise, but you are--a fool.
+
+LEONID FYODORITCH. Well, I'm going.... Alexey Vladimiritch, will you
+come?
+
+     [Exit into his study.
+
+PROFESSOR (shrugging his shoulders, follows). Oh, how far, how far, we
+still lag behind Western Europe!
+
+     [Enter JACOB.
+
+ANNA PAVLOVNA (following LEONID FYODORITCH with her eyes). He has been
+tricked like a fool, and he sees nothing! (To JACOB.) What do you
+want?
+
+JACOB. How many persons am I to lay the table for?
+
+ANNA PAVLOVNA. For how many?... Theodore Ivanitch! Let him give up the
+silver plate to you. Be off, at once! It is all his fault! This man
+will bring me to my grave. Last night he nearly starved the dog that
+had done him no harm! And, as if that were not enough, he lets the
+infected peasants into the kitchen, and now they are here again! It is
+all his fault! Be off at once! Discharge him, discharge him! (To
+SIMON.) And you, horrid peasant, if you dare to have rows in my house
+again, I'll teach you!
+
+SECOND PEASANT. All right, if he is a horrid peasant there's no good
+keeping him; you'd better discharge him too, and there's an end of it.
+
+ANNA PAVLOVNA (while listening to him looks at THIRD PEASANT). Only
+look! Why, he has a rash on his nose--a rash! He is ill; he is a
+hotbed of infection!! Did I not give orders, yesterday, that they were
+not to be allowed into the house, and here they are again? Drive them
+out!
+
+THEODORE IVANITCH. Then are we not to accept their money?
+
+ANNA PAVLOVNA. Their money? Oh yes, take their money; but they must be
+turned out at once, especially this one! He is quite rotten!
+
+THIRD PEASANT. That's not just, lady. God's my witness, it's not just!
+You'd better ask my old woman, let's say, whether I am rotten! I'm
+clear as crystal, let's say.
+
+ANNA PAVLOVNA. He talks!... Off, off with him! It's all to spite
+me!... Oh, I can't bear it, I can't!... Send for the doctor!
+
+     [Runs away, sobbing. Exit also JACOB and GREGORY.
+
+TANYA (to BETSY). Miss Elizabeth, darling, what am I to do now?
+
+BETSY. Never mind, you go with them and I'll arrange it all.
+
+     [Exit.
+
+FIRST PEASANT. Well, your reverence, how about the reception of the
+sum now?
+
+SECOND PEASANT. Let us settle up, and go.
+
+THIRD PEASANT (fumbling with the packet of banknotes). Had I known,
+I'd not have come for the world. It's worse than a fever!
+
+THEODORE IVANITCH (to DOORKEEPER). Show them into my room. There's a
+counting-board there. I'll receive their money. Now go.
+
+DOORKEEPER. Come along.
+
+THEODORE IVANITCH. And it's Tanya you have to thank for it. But for
+her you'd not have had the land.
+
+FIRST PEASANT. That's just it. As she made the proposal, so she put it
+into effect.
+
+THIRD PEASANT. She's made men of us. Else what were we? We had so
+little land, no room to let a hen out, let's say, not to mention the
+cattle. Good-bye, dear! When you get to the village, come to us and
+eat honey.
+
+SECOND PEASANT. Let me get home and I'll start brewing the beer for
+the wedding! You will come?
+
+TANYA. Yes, I'll come, I'll come! (Shrieks.) Simon, this is fine,
+isn't it?
+
+     [Exeunt PEASANTS.
+
+THEODORE IVANITCH. Well, Tanya, when you have your house I'll come to
+visit you. Will you welcome me?
+
+TANYA. Dear Theodore Ivanitch, just the same as we would our own
+father!
+
+     [Embraces and kisses him.
+
+CURTAIN
+
+
+
+
+FOOTNOTES FOR FRUITS OF CULTURE
+
+1.   Economical balls at which the ladies are bound to appear in
+     dresses made of cotton materials.
+
+2.   The present value of the rouble is rather over fifty cents.
+
+3.   The Gypsy choirs are very popular in Moscow.
+
+4.   BETSY. Cease! You are becoming quite unbearable!.
+
+5.   PETRISTCHEF. I have C said (ceased), B said, and D said.
+
+6.   BARONESS. But tell me, please, is he paid for this?
+
+     ANNA PAVLOVNA. I really do not know.
+
+     BARONESS. But he is a gentleman?
+
+     ANNA PAVLOVNA. Oh, yes!
+
+     BARONESS. It is almost miraculous. Isn't it? How does he manage
+     to find things?
+
+     ANNA PAVLOVNA. I really can't tell you. My husband will explain
+     it to you.... Excuse me....
+
+7.   Stunning!
+
+8.   BARONESS. Capital! Does it not cause him any pain?
+
+     LEONID FYODORITCH. Not the slightest.
+
+9.   He uses a Centigrade thermometer.
+
+10.  LEONID FYODORITCH. You bring good luck.
+
+11.  FAT LADY. But he looks quite nice.
+
+12.  To take a header.
+
+13.  Do not disappoint us.
+
+14.  BETSY. I have more than enough of your Koko.
+
+15.  YOUNG PRINCESS. He is usually so very punctual....
+
+16.  BETSY. Cease; mind the servants!
+
+17.  And that won't suit me at all, at all! Not at all, at all!
+
+18.  Employers have charge of the servants' passports, and in this way
+     have a hold on them in case of misconduct.
+
+19.  It is customary for peasants to marry just after Easter, but when
+     spring has come and the field work begun, no marriages take place
+     among them till autumn. (See also THE POWER OF DARKNESS
+     footnote 2.)
+
+20.  COUNTESS. Thank you (for your hospitality), a thousand thanks
+
+21.  ANNA PAVLOVNA. Thank you (for coming to see us), a thousand
+     thanks. Till next Tuesday!
+
+
+
+
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+The Project Gutenberg EBook of Redemption and Two Other Plays
+by Leo Tolstoy et al
+
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+*****These eBooks Were Prepared By Thousands of Volunteers!*****
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+Title: Redemption and Two Other Plays
+
+Author: Leo Tolstoy et al
+
+Release Date: January, 2006  [EBook #9792]
+[This file was first posted on October 17, 2003]
+
+Edition: 10
+
+Language: English
+
+Character set encoding: iso-8859-1
+
+*** START OF THE PROJECT GUTENBERG EBOOK, REDEMPTION AND TWO OTHER PLAYS ***
+
+
+
+
+E-text prepared by David Starner, Skip Doughty, and Project Gutenberg
+Distributed Proofreaders
+
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+
+
+
+
+
+REDEMPTION AND TWO OTHER PLAYS
+
+By LEO TOLSTOY
+
+Introduction By ARTHUR HOPKINS
+
+
+
+
+
+
+
+CONTENTS
+
+INTRODUCTION BY ARTHUR HOPKINS
+REDEMPTION
+THE POWER OF DARKNESS
+FRUITS OF CULTURE
+
+
+
+
+INTRODUCTION
+
+After making a production of _Redemption_, the chief feeling of the
+producer is one of deep regret that Tolstoi did not make more use of
+the theatre as a medium. His was the rare gift of vitalization: the
+ability to breathe life into word-people which survives in them so
+long as there is any one left to turn up the pages they have made
+their abode.
+
+In the world of writing, many terms that should be illuminative have
+become meaningless. So often has the barren been called "pregnant,"
+the chill of death "the breath of life," the atrophied "pulsating,"
+that when we really come upon a work with beating heart we find it
+difficult to give it place that has not already been stuffed to
+suffocation with misplaced dummies.
+
+We seat it at table with staring wax figures and bid it to join the
+feast. There is no exclusion act in art, no passport bureau, not even
+hygienic segregation.
+
+In writing the briefest introduction to Tolstoi's work, I am appointed
+by the publisher, a sort of reception committee of one to escort the
+work to some fitting place where it may enjoy the surroundings and
+deference it deserves.
+
+The place to which I escort it is built of words, but what words have
+been left me by the long procession of previous committees? Where they
+have been truthfully used they have been glorified, and offer all the
+rarer material for my structure, but how often have they been
+subjected to base use. Perhaps some day we will learn the proper
+respect of such simple words as love and truth and life, and then when
+we meet them in books we shall know how to greet them.
+
+The study of _Redemption_ is so simple that it needs no illumination
+from me. The characters may walk in strange lands without
+introduction. They are part of us. Fédya is in all of us. His one cry
+"There has always been so much lacking between what I felt and what I
+could do" instantly makes him brother to all mankind. His simultaneous
+physical degeneration and spiritual regeneration is the glory that all
+people have invested in death. Tolstoi's cry against convention that
+disregards spiritual struggle, and system that ignores human growth,
+will find answering cries in many breasts in many lands.
+
+Utterly disregarding effect, technique or method, Tolstoi has explored
+his own soul and there touched hands with countless other souls, and
+since he has trod the path of countless millions who will come after
+him, the mementos of his journey will long be sought.
+
+ARTHUR HOPKINS.
+
+
+The translation of _Redemption_ here published is the one produced by
+Mr. Arthur Hopkins at the Plymouth Theatre, New York, in the season of
+1918-1919. The part of FÉDYA was played by Mr. John Barrymore.
+
+
+
+
+
+
+REDEMPTION
+
+
+
+
+CHARACTERS
+
+THEODORE VASÍLYEVICH PROTOSOV (FÉDYA).
+ELISABETH ANDRÉYEVNA PROTOSOVA (LISA). His wife.
+MÍSHA. Their son.
+ANNA PÁVLOVNA. Lisa's mother.
+SASHA. Lisa's younger, unmarried sister.
+VICTOR MICHAELOVITCH KARÉNIN.
+SOPHIA DMÍTRIEVNA KARÉNINA.
+PRINCE SERGIUS DMÍTRIEVICH ABRÉSKOV.
+MASHA. A gypsy girl.
+IVÁN MAKÁROVICH. An old gypsy man. Masha's parent.
+NASTASÏA IVÁNOVNA. An old gypsy woman. Masha's parent.
+OFFICER.
+MUSICIAN.
+FIRST GYPSY MAN.
+SECOND GYPSY MAN.
+GYPSY WOMAN.
+GYPSY CHOIR.
+DOCTOR.
+MICHAEL ALEXÁNDROVICH AFRÉMOV.
+STÁKHOV. One of Fédya's boon companions.
+BUTKÉVICH. One of Fédya's boon companions.
+KOROTKÓV. One of Fédya's boon companions.
+IVÁN PETROVICH ALEXÁNDROV.
+VOZNESÉNSKY. Karénin's secretary.
+PETUSHKÓV. An artist.
+ARTIMIEV.
+WAITER IN THE PRIVATE ROOM AT THE RESTAURANT.
+WAITER IN A LOW-CLASS RESTAURANT.
+MANAGER OF THE SAME.
+POLICEMAN.
+INVESTIGATING MAGISTRATE.
+MÉLNIKOV.
+CLERK.
+USHER.
+YOUNG LAWYER.
+PETRÚSHIN. A lawyer.
+LADY.
+ANOTHER OFFICER.
+ATTENDANT AT LAW COURTS.
+PROTOSOVS' NURSE.
+PROTOSOVS' MAID.
+AFRÉMOV'S FOOTMAN.
+KARÉNINS' FOOTMAN.
+
+
+
+
+ACT I
+
+SCENE I
+
+Protosovs' flat in Moscow. The scene represents a small dining room.
+ANNA PÁVLOVNA, a stout, gray-haired lady, tightly laced, is sitting
+alone at the tea-table on which is a samovár.
+
+Enter NURSE carrying a tea-pot.
+
+NURSE (enters R. I, over to table C.). Please, Madam, may I have some
+water?
+
+ANNA PÁVLOVNA (sitting R. of table C.). Certainly. How is the baby
+now?
+
+NURSE. Oh, restless, fretting all the time. There's nothing worse than
+for a lady to nurse her child. She has her worries and the baby
+suffers for them. What sort of milk could she have, not peeping all
+night, and crying and crying?
+
+     [SASHA enters R. I, strolls to L. of table C.
+
+ANNA PÁVLOVNA. But I thought she was more calm now?
+
+NURSE. Fine calm! It makes me sick to look at her. She's just been
+writing something and crying all the time.
+
+SASHA (to nurse). Lisa's looking for you.
+
+     [Sits in chair L. of table C.
+
+NURSE. I'm going.
+
+     [Exits R. I.
+
+ANNA PÁVLOVNA. Nurse says she's always crying. Why can't she try and
+calm herself a little?
+
+SASHA. Well, really, Mother, you're amazing. How can you expect her to
+behave as if nothing had happened when she's just left her husband and
+taken her baby with her?
+
+ANNA PÁVLOVNA. Well, I don't exactly, but that's all over. If I
+approve of my daughter's having left her husband, if I'm ever glad,
+well, you may be quite sure he deserved it. She has no reason to be
+miserable--on the contrary, she ought to be delighted at being freed
+from such a wretch.
+
+SASHA. Mother! Why do you go on like this? It's not the truth and you
+know it. He's not a wretch, he's wonderful. Yes, in spite of all his
+weakness.
+
+ANNA PÁVLOVNA. I suppose you'd like her to wait till he'd spent every
+kopec they had, and smile sweetly when be brought his gypsy mistresses
+home with him.
+
+SASHA. He hasn't any mistresses.
+
+ANNA PÁVLOVNA. There you go again. Why, the man's simply bewitched
+you, but I can see through him, and he knows it. If I'd been Lisa, I'd
+left him a year ago.
+
+SASHA. Oh, how easily you speak of these serious things.
+
+ANNA PÁVLOVNA. Not easily, not easily at all. Do you suppose it's
+agreeable for me to have my daughter admit her marriage a failure? But
+anything's better than for her to throw away her life in a lie. Thank
+God, she's made up her mind to finish with him for good.
+
+SASHA. Maybe it won't be for good.
+
+ANNA PÁVLOVNA. It would be if only he'd give her a divorce.
+
+SASHA. To what end?
+
+ANNA PÁVLOVNA. Because she's young and has the right to look for
+happiness.
+
+SASHA. It's awful to listen to you. How could she love some one else?
+
+ANNA PÁVLOVNA. Why not? There are thousands better than your Fédya,
+and they'd be only too happy to marry Lisa.
+
+SASHA. Oh, it's not nice of you. I feel, I can tell, you're thinking
+about Victor Karénin.
+
+ANNA PÁVLOVNA. Why not? He loved her for ten years, and she him, I
+believe.
+
+SASHA. Yes, but she doesn't love him as a husband. They grew up
+together; they've just been friends.
+
+ANNA PÁVLOVNA. Ah, those friendships! How should you know what keeps
+them warm! If only they were both free!
+
+     [Enter a MAID L. U.
+
+Well?
+
+MAID. The porter's just come back with an answer to the note.
+
+ANNA PÁVLOVNA. What note?
+
+MAID. The note Elizaveta Protosova sent to Victor Karénin.
+
+ANNA PÁVLOVNA. Well? What answer?
+
+MAID. Victor Karénin told the porter he'd be here directly.
+
+ANNA PÁVLOVNA. Very well.
+
+     [MAID exits L. U.
+
+     [To SASHA.
+
+Why do you suppose she sent for him? Do you know?
+
+SASHA. Maybe I do and maybe I don't.
+
+ANNA PÁVLOVNA. You're always so full of secrets.
+
+SASHA. Ask Lisa, she'll tell you.
+
+ANNA PÁVLOVNA. Just as I thought! She sent for him at once.
+
+SASHA. Yes, but maybe not for the reason you think.
+
+ANNA PÁVLOVNA. Then what for?
+
+SASHA. Why, Mother, Lisa cares just about as much for Victor Karénin
+as she does for her old nurse.
+
+ANNA PÁVLOVNA. You'll see. She wants consolation, a special sort of
+consolation.
+
+SASHA. Really, it shows you don't know Lisa at all to talk like this.
+
+ANNA PÁVLOVNA. You'll see. Sasha. Yes, I shall see.
+
+ANNA PÁVLOVNA (alone to herself). And I am very glad. I'm very, very
+glad.
+
+     [Enter MAID.
+
+MAID. Victor Karénin.
+
+ANNA PÁVLOVNA. Show him here and tell your mistress.
+
+     [MAID shows in KARÉNIN and exits door R. I.
+
+KARÉNIN (goes C. and stands behind table C.). (Shaking hands with Anna
+Pávlovna.) Elizaveta Andreyevna sent me a note to come at once. I
+should have been here to-night anyway. How is she? Well, I hope.
+
+ANNA PÁVLOVNA. Not very. The baby has been upset again. However,
+she'll be here in a minute. Will you have some tea?
+
+KARÉNIN. No, thank you.
+
+     [Sits chair R.
+
+ANNA PÁVLOVNA. Tell me, do you know that he and she--.
+
+KARÉNIN. Yes, I was here two days ago when she got this letter. Is she
+positive now about their separating?
+
+ANNA PÁVLOVNA. Oh, absolutely. It would be impossible to begin it all
+over again.
+
+KARÉNIN. Yes. To cut into living things and then draw back the knife
+is terrible. But are you sure she knows her mind?
+
+ANNA PÁVLOVNA. I should think so. To come to this decision has caused
+her much pain. But now it's final, and he understands perfectly that
+his behavior has made it impossible for him to come back on any terms.
+
+KARÉNIN. Why?
+
+ANNA PÁVLOVNA. After breaking every oath he swore to decency, how
+could he come back? And so why shouldn't he give her her freedom?
+
+KARÉNIN. What freedom is there for a woman still married?
+
+ANNA PÁVLOVNA. Divorce. He promised her a divorce and we shall insist
+upon it.
+
+KARÉNIN. But your daughter was so in love with him?
+
+ANNA PÁVLOVNA. Her love has been tried out of existence. Remember she
+had everything to contend with: drunkenness, gambling, infidelity--
+what was there to go on loving in such a person?
+
+KARÉNIN. Love can do anything.
+
+ANNA PÁVLOVNA. How can one love a rag torn by every wind? Their
+affairs were in dreadful shape; their estate mortgaged; no money
+anywhere. Finally his uncle sends them two thousand rubles to pay the
+interest on the estate. He takes it, disappears, leaves Lisa home and
+the baby sick--when suddenly she gets a note asking her to send him
+his linen.
+
+KARÉNIN. I know.
+
+     [Enter LISA R.I. KARÉNIN crosses to LISA.
+
+I'm sorry to have been a little detained.
+
+     [Shakes hands with LISA.
+
+LISA. Oh, thank you so much for coming. I have a great favor to ask of
+you. Something I couldn't ask of anybody else.
+
+KARÉNIN. I'll do everything I can.
+
+     [LISA moves away a few steps down R.
+
+LISA. You know all about this.
+
+     [Sits chair R.
+
+KARÉNIN. Yes, I know.
+
+ANNA PÁVLOVNA. Well, I think I'll leave you two young people to
+yourselves. (To SASHA.) Come along, dear, you and I will be just in
+the way.
+
+     [Exit L. U. ANNA PÁVLOVNA and SASHA.
+
+LISA. Fédya wrote to me saying it was all over between us. (She begins
+to cry.) That hurt me so, bewildered me so, that--well, I agreed to
+separate. I wrote to him saying I was willing to give him up if he
+wanted me to.
+
+KARÉNIN. And now you're sorry?
+
+LISA (nodding). I feel I oughtn't to have said yes. I can't. Anything
+is better than not to see him again. Victor dear, I want you to give
+him this letter and tell him what I've told you, and--and bring him
+back to me.
+
+     [Gives VICTOR a letter.
+
+KARÉNIN. I'll do what I can.
+
+     [Takes letter, turns away and sits chair R. of table C.
+
+LISA. Tell him I will forget everything if only he will come back. I
+thought of mailing this, only I know him: he'd have a good impulse,
+first thwarted by some one, some one who would finally make him act
+against himself.
+
+     [Pause.
+
+Are you--are you surprised I asked you?
+
+KARÉNIN. No. (He hesitates.) But--well, candidly, yes. I am rather
+surprised.
+
+LISA. But you are not angry?
+
+KARÉNIN. You know I couldn't be angry with you.
+
+LISA. I ask you because I know you're so fond of him.
+
+KARÉNIN. Of him--and of you too. Thank you for trusting me. I'll do
+all I can.
+
+LISA. I know you will. Now I'm going to tell you everything. I went
+to-day to Afrémov's, to find out where he was. They told me he was
+living with the gypsies. Of course that's what I was afraid of. I know
+he'll be swept off his feet if he isn't stopped in time. So you'll go,
+won't you?
+
+KARÉNIN. Where's the place?
+
+LISA. It's that big tenement where the gypsy orchestra lives, on the
+left bank below the bridge. I went there myself. I went as far as the
+door, and was just going to send up the letter, but somehow I was
+afraid. I don't know why. And then I thought of you. Tell him, tell
+him I've forgotten everything and that I'm here waiting for him to
+come home. (Crosses to KARÉNIN--a little pause.) Do it out of love for
+him, Victor, and out of friendship for me.
+
+     [Another pause.
+
+KARÉNIN. I'll do all I can.
+
+     [He bows to her and goes out L.U. Enter SASHA L.U., goes L. over
+      near table C.
+
+SASHA. Has the letter gone? (LISA nods.) He had no objections to
+taking it himself?
+
+     [LISA, R. C., shakes head.
+
+SASHA (L.C.). Why did you ask him? I don't understand it.
+
+LISA. Who else was there?
+
+SASHA. But you know he's in love with you.
+
+LISA. Oh, that's all past. (Over to table C.) Do you think Fédya will
+come back?
+
+SASHA. I'm sure he will, but--
+
+     [Enter ANNA PÁVLOVNA.
+
+ANNA PÁVLOVNA. Where's Victor Karénin?
+
+LISA. Gone.
+
+ANNA PÁVLOVNA. Gone?
+
+LISA. I've asked him to do something for me.
+
+ANNA PÁVLOVNA. What was it? Another secret?
+
+LISA. No, not a secret. I simply asked him to take a letter to Fédya.
+
+ANNA PÁVLOVNA. To Fedor Protosov?
+
+LISA. Oh, to Fédya, Fédya.
+
+ANNA PÁVLOVNA. Then it's not going to be over?
+
+LISA. I can't let him leave me.
+
+ANNA PÁVLOVNA. Oh, so we shall commence all over again?
+
+LISA. I'll do anything you like, but I can't give him up.
+
+ANNA PÁVLOVNA. You don't mean you want him to come back?
+
+LISA. Yes, yes.
+
+ANNA PÁVLOVNA. Let that reptile into the house again!
+
+LISA. Please don't talk like that. He's my husband.
+
+ANNA PÁVLOVNA. Was your husband.
+
+LISA. No. He's still my husband.
+
+ANNA PÁVLOVNA. Spendthrift. Drunkard. Reprobate. And you'll not part
+from him!
+
+LISA. Oh, Mother, why do you keep on hurting me! You seem to enjoy it.
+
+ANNA PÁVLOVNA. Hurt you, do I? Enjoy it, do I? Very well, then, if
+that's the case, I'd better go.
+
+     [Pause.
+
+I see I'm in your way. You want me to go. Well, all I can say is I
+can't make you out. I suppose you're being "modern" and all that. But
+to me, it's just plain disgusting. First, you make up your mind to
+separate from your husband, and then you up and send for another man
+who's in love with you--
+
+LISA. Mother, he's not.
+
+ANNA PÁVLOVNA. You know Karénin proposed to you, and he's the man you
+pick out to bring back your husband. I suppose you do it just to make
+him jealous.
+
+LISA. Oh, Mother, stop it. Leave me alone.
+
+ANNA PÁVLOVNA. That's right. Send off your mother. Open the door to
+that awful husband. Well, I can't stand by and see you do it. I'll go.
+I'm going. And God be with you and your extraordinary ways.
+
+     [Exit L. U. with suppressed rage.
+
+LISA (sinking into a chair R. of table C.). That's the last straw.
+
+SASHA. Oh, she'll come back. We'll make her understand. (Going to the
+door and following after her mother.) Now, Mother darling, listen--
+listen--
+
+     [Exit L. U.
+
+     [All lights dim to black out.
+
+CURTAIN
+
+
+
+SCENE II
+
+A room at the gypsies', dark but beautifully lit. The actual room is
+scarcely seen, and although at first it appears squalid, there are
+flaring touches of Byzantine luxury. Gypsies are singing. FÉDYA is
+lying on the sofa, his eyes closed, coat off. An OFFICER sits at the
+table, on which there are bottles of champagne and glasses. Beside him
+sits a musician taking down the song.
+
+AFRÉMOV (standing L. U.). Asleep?
+
+FÉDYA (on couch L. Raising his hand warningly). Sh! Don't talk! Now
+let's have "No More at Evening."
+
+GYPSY LEADER. Impossible, Fedor Protosov. Masha must have her solo
+first.
+
+FÉDYA. Afterwards. Now let's have "No More at Evening."
+
+     [Gypsies sing.
+
+GYPSY WOMAN (R. C., when they finish singing, turning to Musician who
+is sitting at table R., with his back to audience). Have you got it?
+
+MUSICIAN. It's impossible to take it down correctly. They change the
+tune each time, and they seem to have a different scale, too. (He
+calls a gypsy woman.) Is this it?
+
+     [He hums a bar or two.
+
+GYPSY WOMAN (clapping her hands). Splendid! Wonderful! How can you do
+it?
+
+FÉDYA (rising. Goes to table L. back of couch and pours out glass of
+wine). He'll never get it. And even if he did and shovelled it into an
+opera, he'd make it seem absolutely meaningless.
+
+AFRÉMOV. Now we'll have "The Fatal Hour."
+
+     [Gypsies sing quartette. During this song, FÉDYA is standing down
+      R., keeping time with the wine glass from which he has drunk.
+      When they finish he returns to the couch and falls into MASHA'S
+      arms.
+
+FÉDYA. God! That's it! That's it! That's wonderful. What lovely things
+that music says. And where does it all come from, what does it all
+mean?
+
+     [Another pause.
+
+To think that men can touch eternity like that, and then--nothing--
+nothing at all.
+
+MUSICIAN. Yes, it's very original.
+
+     [Taking notes.
+
+FÉDYA. Original be damned. It's real.
+
+MUSICIAN. It's all very simple, except the rhythm. That's very
+strange.
+
+FÉDYA. Oh, Masha, Masha! You turn my soul inside out.
+
+     [Gypsies hum a song softly.
+
+MASHA (sitting on couch L. with FÉDYA). Do I? But what was it I asked
+you for?
+
+FÉDYA. What? Oh, money. Voilà, mademoiselle.
+
+     [He takes money front his trousers pocket. MASHA laughs, takes
+      the money, counts it swiftly, and hides it in her dress.
+
+FÉDYA. Look at this strange creature. When she sings she rushes me
+into the sky and all she asks for is money, little presents of money
+for throwing open the Gates of Paradise. You don't know yourself, at
+all, do you?
+
+MASHA. What's the use of me wondering about myself? I know when I'm in
+love, and I know that I sing best when my love is singing.
+
+FÉDYA. Do you love me?
+
+MASHA (murmuring). I love you.
+
+FÉDYA. But I am a married man, and you belong to this gypsy troupe.
+They wouldn't let you leave it, and--
+
+MASHA (interrupting). The troupe's one thing, and my heart's another.
+I love those I love, and I hate those I hate.
+
+FÉDYA. Oh, you must be happy to be like that.
+
+MASHA. I'm always happy when handsome gentlemen come and say nice
+things to me. (Gypsies stop singing.)
+
+     [A GYPSY entering speaks to FÉDYA.
+
+GYPSY. Some one asking for you.
+
+FÉDYA. Who?
+
+Gypsy. Don't know. He's rich, though. Fur coat.
+
+FÉDYA. Fur coat? O my God, show him in.
+
+AFRÉMOV. Who the devil wants to see you here?
+
+FÉDYA (carelessly). God knows, I don't. (Begins to hum a song.)
+
+     [KARÉNIN comes in, looking around the room.
+
+(Exclaiming). Ha! Victor! You're the last man in the world I expected
+to break into this enchanting milieu. Take off your coat, and they'll
+sing for you.
+
+KARÉNIN. Je voudrais vous parler sans témoins.
+
+     [MASHA rises and joins the group R.
+
+FÉDYA. Oh.... What about?
+
+KARÉNIN. Je viens de chez vous. Votre femme ma chargé de cette lettre,
+et puis--
+
+     [FÉDYA takes the letter, opens it, reads. He frowns, then smiles
+      affectionately at KARÉNIN.
+
+FÉDYA. You know what's in this letter, Victor?
+
+     [He is smiling gently all the time.
+
+KARÉNIN (looking at FÉDYA rather severely). Yes, I know. But really,
+Fédya, you're in no--
+
+FÉDYA (interrupting). Please, please don't think I'm drunk and don't
+realize what I'm saying. Of course I'm drunk, but I see everything
+very clearly. Now go ahead. What were you told to tell me?
+
+KARÉNIN (is standing L. C. Shrugging his shoulders). Your wife asked
+me to find you and to tell you she's waiting for you. She wants you to
+forget everything and come back.
+
+     [Pause.
+
+KARÉNIN (stiffly). Elizaveta Protosova sent for me and suggested that
+I--
+
+FÉDYA (as he hesitates). Yes.
+
+KARÉNIN (finishing rather lamely). But I ask you not so much for her
+as for myself--Fédya, come home.
+
+FÉDYA (looking up at him, smiling rather whimsically). You're a much
+finer person than I am, Victor. Of course that's not saying much. I'm
+not very much good, am I? (Laughing gently.) But that's exactly why
+I'm not going to do what you want me to. It's not the only reason,
+though. The real reason is that I just simply can't. How could I?
+
+KARÉNIN (persuasively). Come along to my rooms, Fédya, and I'll tell
+her you'll be back to-morrow.
+
+FÉDYA (wistfully). To-morrows can't change what we are. She'll still
+be she, and I will still be I to-morrow. (Goes to the table and
+drinks.) No, it's better to have the tooth out in one pull. Didn't I
+say that if I broke my word she was to leave me? Well, I've broken it,
+and that's enough.
+
+KARÉNIN. Yes. For you, but not for her.
+
+FÉDYA (down L. Politely insolent). You know ... it's rather odd, that
+you, of all men, should take so much trouble to keep our marriage from
+going to pieces.
+
+KARÉNIN (revolted). Good God, Fédya! You don't think--
+
+     [MASHA crosses L., goes to FÉDYA. FÉDYA interrupting him with a
+      return of his former friendliness.
+
+FÉDYA. Come now, my dear Victor, you shall hear them sing.
+
+MASHA (whispering to FÉDYA). What's his name? We must honor him with a
+song.
+
+FÉDYA (laughing). O good God, yes! Honor him by all means. His name is
+Victor Michaelovitch. (Saluting Karénin.) Victor, my lord! son of
+Michael!
+
+     [The gypsies sing a song of greeting and laudation. As they begin
+      to sing, MASHA and FÉDYA sit on couch L.
+
+(When song is finished.)
+
+KARÉNIN (in an imploring tone). Fédya!
+
+     [Exits quietly L. U.
+
+FÉDYA (business with MASHA). Where's the fur coat? Gone, eh? All
+right. May the devil go with it.
+
+FÉDYA. Do you know who that was?
+
+MASHA. I heard his name.
+
+FÉDYA. Ah, he's a splendid fellow. He came to take me home to my wife.
+You see she loves even a fool like me, (caressing her hair) and look
+what I'm doing.
+
+MASHA. You should go back to her and be very sorry.
+
+FÉDYA. Do you think I should? (He kisses her.) Well, I think I
+shouldn't.
+
+MASHA. Of course, you needn't go back to her if you don't love her.
+Love is all that counts.
+
+FÉDYA (smiling). How do you know that?
+
+MASHA (looking at him timidly). I don't know, but I do.
+
+FÉDYA. Now, let's have "No More at Evening." (As the gypsies sing,
+MASHA lies on her back across his lap, looking up into his face, which
+she draws down to her, and they kiss until the music begins to cease.)
+That's wonderful! Divine! If I could only lie this way forever, with
+my arms around the heart of joy, and sleep ... and die.... (He closes
+his eyes; his voice trails away.)
+
+     [Lights dim and out, then the
+
+CURTAIN
+
+
+
+SCENE III
+
+SOPHIA KARÉNINA'S boudoir. SOPHIA KARÉNINA, VICTOR'S mother, is
+reading a book. She is a great lady, over fifty, but tries to look
+younger. She likes to interlard her conversation with French words. A
+servant enters.
+
+SERVANT (enters R., announcing). Prince Sergius Abréskov.
+
+SOPHIA KARÉNINA (on sofa over L.). Show him in, please.
+
+     [She turns and picks up hand mirror from table back of couch,
+      arranging her hair.
+
+PRINCE SERGIUS (enters R. I. Entering). J'espère que je ne force pas
+la consigne.
+
+     [Crossing to sofa L. He kisses her hand. He is a charming old
+      diplomat of seventy.
+
+SOPHIA KARÉNINA. Ah, you know well que vous êtes toujours le bien
+venu.... Tell me, you have received my letter?
+
+PRINCE SERGIUS. I did. Me voilà. (Sits L. on sofa L.) Sophia Karénina
+(working up to distress). Oh, my dear friend, I begin to lose hope.
+She's bewitched him, positively bewitched him. Il est ensorcelé. I
+never knew he could be so obstinate, so heartless, and so indifferent
+to me. He's changed completely since that woman left her husband.
+
+PRINCE SERGIUS. How do matters actually stand?
+
+SOPHIA KARÉNINA. Well, he's made up his mind to marry her at any cost.
+
+PRINCE SERGIUS. And her husband?
+
+SOPHIA KARÉNINA. He agrees to a divorce.
+
+PRINCE SERGIUS. Really?
+
+SOPHIA KARÉNINA. And Victor is willing to put up with all the
+sordidness, the vulgarity of the divorce court, the lawyers, evidences
+of guilt ... tout ça est dégoûtant. I can't understand his sensitive
+nature not being repelled by it.
+
+PRINCE SERGIUS (smiling). He's in love, and when a man's really in
+love--
+
+SOPHIA KARÉNINA (interrupting). In our time love could remain pure,
+coloring one's whole life with a romantic friendship. Such love I
+understand and value.
+
+PRINCE SERGIUS (sighing). However, the present generation refuses to
+live on dreams. (He coughs delicately.) La possession de l'âme ne leur
+suffit plus. So what is the alternative? But tell me more of Victor.
+
+SOPHIA KARÉNINA. There's not very much to say. He seems bewitched,
+hardly my son. Did you know I'd called upon her? Victor pressed me so
+it was impossible to refuse. But Dieu merci, I found her out. So I
+merely left my card, and now she has asked me if I could receive her
+to-day, and I am expecting her (she glances at her watch) any moment
+now. I am doing all this to please Victor, but conceive my feelings. I
+know you always can. Really, really, I need your help.
+
+PRINCE SERGIUS (bowing). Thank you for the honor you do me.
+
+SOPHIA KARÉNINA. You realize this visit decides Victor's fate. I must
+refuse my consent, or---- But that's impossible.
+
+PRINCE SERGIUS. Have you met her?
+
+SOPHIA KARÉNINA. I've never seen her, but I'm afraid of her. No good
+woman leaves her husband, especially when there's nothing obviously
+intolerable about him. Why, I've seen Protosov often with Victor, and
+found him even quite charming.
+
+PRINCE SERGIUS (murmurs). So I've heard. So I've heard.
+
+SOPHIA KARÉNINA (continuing). She should bear her cross without
+complaint. And Victor must cease trying to persuade himself that his
+happiness lies in defying his principles. What I don't understand is
+how Victor, with his religious views, can think of marrying a divorced
+woman. I've heard him say over and over again--once quite lately--
+that divorce is totally inconsistent with true Christianity. If she's
+been able to fascinate him to that point, I am afraid of her.--But how
+stupid of me to talk all the time! Have you spoken to him at all? What
+does he say? And don't you thoroughly agree with me?
+
+PRINCE SERGIUS. Yes, I've spoken to Victor. I think he really loves
+her, has grown accustomed to the idea of loving her, pour ainsi dire.
+(Shaking his head.) I don't believe he could ever now care for another
+woman.
+
+SOPHIA KARÉNINA (sighing). And Varia Casanzeva would have made him
+such a charming wife. She's so devoted already.
+
+PRINCE SERGIUS (smiling). I am afraid I hardly see her in the present
+... tableau. (Earnestly.) Why not submit to Victor's wish and help
+him?
+
+SOPHIA KARÉNINA. To marry a divorcée? And afterwards have him running
+into his wife's husband? How can you calmly suggest that a mother
+accept such a situation for her son?
+
+PRINCE SERGIUS. But, chère amie, why not approve of the inevitable?
+And you might console yourself by regarding the dangers he'll avoid by
+marrying this gentle, lovely woman. After all, suppose he conceived a
+passion for some one----
+
+     [Convey the word "disreputable".
+
+SOPHIA KARÉNINA. How can a good woman leave her husband?
+
+PRINCE SERGIUS. Ah, that's not like you. You're unkind and you're
+harsh. Her husband is the sort of man--well, he's his own worst enemy.
+A weakling, a ne'er-do-well--he's spent all his money and hers too.
+She has a child. Do you think you can condemn her for leaving him? As
+a matter of fact she didn't leave him, he left her.
+
+SOPHIA KARÉNINA (faintly). Oh what a mud-pen I'm slipping into!
+
+PRINCE SERGIUS (amused). Could your religion aid you?
+
+SOPHIA KARÉNINA (smelling her salts). In this instance, religion would
+require of me the impossible. C'est plus fort que moi.
+
+PRINCE SERGIUS. Fédya himself--you know what a charming clever
+creature he is when he's in his senses--he advised her to leave him.
+
+     [Enter VICTOR who kisses his mother's hand and greets PRINCE SERGIUS.
+
+KARÉNIN. Ah, Prince Sergius! (Shakes hands with Prince--formally.)
+Maman, I've come to tell you that Elizaveta Protosova will be here
+directly. There's only one thing I ask you: do you still refuse your
+consent to my marriage----
+
+SOPHIA KARÉNINA (interrupting). And I most assuredly do.
+
+KARÉNIN (continuing. Frowning). In that case all I ask is for you not
+to speak to her about it.
+
+SOPHIA KARÉNINA. I don't suppose we shall even mention the subject. I
+certainly shan't.
+
+KARÉNIN (standing at head of sofa L.). If you don't, she won't.
+(Pleadingly.) Mother dear, I just want you to know her.
+
+SOPHIA KARÉNINA. One thing I can't understand. How is it you want to
+marry Lisa Protosova, a woman with a living husband, and at the same
+time believe divorce is a crime against Christianity?
+
+KARÉNIN. Oh, Maman, that's cruel of you. Life is far too complex to be
+managed by a few formulas. Why are you so bitter about it all?
+
+SOPHIA KARÉNINA (honestly). I love you. I want you to be happy.
+
+KARÉNIN (imploringly to PRINCE SERGIUS) Sergius Abréskov!
+
+PRINCE SERGIUS (to SOPHIA KARÉNINA). Naturally you want him happy. But
+it's difficult for our hearts, wearied from the weight of years, to
+feel the pulse of youth and sympathize, especially is it difficult for
+you, my friend, who have schooled yourself to view Victor's happiness
+in a single way....
+
+SOPHIA KARÉNINA. Oh, you're all against me. Do as you like. Vous êtes
+majeur. (Sniffing into her pocket handkerchief.) But you'll kill me.
+
+KARÉNIN (deeply distressed). Ah, Mother, please. It's worse than cruel
+to say things like that.
+
+PRINCE SERGIUS (smiling to VICTOR). Come, come, Victor, you know your
+mother speaks more severely than she could ever act.
+
+SOPHIA KARÉNINA. I shall tell her exactly what I think and feel, and I
+hope I can do it without offending her.
+
+PRINCE SERGIUS. I am sure of it.
+
+     [Enter FOOTMAN.
+
+Here she is.
+
+KARÉNIN. I'll go. (Goes to back of sofa.)
+
+FOOTMAN (announcing). Elizaveta Andreyevna Protosova.
+
+KARÉNIN (warningly). Now, Mother.
+
+     [He goes out L. PRINCE SERGIUS rises.
+
+SOPHIA KARÉNINA (majestically). Show her in. (To PRINCE SERGIUS.)
+Please remain.
+
+PRINCE SERGIUS. I thought you might prefer a tête-à-tête?
+
+SOPHIA KARÉNINA. No, no. I rather dread it. And if I want to be left
+alone in the room with her, I'll drop my handkerchief. Ça dépendra.
+
+PRINCE SERGIUS. I'm sure you're going to like her immensely.
+
+SOPHIA KARÉNINA. Oh you're all against me.
+
+     [Enter LISA R. and crosses to R. C.
+
+(Rising) How do you do? I was so sorry not to find you at home and it
+is most kind of you to come to see me.
+
+LISA (R.C.). I never expected the honor of your visit, and I am so
+grateful that you permit me to come and see you.
+
+SOPHIA KARÉNINA (C.). You know Prince Sergius Abréskov?
+
+PRINCE SERGIUS (L.--Heartily). Yes, I have had the pleasure. (Crossing
+to her, he shakes hands.) My niece Nellie has spoken often of you to
+me.
+
+     [Goes to L.C.
+
+LISA. Yes, we were great friends. (She glances shyly around her.) And
+still are. (To SOPHIA.) I never hoped that you would wish to see me.
+
+SOPHIA KARÉNINA. I knew your husband quite well. He was a great friend
+of Victor's and used frequently to visit us in Tambov, (politely)
+where you were married, I believe.
+
+LISA (looking down). Yes.
+
+SOPHIA KARÉNINA. But when you returned to Moscow we were deprived of
+the pleasure of his visit.
+
+LISA. Yes, then he stopped going anywhere.
+
+SOPHIA KARÉNINA. Ah, that explains our missing him.
+
+     [Awkward pause.
+
+PRINCE SERGIUS (to LISA). The last time I'd the pleasure of seeing you
+was in those tableaux at the Dennishovs. You were charming in your
+part.
+
+LISA. How good of you to think so! Yes, I remember perfectly.
+
+     [Another awkward silence.
+
+(To SOPHIA KARÉNINA.) Sophia Karénina, please forgive me if what I am
+going to say offends you, but I don't know how to cover up what's in
+my heart. I came here to-day because Victor Karénin said--because he
+said that--because he--I mean because you wanted to see me. (With a
+catch in her voice.) It's rather difficult--but you're so sweet.
+
+PRINCE SERGIUS (very sympathetic). There, there, my dear child, I
+assure you there's nothing in the world to---- (He breaks off when he
+sees SOPHIA KARÉNINA pointing impatiently to the floor. She has
+dropped her handkerchief.) Permit me. (He picks it up, presenting it
+to her with a smile and a bow; then looks casually at his watch.) Ah,
+five o'clock already. (To SOPHIA KARÉNINA.) Madame, in your salon
+pleasure destroys the memory of time. You will excuse me.
+
+     [He kisses her hand.
+
+SOPHIA KARÉNINA (smiling). Au revoir, mon ami.
+
+PRINCE SERGIUS (bowing and shaking hands with LISA). Elizaveta
+Protosova, au revoir.
+
+     [He goes out R.
+
+SOPHIA KARÉNINA. Now listen, my child. Please believe how truly sorry
+for you I am and that you are most sympathetique to me. But I love my
+son alone in this world, and I know his soul as I do my own. He's very
+proud--oh I don't mean of his position and money--but of his high
+ideals, his purity. It may sound strange to you, but you must believe
+me when I tell you that at heart he is as pure as a young girl.
+
+LISA. I know.
+
+SOPHIA KARÉNINA. He's never loved a woman before. You're the first. I
+don't say I'm not a little jealous. I am. But that's something we
+mothers have to face. Oh, but your son's still a baby, you don't know.
+I was ready to give him up, though--but I wanted his wife to be as
+pure as himself.
+
+LISA (flushing hotly). And I, am I not----
+
+SOPHIA KARÉNINA (interrupting her kindly). Forgive me, my dear. I know
+it's not your fault and that you've been most unhappy. And also I know
+my son. He will bear anything, and he'll bear it without saying a
+word, but his hurt pride will suffer and bring you infinite remorse.
+You must know how strongly he has always felt that the bond of
+marriage is indissoluble.
+
+LISA. Yes. I've thought of all that.
+
+SOPHIA KARÉNINA. Lisa, my dear, you're a wise woman and you're a good
+woman too. If you love him, you must want his happiness more than you
+want your own. You can't want to cripple him so that he'll be sorry
+all his life--yes, sorry even though he never says a word.
+
+LISA. I've thought about it so much. I've thought about it and I've
+talked to him about it. But what can I do when he says he can't live
+without me? I said to him only the other day, "Victor, let's just be
+friends. Don't spoil your life. Don't ruin yourself by trying to help
+me." And do you know what he did? He laughed.
+
+SOPHIA KARÉNINA. Of course he would, at the time.
+
+LISA. If you could persuade him not to marry me, you know I'll agree,
+don't you? I just want him to be happy. I don't care about myself.
+Only please help me. Please don't hate me. Let's do all we can for
+him, because, after all, we both love him.
+
+SOPHIA KARÉNINA. Yes, I know. And I think I love you too. I really do.
+(She kisses her. LISA begins to cry.) Oh, it's all so dreadful. If
+only he had fallen in love with you before you were married!
+
+LISA (sobbing). He--he says he did--but he had to be loyal to his
+friend.
+
+SOPHIA KARÉNINA. Alas, it's all very heart-breaking. But let us love
+each other, and God will help us to find what we are seeking.
+
+KARÉNIN (entering L. I). Mother darling. I've heard what you just
+said. I knew you'd love her. And now everything must come right.
+
+SOPHIA KARÉNINA (hastily). But nothing's decided. All I can say is,
+had things been different, I should have been very glad. (Tenderly.)
+So very glad.
+
+     [She kisses LISA.
+
+KARÉNIN (smiling). Please don't change. That's all I ask.
+
+     [Lights down and out.
+
+CURTAIN
+
+
+
+SCENE IV
+
+A plainly furnished room, bed, table and stove. FÉDYA alone writing.
+
+At rise MASHA is heard outside calling "FÉDYA! FÉDYA!" MASHA enters R.
+I, crosses to FÉDYA on bed C. and embraces him.
+
+FÉDYA. Ah, thank Heaven you've come. I was wasting away in boredom.
+
+MASHA. Then why didn't you come over to us? (Sees wine glass on chair
+near bed.) So, you've been drinking again? And after all your
+promises!
+
+FÉDYA (embarrassed). I didn't come over because I had no money.
+
+MASHA. Oh, why is it I love you so.
+
+FÉDYA. Masha!
+
+MASHA (imitating him). Masha! Masha! What's that mean? If you loved
+me, by now you'd have your divorce. You say you don't love your wife.
+(FÉDYA winces.) But you stick to her like grim death.
+
+FÉDYA (interrupting her). You know why I don't want to.
+
+MASHA. Nonsense. They're right when they say you're no good. It's your
+mind that you can never make up comfortably causing you all the worry.
+
+FÉDYA. You know perfectly well that the only joy I've got in life is
+being in love with you.
+
+MASHA. Oh, it's always "My joy," "Your love." Where's your love and my
+joy?
+
+FÉDYA (a little wearily). Well, Masha, after all, you've got all I can
+give, the best I've ever had to give, perhaps, because you're so
+strong, so beautiful, that sometimes you've made me know how to make
+you glad. So why torture yourself?
+
+MASHA (kneels and puts her arms around his neck). I won't if you're
+sure you love me.
+
+FÉDYA (coming closer to her). My beautiful young Masha.
+
+MASHA (tearfully, searching his face). You do love me?
+
+FÉDYA. Of course, of course.
+
+MASHA. Only me, only me?
+
+FÉDYA (kissing her). Darling, only you.
+
+MASHA (with a return to brightness). Now read me what you've written.
+
+FÉDYA. It may bore you.
+
+MASHA (reproachfully). How could it?
+
+FÉDYA (reads).
+
+     "The snow was flooded in moonlight and the birch trees wavered
+      their stark shadows across it like supplicating arms. Suddenly
+      I heard the soft padded sound of snow falling upon snow, to
+      slowly perceive a figure, the slender figure of a young child
+      attempting to arouse itself almost at my feet--I----"
+
+     [Enter IVÁN and NASTASÏA. They are two old gypsies, MASHA'S
+      parents.
+
+NASTASÏA (stepping up to MASHA). So here you are--you cursed little
+stray sheep. No disrespect to you, sir. (To MASHA.) You black-hearted,
+ungrateful little snake. How dare you treat us like this, how dare
+you, eh?
+
+Iván (to FÉDYA). It's not right, sir, what you've done, bringing to
+her ruin our only child. It's against God's law.
+
+NASTASÏA (to MASHA). Come and get out of here with me. You thought
+you'd skip, didn't you? And what was I supposed to tell the troupe
+while you dangled around here with this tramp? What can you get out of
+him, tell me that? Did you know he hasn't got a kopek to his name,
+didn't you?
+
+     [During scene with parents, FÉDYA sits dumbly on the bed, bewildered.
+He puts his forehead against MASHA'S face and clings to her like a
+child.
+
+MASHA (sullenly). I haven't done anything wrong. I love this
+gentleman, that's all. I didn't leave the troupe either. I'll go on
+singing just the same.
+
+Iván. If you talk any more, I'll pull your hair all out for you, you
+loose little beast, you. (To FÉDYA, reproachfully.) And you, sir, when
+we were so fond of you--why, often and often we used to sing for you
+for nothing and this is how you pay us back.
+
+NASTASÏA (rocking herself to and fro). You've ruined our daughter, our
+very own, our only one, our best beloved, our diamond, our precious
+one, (with sudden fury). You've stamped her into the dirt, you have.
+Where's your fear of God?
+
+FÉDYA. Nastasïa, Nastasïa, you've made a mistake. Your daughter is
+like a sister to me. I haven't harmed her at all. I love her, that's
+true. But how can I help it?
+
+IVÁN. Well, why didn't you love her when you had some money? If you'd
+paid us ten thousand rubles, you could have owned her, body and soul.
+That's what respectable gentlemen do. But you--you throw away every
+kopek you've got and then you steal her like you'd steal a sack of
+meal. You ought to be ashamed, sir.
+
+MASHA (rising, puts her arm around his neck). He didn't steal me. I
+went to him myself, and if you take me away now, I'll come right back.
+If you take me away a thousand times, I'll come back to him. I love
+him and that's enough. My love will break through anything--through
+anything. Through anything in the whole damn world.
+
+NASTASÏA (trying to soothe her). Now, Mashenka darling, don't get
+cross. You know you haven't behaved well to your poor old parents.
+There, there, come along with us now.
+
+     [With greedy fingers that pretend to caress, NASTASÏA seizes her
+      savagely and suddenly at the end of this speech and draws her to
+      the door. MASHA cries out "FÉDYA! FÉDYA!" as she exits R.
+
+IVÁN (alongside). You open your mouth again and I'll smash you dumb.
+(To FÉDYA.) Good-bye, your worship.
+
+     [All exit R. I.
+
+     [FÉDYA sits as though stupefied. The gypsies exit noisily. There
+      is a pause. He drinks; then PRINCE SERGIUS appears, very quiet
+      and dignified, at the door.
+
+PRINCE. Excuse me. I'm afraid I'm intruding upon a rather painful
+scene.
+
+FÉDYA (getting up). With whom have I the honor---- (recognizing the
+Prince). Ah, Prince Sergius, how do you do?
+
+     [They shake hands.
+
+PRINCE (in a distinguished manner). I repeat that I am afraid to be
+most inopportune. I would rather not have heard, but since I have,
+it's my duty to say so. When I arrived I knocked several times, but I
+presume you could not have heard through such uproar.
+
+FÉDYA. Do sit down. (PRINCE sits chair R.C.) Thanks for telling me you
+heard. (Sits on bed up C.) It gives me a chance to explain it all.
+Forgive me for saying your opinion of me can't concern me, but I want
+to tell you that the way her parents talked to that young girl, that
+gypsy singer, was absolutely unjust. She's as pure as your own mother.
+My relations with her are simply friendly ones. Possibly there is a
+ray of poetry in them, but that could hardly degrade her. However,
+what can I do for you?
+
+PRINCE SERGIUS. Well, to begin----
+
+FÉDYA (interrupting). Excuse me, Prince, but my present social
+position hardly warrants a visit from you.
+
+     [Smiling.
+
+PRINCE SERGIUS. I know that, but I ask you to believe that your
+changed position does not influence me in what I am about to tell you.
+
+FÉDYA (interrogatively). Then?
+
+PRINCE SERGIUS. To be as brief as possible, Victor Karénin, the son of
+my old friend, Sophia Karénina, and she herself, have asked me to
+discover from you personally what your present relations are with your
+wife, and what intentions you have regarding them.
+
+FÉDYA. My relations with my wife--I should say my former wife--are
+several.
+
+PRINCE SERGIUS. As I thought, and for this reason accepted my somewhat
+difficult mission.
+
+FÉDYA (quickly). I wish to say first of all that the fault was
+entirely mine. She is, just as she always was, absolutely stainless,
+faultless.
+
+PRINCE SERGIUS. Victor Karénin and especially his mother are anxious
+to know your exact intentions regarding the future.
+
+FÉDYA. I've got no intentions. I've given her full freedom. I know she
+loves Victor Karénin, let her. Personally, I think he is a bore, but
+he is a good bore. So they'll probably be very happy together, at
+least in the ordinary sense and que le bon Dieu les bénisse.
+
+PRINCE SERGIUS. Yes, but we----
+
+FÉDYA (rising, goes L., leans on table). Please don't think I'm
+jealous. If I just said Victor was dull, I take it back. He's
+splendid, very decent, in fact the opposite of myself, and he's loved
+her since her childhood (slowly) and maybe she loved him even when we
+were married. After all, that happens, and the strongest love is
+perhaps unconscious love. Yes, I think she's always loved him far, far
+down beneath what she would admit to herself, and this feeling of nine
+has been a black shadow across our married life. But--I--I really
+don't suppose I ought to be talking to you like this, ought I?
+
+PRINCE SERGIUS. Please go on. My only object in coming was to
+understand this situation completely, and I begin to see how the
+shadow--as you charmingly express it--could have been----
+
+FÉDYA (looking strangely ahead of him). Yes, no brightness could suck
+up that shadow. And so I suppose I never was satisfied with what my
+wife gave me, and I looked for every kind of distraction, sick at
+heart because I did so. I see it more and more clearly since we've
+been apart. Oh, but I sound as if I were defending myself. God knows I
+don't want to do that. No, I was a shocking bad husband. I say was,
+because now I don't consider myself her husband at all. She's
+perfectly free. There, does that satisfy you?
+
+PRINCE SERGIUS. Yes, but you know how strictly orthodox Victor and his
+family are. Of course I don't agree with them--perhaps I have broader
+views--(with a shrug) but I understand how they feel. They consider
+that any union without a church marriage is--well, to put it mildly,
+unthinkable.
+
+FÉDYA. Yes, I know he's very stu--I mean strict. (With a slight
+smile.) "Conservative" is the word, isn't it? But what in God's name
+(crossing to C.) do they want, a divorce? I told them long ago I was
+perfectly willing. But the business of hiring a street-woman and
+taking her to a shady hotel and arranging to be caught by competent
+witnesses--ugh--it's all so--so loathsome.
+
+     [He shudders--pauses; and sits on bed.
+
+PRINCE SERGIUS. I know. I know. I assure you, I can sympathize with
+such a repugnance, but how can one avoid it? You see, it's the only
+way out. But, my dear boy, you mustn't think I don't sympathize with
+you. It's a horrible situation for a sensitive man and I quite
+understand how you must hate it.
+
+FÉDYA. Thank you, Prince Sergius. I always knew you were kind and
+just. Now tell me what to do. Put yourself in my place. I don't
+pretend to be any better than I really am. I am a blackguard but there
+are some things that even I can't do. (With a smile and helpless
+gesture.) I can't tell lies.
+
+     [A pause.
+
+PRINCE SERGIUS. I must confess that you bewilder me. You with your
+gifts and charm and really au fond--a wonderful sense of what's right.
+How could you have permitted yourself to plunge into such tawdry
+distractions? How could you have forgotten so far what you owed to
+yourself? Tell me, why did you let your life fall into this ruin?
+
+FÉDYA (suppressing emotion). I've led this sort of life for ten years
+and you're the first real person to show me sympathy. Of course, I've
+been pitied by the degraded ones but never before by a sensible, kind
+man like you. Thanks more than it's possible to say. (He seems to
+forget his train of thought and suddenly to recall it.) Ah, yes, my
+ruin. Well, first, drink, not because it tasted well, but because
+everything I did disappointed me so, made me so ashamed of myself. I
+feel ashamed now, while I talk to you. Whenever I drank, shame was
+drowned in the first glass, and sadness. Then music, not opera or
+Beethoven, but gypsy music; the passion of it poured energy into my
+body, while those dark bewitching eyes looked into the bottom of my
+soul. (He sighs.) And the more alluring it all was, the more shame I
+felt afterwards.
+
+     [Pause.
+
+PRINCE SERGIUS. But what about your career?
+
+FÉDYA. My career? This seems to be it. Once I was a director of a
+bank. There was something terribly lacking between what I felt and
+what I could do. (Abruptly.) But enough, enough of myself. It makes me
+rather nervous to think about myself.
+
+     [Rises.
+
+PRINCE SERGIUS. What answer am I to take back?
+
+FÉDYA (very nervous). Oh, tell them I'm quite at their disposal.
+(Walking up and down) They want to marry, and there mustn't be
+anything in their way (pause); is that it? (Stops walking very
+suddenly. Repeats.) There mustn't be anything in their way--is that
+it?
+
+PRINCE SERGIUS (pause. FÉDYA sits on table L.). Yes. When do you--when
+do you think--you'll--you'll have it ready? The evidence?
+
+FÉDYA (turns and looks at the PRINCE, suppressing a slight, strained
+smile). Will a fortnight do?
+
+PRINCE SERGIUS (rising). Yes, I am sure it will. (Rises and crosses to
+FÉDYA.) May I say that you give them your word?
+
+FÉDYA (with some impatience). Yes. Yes. (PRINCE offers his hand.)
+Good-bye, Prince Sergius. And again thanks.
+
+     [Exit PRINCE SERGIUS, R. I. FÉDYA sits down in an attitude of
+      deep thought.
+
+Why not? Why not? And it's good not to be ashamed----
+
+     [Lights dim and out.
+
+CURTAIN
+
+
+
+SCENE V
+
+Private room in a cheap restaurant. FÉDYA is shown in by a shabby
+waiter.
+
+WAITER. This way, sir. No one will disturb you here. Here's the
+writing paper.
+
+     [Starts to exit.
+
+FÉDYA (as waiter starts to exit). Bring me a bottle of champagne.
+
+WAITER. Yes, sir.
+
+     [Exits R. C.
+
+     [FÉDYA sits at table L. C., and begins to write. IVÁN PETROVICH
+      appearing in the doorway R. C.
+
+IVÁN PETROVICH. I'll come in, shall I?
+
+FÉDYA (sitting L. of table L. C. Very serious). If you want to, but
+I'm awfully busy, and--(seeing he has already entered) Oh, all right,
+do come in.
+
+IVÁN PETROVICH (C.). You're going to write an answer to their demand.
+I'll help you. I'll tell you what to say Speak out. Say what you mean.
+It's straight from the shoulder. That's my system. (Picks up box that
+FÉDYA has placed on table--opens it and takes out a revolver.) Hallo!
+What's this? Going to shoot yourself. Of course, why not? I
+understand. They want to humiliate you, and you show them where the
+courage is--put a bullet through your head and heap coals of fire on
+theirs. I understand perfectly. (The waiter enters with champagne on
+tray, pours a glass for FÉDYA, then exits. PETROVICH takes up the
+glass of wine and starts to drink. FÉDYA looks up from his writing.) I
+understand everything and everybody, because I'm a genius.
+
+FÉDYA. So you are, but----
+
+IVÁN PETROVICH (filling and lifting his glass). Here's to your
+immortal journey. May it be swift and pleasant. Oh, I see it from your
+point of view. So why should I stop you? Life and death are the same
+to genius. I'm dead during life and I live after death. You kill
+yourself in order to make a few people miss you, but I--but I--am
+going to kill myself to make the whole world know what it lost. I
+won't hesitate or think about it. I'll just take the revolver--one,
+two--and all is over--um. But I am premature. My hour is not yet
+struck. (He puts the revolver down.) But I shall write nothing. The
+world will have to understand all by itself. (FÉDYA continues to
+write.) The world, what is it but a mass of preposterous creatures,
+who crawl around through life, understanding nothing--nothing at all
+--do you hear me? (FÉDYA looks up, rather exasperated.) Oh, I'm not
+talking to you. All this is between me and the cosmos. (Pours himself
+out another drink.) After all, what does humanity most lack?
+Appreciation for its geniuses. As it is, we're persecuted, tortured,
+racked, through a lifetime of perpetual agony, into the asylum or the
+grave. But no longer will I be their bauble. Humanity, hypocrite that
+you are--to hell with you.
+
+     [Drinks wine.
+
+FÉDYA (having finished his letter). Oh, go away, please.
+
+IVÁN PETROVICH. Away? (With a gesture.) Away? Me? (With profound
+resolve.) So be it. (He leans over the table, faces FÉDYA.) I shall
+away. I'll not deter you from accomplishing what I also shall commit--
+all in its proper moment, however. Only I should like to say this----
+
+FÉDYA. Later. Later. But now, listen, old man, give this to the head
+waiter. (Handing him some money.) You understand?
+
+IVÁN PETROVICH. Yes, but for God's sake wait for me to come back.
+(Moves away.) I've something rare to tell you, something you'll never
+hear in the next world--at least not till I get there---- Look here,
+shall I give him all this money?
+
+FÉDYA. No, just what I owe him.
+
+     [Exit IVÁN PETROVICH, whistling. FÉDYA sighs with a sense of
+      relief, takes the revolver, cocks it, stands at mirror on wall
+      up R., and puts it close to his temple. Then shivers, and lets
+      his hand drop.
+
+I can't do it. I can't do it.
+
+     [Pause. MASHA is heard singing. MASHA bursts into the room.
+
+MASHA (breathless). I've been everywhere looking for you. To Popov's,
+Afrémov's, then I guessed you'd be here. (Crosses to him. Sees
+revolver, turns, faces him quickly, concealing it with her body,
+stands very tense and taut, looking at him.) Oh, you fool! You hideous
+fool! Did you think you'd----
+
+FÉDYA (still completely unnerved). Awful! It's been awful! I tried----
+(With a gesture of despair.) I couldn't----
+
+     [Crosses to table L. C.--leans against it.
+
+MASHA (puts her hand to her face as if terribly hurt). As if I didn't
+exist. (Crosses over to table L. C., puts down revolver.) As if I
+weren't in your life at all. Oh, how godless you are! (Brokenly.) Tell
+me, tell me, what about all my love for you?
+
+FÉDYA (as if suddenly aware of a great fatigue). I wanted to set them
+free. I promised to--and when the time came I couldn't.
+
+MASHA. And what about me? What about me?
+
+FÉDYA. I thought you'd be free, too. Surely my torturing you can't
+make you happy.
+
+MASHA. Oh, I can look out for myself. Maybe I'd rather be unhappy,
+miserable, wretched with you every minute than even think of living
+without you.
+
+FÉDYA (up R.--half to himself). If I'd finished just now, you would
+have cried bitterly perhaps, my Masha, but you would have lived past
+it.
+
+MASHA. Oh, damn you, don't be so sure I'd cry at all. Can't you even
+be sorry for me?
+
+     [She tries to conceal her tears.
+
+FÉDYA. Oh God, I only wanted to make everybody happier.
+
+MASHA. Yourself happier, you mean.
+
+FÉDYA (smiling). Would I have been happier to be dead now?
+
+MASHA (sulkily). I suppose you would. (Suddenly in a tender voice,
+crossing to him.) But, Fédya, do you know what you want? Tell me, what
+do you want?
+
+FÉDYA (R). I want so many things.
+
+MASHA (impatiently and clinging to him). But what? What?
+
+FÉDYA. First of all, I want to set them free. How can I lie? How can I
+crawl through the muck and filth of a divorce? I can't. (Moves to end
+of table and stands there facing front.) But I must set them free
+somehow. They're such good people, my wife and Victor. I can't bear
+having them suffer.
+
+MASHA (R. of table L. C.--scornfully). Where's the good in her if she
+left you?
+
+FÉDYA. She didn't. I left her.
+
+MASHA. She made you think she'd be happier without you. But go on----
+(Impatiently.) Blame yourself, what else.
+
+FÉDYA. There's you, Masha. Young, lovely, awfully dear to me. If I
+stay alive, ah, where will you be?
+
+MASHA. Don't bother about me. You can't hurt me.
+
+FÉDYA (sighing). But the big reason, the biggest reason of all, is
+myself. I'm just lost. Your father is right, my dear. I'm no good.
+
+MASHA (crossing to him, at once tenderly and savagely). I won't
+unfasten myself from you. I'll stick to you, no matter where you take
+me, no matter what you do. You're alive, terribly alive, and I love
+you. Fédya, drop all this horror.
+
+FÉDYA. How can I?
+
+MASHA (trying to project the very essence of her vitality into him).
+Oh, you can, you can.
+
+FÉDYA (slowly). When I look at you, I feel as though I could do
+anything.
+
+MASHA (proudly, fondly). My love, my love. You can do anything, get
+anywhere you want to. (FÉDYA moves away impatiently up R. She sees
+letter.) So you have been writing to them--to tell them you'll kill
+yourself. You just told them you'd kill yourself, is that it? But you
+didn't say anything about a revolver. Oh, Fédya, let me think, there
+must be some way. Fédya--listen to me. Do you remember the day we all
+went to the picnic to the White Lakes with Mama and Afrémov and the
+young Cossack officer? And you buried the bottles of wine in the sand
+to keep them cool while we went in bathing? Do you remember how you
+took my hands and drew me out beyond the waves till the water was
+quite silent and flashing almost up to our throats, and then suddenly
+it seemed as if there were nothing under our feet? We tried to get
+back. We couldn't and you shouted out, "Afrémov," and if he hadn't
+been almost beside us and pulled us in--and how cross he was with you
+for forgetting that you couldn't swim, and after, how wonderful it was
+to stretch out safely on the sands in the sunlight. Oh, how nice every
+one was to us that day and you kept on being so sorry for forgetting
+you couldn't swim! And, Fédya, don't you see? Of course, she must know
+you can't swim. Oh, it's all getting as clear as daylight. You will
+send her this beautiful letter. Your clothes will be found on the
+river bank--but instead of being in the river you will be far away
+with me--Fédya, don't you see, don't you see? You will be dead to her,
+but alive for me. (Embraces FÉDYA.)
+
+     [The lights down and out.
+
+CURTAIN
+
+
+
+SCENE VI
+
+The PROTOSOVS' drawing-room.
+
+KARÉNIN and LISA.
+
+KARÉNIN (sitting chair R.). He's promised me
+definitely, and I'm sure he'll keep to it.
+
+LISA (sitting chair R. C.). I'm rather ashamed to confess it, Victor,
+but since I found out about this--this gypsy, I feel completely free
+of him. Of course, I am not in the least jealous, but knowing this
+makes me see that I owe him nothing more. Am I clear to you, I wonder?
+
+KARÉNIN (coming closer to her). Yes, dear, I think I'll always
+understand you.
+
+LISA (smiling). Don't interrupt me, but let me speak as I think. The
+thing that tortured me most was I seemed to love both of you at once,
+and that made me seem so indecent to myself.
+
+KARÉNIN (incredulously amused). You indecent?
+
+LISA (continuing). But since I've found out that there's another
+woman, that he doesn't need me any more, I feel free, quite free of
+him. And now I can say truthfully, I love you. Because everything is
+clear in my soul. My only worry is the divorce, and all the waiting to
+be gone through before we can---- Ah, that's torturing.
+
+KARÉNIN. Dearest, everything will be settled soon. After all, he's
+promised, and I've asked my secretary to go to him with the petition
+and not to leave until he's signed it. Really, sometimes, if I didn't
+know him as I do, I'd think he was trying on purpose to discomfort us.
+
+LISA. No. No. It's, only the same weakness and honesty fighting
+together in him. He doesn't want to lie. However, I'm sorry you sent
+him money.
+
+KARÉNIN. If I hadn't, it might have delayed things. Lisa. I know, but
+money seems so ugly.
+
+KARÉNIN (slightly ruffled). I hardly think it's necessary to be so
+delicate with Fédya.
+
+LISA. Perhaps, perhaps. (Smiling.) But don't you think we are becoming
+very selfish?
+
+KARÉNIN. Maybe. But it's all your fault, dear. After all, this
+hopelessness and waiting, to think of being happy at last! I suppose
+happiness does make us selfish.
+
+LISA. Don't believe you're alone in your happiness or selfishness. I
+am so filled with joy it makes me almost afraid. Misha's all right,
+your mother loves me, and above all, you are here, close to me, loving
+me as I love you.
+
+KARÉNIN (bending over her and searching her eyes). You're sure you've
+no regret?
+
+LISA. From the day I found out about that gypsy woman, my mind
+underwent a change that has set me free.
+
+KARÉNIN. You're sure?
+
+     [Kissing her hands.
+
+LISA (passionately). Darling, I've only one desire now, and that is to
+have you forget the past and love as I do.
+
+     [Her little boy toddles in R., sees them and stops.
+
+     [To the child.
+
+Come here, my sweetheart.
+
+     [He goes to her and she takes him on her knees.
+
+KARÉNIN. What strange contradictory instincts and desires make up our
+beings!
+
+LISA. Why?
+
+KARÉNIN (slowly). I don't know. When I came back from abroad, knew I'd
+lost you, I was unhappy, terribly. Yet, it was enough for me to learn
+that you at least remembered me. Afterward, when we became friends,
+and you were kind to me, and into our friendship wavered a spark of
+something more than friendship, ah, I was almost happy! Only one thing
+tormented me: fear that such a feeling wronged Fédya. Afterwards, when
+Fédya tortured you so, I saw I could help. Then a certain definite
+hope sprang up in me. And later, when he became impossible and you
+decided to leave him, and I showed you my heart for the first time,
+and you didn't say no, but went away in tears--then I was happy through
+and through. Then came the possibility of joining our lives. Mamma
+loved you. You told me you loved me, that Fédya was gone out of your
+heart, out of your life forever, and there was only, only me.... Ah,
+Lisa, for what more could I ask! Yet the past tortured me. Awful
+fancies would flush up into my happiness, turning it all into hatred
+for your past.
+
+LISA (interrupting reproachfully). Victor!
+
+KARÉNIN. Forgive me, Lisa. I only tell you this because I don't want
+to hide a single thought from you. I want you to know how bad I am,
+and what a weakness I've got to fight down. But don't worry, I'll get
+past it. It's all right, dear. (He bends over, kissing the child on
+the head.) And I love him, too.
+
+LISA. Dearest, I'm so happy. Everything has happened in my heart to
+make it as you'd wish.
+
+KARÉNIN. All?
+
+LISA. All, beloved, or I never could say so.
+
+     [Enter the NURSE L. U.
+
+NURSE. Your secretary has come back.
+
+     [LISA and KARÉNIN exchange glances.
+
+LISA. Show him in here, nurse, and take Misha, will you?
+
+NURSE. Come along, my pet. It's time for your rest.
+
+     [Exit NURSE with the little boy, R.
+
+KARÉNIN (gets up, walks to the door). This will be Fédya's answer.
+
+LISA (kissing Karénin). At last, at last we shall know when. (She
+kisses him.)
+
+     [Enter VOZNESÉNSKY L. U.
+
+KARÉNIN. Well?
+
+SECRETARY. He's not there, sir.
+
+KARÉNIN. Not there? He's not signed the petition, then?
+
+SECRETARY. No. But here is a letter addressed to you and Elizaveta
+Protosova.
+
+     [Takes letter from his pocket and gives it to KARÉNIN.
+
+KARÉNIN (interrupting angrily). More excuses, more excuses. It's
+perfectly outrageous. How without conscience he is. Really, he has
+lost every claim to----
+
+LISA. But read the letter, dear; see what he says.
+
+     [KARÉNIN opens the letter.
+
+SECRETARY. Shall you need me, sir?
+
+Karénin. No. That's all. Thank you.
+
+     [Exit SECRETARY. KARÉNIN reads the letter growing astonishment
+      and concern. LISA watches his face.
+
+(Reading.)
+
+     "Lisa, Victor, I write you both without using terms of
+      endearment, since I can't feel them, nor can I conquer a sense
+      of bitterness and reproach, self-reproach principally, when I
+      think of you together in your love. I know, in spite of being
+      the husband, I was also the barrier, preventing you from coming
+      earlier to one another. C'est moi qui suis l'intrue. I stood in
+      your way, I worried you to death. Yet I can't help feeling
+      bitterly, coldly, toward you. In one way I love both of you,
+      especially Lisa Lizenska, but in reality I am more than cold
+      toward you. Yes, it's unjust, isn't it, but to change is
+      impossible."
+
+LISA. What's all that for?
+
+KARÉNIN (standing L. of table C., continuing).
+
+     "However, to the point. I am going to fulfill your wishes in
+      perhaps a little different way from what you desire. To lie, to
+      act a degrading comedy, to bribe women of the streets for
+      evidence--the ugliness of it all disgusts me. I am a bad man,
+      but this despicable thing I am utterly unable to do. My solution
+      is after all the simplest. You must marry to be happy. I am the
+      obstacle, consequently that obstacle must be removed."
+
+LISA (R. of table). Victor!
+
+KARÉNIN (reading). Must be removed? "By the time this letter reaches
+you, I shall no longer exist. All I ask you is to be happy, and
+whenever you think of me, think tender thoughts. God bless you both.
+Good-bye. FÉDYA."
+
+LISA. He's killed himself!
+
+KARÉNIN (going hurriedly up stage L. and calls of). My secretary! Call
+back my secretary!
+
+LISA. Fédya! Fédya, darling!
+
+KARÉNIN. Lisa!
+
+LISA. It's not true! It's not true that I've stopped loving him! He's
+the only man in all the world I love! And now I've killed him! I've
+killed him as surely as if I'd murdered him with my own two hands!
+
+KARÉNIN. Lisa, for God's sake!
+
+LISA. Stop it! Don't come near me! Don't be angry with me, Victor. You
+see I, too, cannot lie!
+
+CURTAIN
+
+
+
+
+ACT II
+
+SCENE I
+
+A dirty, ill-lighted underground dive; people are lying around
+drinking, sleeping, playing cards and making love. Near the front a
+small table at which FÉDYA sits; he is in rags and has fallen very
+low. By his side is PETUSHKÓV, a delicate spiritual man, with long
+yellow hair and beard. Both are rather drunk.
+
+Candle light is the only lighting in this Scene.
+
+PETUSHKÓV (R.C. of table C.). I know. I know. Well, that's real love.
+So what happened then?
+
+FÉDYA (L. C. of table C., pensively). You might perhaps expect a girl
+of our own class, tenderly brought up, to be capable of sacrificing
+for the man she loved, but this girl was a gypsy, reared in greed, yet
+she gave me the purest sort of self-sacrificing love. She'd have done
+anything for nothing. Such contrasts are amazing.
+
+PETUSHKÓV. I see. In painting we call that value. Only to realize
+bright red fully when there is green around it. But that's not the
+point. What happened?
+
+FÉDYA. Oh, we parted. I felt it wasn't right to go on taking, taking
+where I couldn't give. So one night we were having dinner in a little
+restaurant, I told her we'd have to say good-bye. My heart was so
+wrung all the time I could hardly help crying.
+
+PETUSHKÓV. And she?
+
+FÉDYA. Oh, she was awfully unhappy, but she knew I was right. So we
+kissed each other a long while, and she went back to her gypsy troupe
+--(Slowly.) Maybe she was glad to go----
+
+     [A pause.
+
+PETUSHKÓV. I wonder.
+
+FÉDYA. Yes. The single good act of my soul was not ruining that girl.
+
+PETUSHKÓV. Was it from pity?
+
+FÉDYA. I sorry for her? Oh, never. Quite the contrary. I worshipped
+her unclouded sincerity, the energy of her clear, strong will, and God
+in Heaven, how she sang. And probably she is singing now, for some one
+else. Yes, I always looked up at her from beneath, as you do at some
+radiance in the sky. I loved her really. And now it's a tender
+beautiful memory.
+
+PETUSHKÓV. I understand. It was ideal, and you left it like that.
+
+FÉDYA (ruminatingly). And I've been attracted often, you know. Once I
+was in love with a grande dame, bestially in love, dog-like. Well,
+she gave me a rendezvous, and I didn't, couldn't, keep it, because
+suddenly I thought of her husband, and it made me feel sick. And you
+know, it's queer, that now, when I look back, instead of being glad
+that I was decent, I am as sorry as if I had sinned. But with Masha
+it's so different; I'm filled with joy that I've never soiled the
+brightness of my feeling for her. (He points his finger at the floor.)
+I may go much further down.
+
+PETUSHKÓV (interrupting). I know so well what you mean. But where is
+she now?
+
+FÉDYA. I don't know. I don't want to know. All that belongs to another
+life, and I couldn't bear to mix that life and this life.
+
+     [A POLICE OFFICER enters from up R., kicks a man who is lying on
+      the floor--walks down stage, looks at FÉDYA and PETUSHKÓV, then
+      exits.
+
+PETUSHKÓV. Your life's wonderful. I believe you're a real idealist.
+
+FÉDYA. No. It's awfully simple. You know among our class--I mean the
+class I was born in--there are only three courses: the first, to go
+into the civil service or join the army and make money to squander
+over your sensual appetites. And all that was appalling to me--perhaps
+because I couldn't do it. The second thing is to live to clear out, to
+destroy what is foul, to make way for the beautiful. But for that
+you've got to be a hero, and I'm not a hero. And the third is to
+forget it all--overwhelm it with music, drown it with wine. That's
+what I did. And look (he spreads his arms out) where my singing led me
+to.
+
+     [He drinks.
+
+PETUSHKÓV. And what about family life? The sanctity of the home and
+all that--I would have been awfully happy if I'd had a decent wife. As
+it was, she ruined me.
+
+FÉDYA. I beg your pardon. Did you say marriage? Oh, yes, of course.
+Well, I've been married, too. Oh, my wife was quite an ideal woman. I
+don't know why I should say was, by the way, because she's still
+living. But there's something--I don't know; it's rather difficult to
+explain--But you know how pouring champagne into a glass makes it
+froth up into a million iridescent little bubbles? Well, there was
+none of that in our married life. There was no fizz in it, no sparkle,
+no taste, phew! The days were all one color--flat and stale and gray
+as the devil. And that's why I wanted to get away and forget. You
+can't forget unless you play. So trying to play I crawled in every
+sort of muck there is. And you know, it's a funny thing, but we love
+people for the good we do them, and we hate them for the harm. That's
+why I hated Lisa. That's why she seemed to love me.
+
+PETUSHKÓV. Why do you say seemed?
+
+FÉDYA (wistfully). Oh, she couldn't creep into the center of my being
+like Masha. But that's not what I mean. Before the baby was born, and
+afterwards, when she was nursing him, I used to stay away for days and
+days, and come back drunk, drunk, and love her less and less each
+time, because I was wronging her so terribly. (Excitedly.) Yes. That's
+it, I never realized it before. The reason why I loved Masha was
+because I did her good, not harm. But I crucified my wife, and her
+contortions filled me almost with hatred.
+
+     [FÉDYA drinks.
+
+PETUSHKÓV. I think I understand. Now in my case----
+
+     [ARTIMIEV enters R. U., approaches with a cockade on his cap,
+      dyed mustache, and shabby, but carefully mended clothes.
+
+ARTIMIEV (stands L. of table). Good appetite, gentlemen! (Bowing to
+FÉDYA.) I see you've made the acquaintance of our great artist.
+
+FÉDYA (coolly). Yes, I have.
+
+ARTIMIEV (to PETUSHKÓV). Have you finished your portrait?
+
+PETUSHKÓV. No, they didn't give me the commission, after all.
+
+ARTIMIEV (sitting down on end of table). I'm not in your way, am I?
+
+     [FÉDYA and PETUSHKÓV don't answer.
+
+PETUSHKÓV. This gentleman was telling me about his life.
+
+ARTIMIEV. Oh, secrets? Then I won't disturb you. Pardon me for
+interrupting. (To himself as he moves away.) Damn swine!
+
+     [He goes to the next table, sits down and in the dim candlelight
+      he can just be seen listening to the conversation.
+
+FÉDYA. I don't like that man.
+
+PETUSHKÓV. I think he's offended.
+
+FÉDYA. Let him be. I can't stand him. If he'd stayed I shouldn't have
+said a word. Now, it's different with you. You make me feel all
+comfortable, you know. Well, what was I saying?
+
+PETUSHKÓV. You were talking about your wife. How did you happen to
+separate?
+
+FÉDYA. Oh, that? (A pause.) It's a rather curious story. My wife's
+married.
+
+PETUSHKÓV. Oh, I see! You're divorced.
+
+FÉDYA. No. (Smiling.) She's a widow.
+
+PETUSHKÓV. A widow? What do you mean?
+
+FÉDYA. I mean exactly what I say. She's a widow. I don't exist.
+
+PETUSHKÓV (puzzled). What?
+
+FÉDYA (smiling drunkenly). I'm dead. You're talking to a corpse.
+
+     [ARTIMIEV leans towards them and listens intently.
+
+Funny, I seem to be able to say anything to you. And it's so long ago,
+so long ago. And what is it after all to you but a story? Well, when I
+got to the climax of torturing my wife, when I'd squandered everything
+I had or could get, and become utterly rotten, then, there appeared a
+protector.
+
+PETUSHKÓV. The usual thing, I suppose?
+
+FÉDYA. Don't think anything filthy about it. He was just her friend,
+mine too, a very good, decent fellow; in fact the opposite of myself.
+He'd known my wife since she was a child, and I suppose he'd loved her
+since then. He used to come to our house a lot. First I was very glad
+he did, then I began to see they were falling in love with each other,
+and then--an odd thing began to happen to me at night. Do you know
+when she lay there asleep beside me (he laughs shrilly) I would hear
+him, pushing open the door, crawling into the room, coming to me on
+his hands and knees, grovelling, whining, begging me (he is almost
+shouting) for her, for her, imagine it! And I, I had to get up and
+give my place to him. (He covers his eyes with his hands in a.
+convulsive moment.) Phew! Then I'd come to myself.
+
+PETUSHKÓV. God! It must have been horrible.
+
+FÉDYA (wearily). Well, later on I left her--and after a while, they
+asked me for a divorce. I couldn't bear all the lying there was to be
+got through. Believe me it was easier to think of killing myself. And
+so I tried to commit suicide, and I tried and I couldn't. Then a kind
+friend came along and said, "Now, don't be foolish!" And she arranged
+the whole business for me. I sent my wife a farewell letter--and the
+next day my clothes and pocketbook were found on the bank of the
+river. Everybody knew I couldn't swim. (Pause.) You understand, don't
+you?
+
+PETUSHKÓV. Yes, but what about the body? They didn't find that?
+
+FÉDYA (smiling drunkenly). Oh yes, they did! You just listen! About a
+week afterwards some horror was dragged out of the water. My wife was
+called in to identify it. It was in pretty bad shape, you know. She
+took one glance. "Is that your husband?" they asked her. And she said,
+"Yes." Well, that settled it! I was buried, they were married, and
+they're living very happily right here in this city. I'm living here,
+too! We're all living here together! Yesterday I walked right by their
+house. The windows were lit and somebody's shadow went across the
+blind. (A pause.) Of course there're times when I feel like hell about
+it, but they don't last. The worst is when there's no money to buy
+drinks with.
+
+     [He drinks.
+
+ARTIMIEV. (rising and approaching them). Excuse me, but you know I've
+been listening to that story of yours? It's a very good story, and
+what's more a very useful one. You say you don't like being without
+money, but really there's no need of your ever finding yourself in
+that position.
+
+FÉDYA. (interrupting). Look here, I wasn't talking to you and I don't
+need your advice!
+
+ARTIMIEV. But I'm going to give it to you just the same. Now you're a
+corpse. Well, suppose you come to life again!
+
+FÉDYA. What?
+
+ARTIMIEV. Then your wife and that fellow she's so happy with--they'd
+be arrested for bigamy. The best they'd get would be ten years in
+Siberia. Now you see where you can have a steady income, don't you?
+
+FÉDYA. (furiously). Stop talking and get out of here!
+
+ARTIMIEV. The best way is to write them a letter. If you don't know
+how I'll do it for you. Just give me their address and afterwards when
+the ruble notes commence to drop in, how grateful you'll be!
+
+FÉDYA. Get out! Get out, I say! I haven't told you anything!
+
+ARTIMIEV. Oh, yes, you have! Here's my witness! This waiter heard you
+saying you were a corpse!
+
+FÉDYA. (beside himself). You damn blackmailing beast----
+
+     [Rising.
+
+ARTIMIEV. Oh, I'm a beast, am I? We'll see about that! (FÉDYA rises to
+go, ARTIMIEV seizes him.) Police! Police! (FÉDYA struggles frantically
+to escape.)
+
+     [The POLICE enter and drag him away.
+
+CURTAIN
+
+
+
+SCENE II
+
+In the country. A veranda covered by a gay awning; sunlight; flowers;
+SOPHIA KARÉNINA, LISA, her little boy and nurse.
+
+LISA (standing C. in door. To the little boy, smiling), Who do you
+think is on his way from the station?
+
+MISHA (excitedly). Who? Who?
+
+LISA. Papa.
+
+MISHA (rapturously). Papa's coming! Papa's coming!
+
+     [Exits L. through C. door.
+
+LISA (contentedly, to SOPHIA KARÉNINA). How much he loves Victor! As
+if he were his real father!
+
+SOPHIA KARÉNINA (on sofa L. knitting--back to audience). Tant mieux.
+Do you think he ever remembers his father?
+
+LISA (sighing). I can't tell. Of course I've never said anything to
+him. What's the use of confusing his little head? Yet sometimes I feel
+as though I ought. What do you think, Mamma?
+
+SOPHIA KARÉNINA. I think it's a matter of feeling. If you can trust
+your heart, let it guide you. What extraordinary adjustments death
+brings about! I confess I used to think very unkindly of Fédya, when
+he seemed a barrier to all this. (She makes a gesture with her hand.)
+But now I think of him as that nice boy who was my son's friend, and a
+man who was capable of sacrificing himself for those he loved. (She
+knits.) I hope Victor hasn't forgotten to bring me some wool.
+
+LISA. Here he comes. (LISA runs to the edge of the veranda.) There's
+some one with him--a lady in a bonnet! Oh, it's mother! How splendid!
+I haven't seen her for an age!
+
+     [Enter ANNA PÁVLOVNA up C.
+
+ANNA PÁVLOVNA (kissing LISA). My darling. (To SOPHIA KARÉNINA.) How do
+you do? Victor met me and insisted on my coming down.
+
+     [Sits bench L. C. beside SOPHIA.
+
+SOPHIA KARÉNINA. This is perfectly charming!
+
+     [Enter VICTOR and MÍSHA.
+
+ANNA PÁVLOVNA. I did want to see Lisa and the boy. So now, if you
+don't turn me out, I'll stay till the evening train.
+
+KARÉNIN. (L. C., kissing his wife, his mother and the boy).
+Congratulate me--everybody--I've a bit of luck, I don't have to go to
+town again for two days. Isn't that wonderful?
+
+LISA. (R. C.). Two days! That's glorious! We'll drive over to the
+Hermitage to-morrow and show it to mother.
+
+ANNA PÁVLOVNA. (holding the boy). He's so like his father, isn't he? I
+do hope he hasn't inherited his father's disposition.
+
+SOPHIA KARÉNINA. After all, Fédya's heart was in the right place.
+LISA. Victor thinks if he'd only been brought up more carefully
+everything would have been different.
+
+ANNA PÁVLOVNA. Well, I'm not so sure about that, but I do feel sorry
+for him. I can't think of him without wanting to cry.
+
+LISA. I know. That's how Victor and I feel. All the bitterness is
+gone. There's nothing left but a very tender memory.
+
+ANNA PÁVLOVNA. (sighing). I'm sure of it. Lisa. Isn't it funny? It all
+seemed so hopeless back there, and now see how beautifully
+everything's come out!
+
+SOPHIA KARÉNINA. Oh, by the way, Victor, did you get my wool?
+
+KARÉNIN. I certainly did. (Brings a bag and takes out parcels.) Here's
+the wool, here's the eau-de-cologne, here are the letters--one on
+"Government Service" for you, Lisa---- (Hands her the letter. LISA
+opens letter, then strolls R, reading it, suddenly stops.) Well, Anna
+Pávlovna, I know you want to make yourself beautiful! I must tidy up,
+too. It's almost dinner time. Lisa, you've put your another in the
+Blue Room, haven't you?
+
+     [Pause.
+
+     [LISA is pale. She holds the letter with trembling hands and
+      reads it, KARÉNIN seeing her.
+
+What's the matter, Lisa? What is it?
+
+LISA. He's alive. He's alive. My God! I shall never be free from him.
+(VICTOR crosses to LISA.) What does this mean? What's going to happen
+to us?
+
+KARÉNIN (taking the letter and reading). I don't believe it.
+
+SOPHIA KARÉNINA. What is it? (Rising.) What's the matter? Why don't
+you tell us?
+
+KARÉNIN. He's alive! They're accusing us of bigamy! It's a summons for
+Lisa to go before the Examining Magistrate.
+
+ANNA PÁVLOVNA. No--no! It can't be!
+
+SOPHIA KARÉNINA. Oh, that horrible man!
+
+KARÉNIN. So it was all a lie!
+
+LISA (with a cry of rage). Oh! I hate him so! Victor!--Fédya!--My God!
+I don't know what I'm saying. I don't know what I'm saying.
+
+     [Sinks in chair down R.
+
+ANNA PÁVLOVNA (rising). He's not really alive?
+
+     [Lights dim and out.
+
+CURTAIN
+
+
+
+SCENE III
+
+The room of the examining magistrate, who sits at a table talking to
+MÉLNIKOV, a smartly dressed, languid, man-about-town.
+
+At a side-table a CLERK is sorting papers.
+
+MAGISTRATE. (sitting R. of table R. C.). Oh, I never said so. It's her
+own notion. And now she is reproaching me with it.
+
+MÉLNIKOV. (sitting C. back to audience). She's not reproaching you,
+only her feelings are awfully hurt.
+
+MAGISTRATE. Are they? Oh, well, tell her I'll come to supper after the
+performance. But you'd better wait on. I've rather an interesting
+case. (To the CLERK.) Here, you, show them in.
+
+Clerk. (sitting C. facing audience). Both? Excellency. Magistrate. No,
+only Madame Karénina.
+
+     [CLERK exits L. I.
+
+CLERK (calling off stage). Madame Protosova, Madame Protosova.
+
+MAGISTRATE. Or, to dot my i's, Madame Protosova.
+
+MÉLNIKOV (starting to go out). Ah, it's the Karénin case.
+
+MAGISTRATE. Yes, and an ugly one. I'm just beginning the
+investigation. But I assure you it's a first-rate scandal already.
+Must you go? Well, see you at supper. Good-bye.
+
+     [Exit MÉLNIKOV, R.
+
+     [The CLERK shows in LISA; she wears a black dress and veil.
+
+MAGISTRATE. Please sit down, won't you? (He points to a chair L. C.
+LISA sits down.) I am extremely sorry that it's necessary to ask you
+questions.
+
+     [LISA appears very much agitated. MAGISTRATE appears unconcerned
+      and is reading a newspaper as he speaks.
+
+But please be calm. You needn't answer them unless you wish. Only in
+the interest of every one concerned, I advise you to help me reach the
+entire truth.
+
+LISA. I've nothing to conceal.
+
+MAGISTRATE (looking at papers). Let's see. Your name, station,
+religion. I've got all that. You are accused of contracting a marriage
+with another man, knowing your first husband to be alive.
+
+LISA. But I did not know it.
+
+MAGISTRATE (continuing). And also you are accused of having persuaded
+with bribes your first husband to commit a fraud, a pretended suicide,
+in order to rid yourself of him.
+
+LISA. All that's not true.
+
+MAGISTRATE. Then permit me to ask you these questions: Did you or did
+you not send him 1200 rubles in July of last year?
+
+LISA. That was his own money obtained from selling his things, which I
+sent to him during our separation, while I was waiting for my divorce.
+
+MAGISTRATE. Just so. Very well. When the police asked you to identify
+the corpse, how were you sure it was your husband's?
+
+LISA. Oh, I was so terribly distressed that I couldn't bear to look at
+the body. Besides, I felt so sure it was he, and when they asked me, I
+just said yes.
+
+MAGISTRATE. Very good indeed. I can well understand your distraction,
+and permit me to observe, Madame, that although servants of the law,
+we remain human beings, and I beg you to be assured that I sympathize
+with your situation. You were bound to a spendthrift, a drunkard, a
+man whose dissipation caused you infinite misery.
+
+LISA (interrupting). Please, I loved him.
+
+MAGISTRATE (tolerantly). Of course. Yet naturally you desired to be
+free, and you took this simple course without counting the
+consequence, which is considered a crime, or bigamy. I understand you,
+and so will both judges and jury. And it's for this reason, Madam, I
+urge you to disclose the entire truth.
+
+LISA. I've nothing to disclose. I never have lied. (She begins to
+cry.) Do you want me any longer?
+
+MAGISTRATE. Yes. I must ask you to remain a few minutes longer. No
+more questions, however. (To the CLERK.) Show in Victor Karénin. (To
+LISA.) I think you'll find that a comfortable chair. (Sits L. C.)
+
+     [Enter KARÉNIN, stern and solemn.
+
+Please, sit down.
+
+KARÉNIN. Thank you. (He remains standing L. U.) What do you want from
+me?
+
+MAGISTRATE. I have to take your deposition.
+
+KARÉNIN. In what capacity?
+
+MAGISTRATE (smiling). In my capacity of investigating magistrate. You
+are here, you know, because you are charged with a crime.
+
+KARÉNIN. Really? What crime?
+
+MAGISTRATE. Bigamy, since you've married a woman already married. But
+I'll put the questions to you in their proper order. Sure you'll not
+sit down?
+
+KARÉNIN. Quite sure.
+
+MAGISTRATE (writing). Your name?
+
+KARÉNIN. Victor Karénin.
+
+MAGISTRATE. Rank?
+
+KARÉNIN. Chamberlain of the Imperial Court.
+
+MAGISTRATE. Your age?
+
+KARÉNIN. Thirty-eight.
+
+MAGISTRATE. Religion?
+
+KARÉNIN. Orthodox, and I've never been tried before of any charge.
+(Pause.) What else?
+
+MAGISTRATE. Did you know that Fedor Protosov was alive when you
+married his wife?
+
+KARÉNIN. No, we were both convinced that he was drowned.
+
+MAGISTRATE. All right. And why did you send 1200 rubles to him a few
+days before he simulated death on July 17th?
+
+KARÉNIN. That money was given me by my wife.
+
+MAGISTRATE (interrupting him). Excuse me, you mean by Madame
+Protosova.
+
+KARÉNIN. By my wife to send to her husband. She considered this money
+his property, and having broken off all relations with him, felt it
+unjust to withhold it. What else do you want?
+
+MAGISTRATE. I don't want anything, except to do my official duty, and
+to aid you in doing yours, through causing you to tell me the whole
+truth, in order that your innocence be proved. You'd certainly better
+not conceal things which are sure to be found out, since Protosov is
+in such a weakened condition, physically and mentally, that he is
+certain to come out with the entire truth as soon as he gets into
+court, so from your point of view I advise....
+
+KARÉNIN. Please don't advise me, but remain within the limits of your
+official capacity. Are we at liberty to leave?
+
+     [He goes to LISA who takes his arm.
+
+MAGISTRATE. Sorry, but it's necessary to detain you. (KARÉNIN looks
+around in astonishment.) No, I've no intention of arresting you,
+although it might be a quicker way of reaching the truth. I merely
+want to take Protosov's deposition in your presence, to confront him
+with you, that you may facilitate your chances by proving his
+statements to be false. Kindly sit down. (To CLERK.) Show in Fedor
+Protosov.
+
+     [There is a pause. The CLERK shows in FÉDYA in rags, a total
+      wreck. He enters slowly, dragging his feet. He catches sight of
+      his wife, who is bowed in grief. For a moment he is about to
+      take her in his arms--he hesitates--then stands before the
+      MAGISTRATE.
+
+MAGISTRATE. I shall ask you to answer some questions.
+
+FÉDYA. (rises, confronting the MAGISTRATE). Ask them.
+
+MAGISTRATE. Your name?
+
+FÉDYA. You know it.
+
+MAGISTRATE. Answer my questions exactly, please.
+
+     [Rapping on his desk.
+
+FÉDYA (shrugs). Fedor Protosov.
+
+MAGISTRATE. Your rank, age, religion?
+
+FÉDYA. (silent for a moment). Aren't you ashamed to ask me these
+absurd questions? Ask me what you need to know, only that.
+
+MAGISTRATE. I shall ask you to take care how you express yourself.
+
+FÉDYA. Well, since you're not ashamed. My rank, graduate of the
+University of Moscow; age 40; religion orthodox. What else?
+
+MAGISTRATE. Did Victor Karénin and Elizaveta Andreyevna know you were
+alive when you left your clothes on the bank of the river and
+disappeared?
+
+FÉDYA. Of course not. I really wished to commit suicide. But--
+however, why should I tell you? The fact's enough. They knew nothing
+of it.
+
+MAGISTRATE. You gave a somewhat different account to the police
+officer. How do you explain that?
+
+FÉDYA. Which police officer? Oh yes, the one who arrested me in that
+dive. I was drunk, and I lied to him--about what, I don't remember.
+But I'm not drunk now and I'm telling you the whole truth. They knew
+nothing; they thought I was dead, and I was glad of it. Everything
+would have stayed all right except for that damned beast Artimiev. So
+if any one's guilty, it's I.
+
+MAGISTRATE. I perceive you wish to be generous. Unfortunately the law
+demands the truth. Come, why did you receive money from them?
+
+     [FÉDYA is silent.
+
+Why don't you answer me? Do you realize that it will be stated in your
+deposition that the accused refused to answer these questions, and
+that will harm (he includes LISA and VICTOR in a gesture) all of you?
+
+     [FÉDYA remains silent.
+
+Aren't you ashamed of your stubborn refusal to aid these others and
+yourself by telling the entire truth?
+
+FÉDYA (breaking out passionately). The truth--Oh, God! what do you
+know about the truth? Your business is crawling up into a little
+power, that you may use it by tantalizing, morally and physically,
+people a thousand times better than you.... You sit there in your smug
+authority torturing people.
+
+MAGISTRATE. I must ask you----
+
+FÉDYA (interrupts him). Don't ask me for I'll speak as I feel.
+(Turning to CLERK.) And you write it down. So for once some human
+words will get into a deposition.
+
+     [Raising his voice, which ascends to a climax during this speech.
+
+There were three human beings alive: I, he, and she.
+
+     [He turns to his wife with a gesture indicating his love for her.
+      He pauses, then proceeds.
+
+We all bore towards one another a most complex relation. We were all
+engaged in a spiritual struggle beyond your comprehension: the
+struggle between anguish and peace; between falsehood and truth.
+Suddenly this struggle ended in a way that set us free. Everybody was
+at peace. They loved my memory, and I was happy even in my downfall,
+because I'd done what should have been done, and cleared away my weak
+life from interfering with their strong good lives. And yet we're all
+alive. When suddenly a bastard adventurer appears, who demands that I
+abet his filthy scheme. I drive him off as I would a diseased dog, but
+he finds you, the defender of public justice, the appointed guardian
+of morality, to listen to him. And you, who receive on the 20th of
+each month a few kopeks' gratuity for your wretched business, you get
+into your uniform, and in good spirits proceed to torture--bully
+people whose threshold you're not clean enough to pass. Then when
+you've had your fill of showing off your wretched power, oh, then you
+are satisfied, and sit and smile there in your damned complacent
+dignity. And....
+
+MAGISTRATE (raising his voice. Rising excitedly). Be silent or I'll
+have you turned out.
+
+FÉDYA. God! Who should I be afraid of! I'm dead, dead, and away out of
+your power. (Suddenly overcome with the horror of the situation.) What
+can you do to me? How can you punish me--a corpse?
+
+     [Beating his breast.
+
+MAGISTRATE. Be silent! (To CLERK, who is down L.) Take him out!
+
+     [FÉDYA turns, seeing his wife, he falls on his knees before
+      her ... kisses the hem of her dress, crying bitterly.
+
+     [Slowly he rises, pulls himself together with a great effort,
+      then exits L.
+
+     [The lights dim and out.
+
+CURTAIN
+
+
+
+SCENE IV
+
+A corridor at the lower courts; in the background a door opposite
+which stands a GUARD; to the right is another door through which the
+PRISONERS are conducted to the court. IVÁN PETROVICH in rags enters
+L., goes to this last door, trying to pass through it.
+
+GUARD (at door R. C.). Where do you think you're going, shoving in
+like that?
+
+IVÁN PETROVICH. Why shouldn't I? The law says these sessions are
+public.
+
+GUARD. You can't get by and that's enough.
+
+IVÁN PETROVICH (in pity). Wretched peasant, you have no idea to whom
+you are speaking.
+
+GUARD. Be silent!
+
+     [Enter a YOUNG LAWYER from R. I.
+
+LAWYER (to Petrovich). Are you here on business?
+
+IVÁN PETROVICH. No. I'm the public. But this wretched peasant won't
+let me pass.
+
+LAWYER. There's no room for the public at this trial.
+
+IVÁN PETROVICH. Perhaps, but I am above the general rule.
+
+LAWYER. Well, you wait outside; they'll adjourn presently.
+
+     [He is just going into courtroom through door R. C. when PRINCE
+      SERGIUS enters L. and stops him.
+
+PRINCE SERGIUS. How does the case stand?
+
+LAWYER. The defense has just begun. Petrúshin is speaking now.
+
+PRINCE SERGIUS. Are the Karénins bearing up well?
+
+LAWYER. Yes, with extraordinary dignity. They look as if they were the
+judges instead of the accused. That's felt all the way through, and
+PETRÚSHIN is taking advantage of it.
+
+PRINCE SERGIUS. What of Protosov?
+
+LAWYER. He's frightfully unnerved, trembling all over, but that's
+natural considering the sort of life he's led. Yes, he's all on edge,
+and he's interrupted, both judge and jury several times already.
+
+PRINCE SERGIUS. How do you think it will end?
+
+LAWYER. Hard to say. The jury are mixed. At any rate I don't think
+they'll find the Karénins guilty of premeditation. Do you want to go
+in?
+
+PRINCE SERGIUS. I should very much like to.
+
+LAWYER. Excuse me, you're Prince Sergius Abréskov, aren't you? (To the
+Prince.) There's an empty chair just at the left.
+
+     [The guard lets PRINCE SERGIUS pass.
+
+IVÁN PETROVICH. Prince! Bah! I am an aristocrat of the soul, and
+that's a higher title.
+
+LAWYER. Excuse me.
+
+     [And exits down R. C. into courtroom.
+
+     [PETUSHKÓV, FÉDYA'S companion in the dive, enters approaching
+      IVÁN PETROVICH.
+
+PETUSHKÓV (R.). Oh, there you are. Well, how're things going?
+
+IVÁN PETROVICH (L.). The speeches for the defense have begun, but this
+ignorant rascal won't let us in. Curse his damned petty soul.
+
+GUARD (C.) Silence! Where do you think you are?
+
+     [Further applause is heard; door of the court opens, and there is
+      a rush of lawyers and the general public into the corridor.
+
+A LADY. Oh, it's simply wonderful! When he spoke I felt as if my heart
+were breaking.
+
+AN OFFICER. It's all far better than a novel. But I don't see how she
+could ever have loved him. Such a sinister, horrible figure.
+
+     [The other door opens over L.; the accused comes out.
+
+THE LADY (this group is down R.). Hush! There he is. See how wild he
+looks.
+
+FÉDYA (seeing IVÁN PETROVICH). Did you bring it?
+
+     [Goes to PETROVICH.
+
+PETROVICH. There.
+
+     [He hands FÉDYA something; FÉDYA hides it in his pocket.
+
+FÉDYA (seeing PETUSHKÓV). How foolish! How vulgar and how boring all
+this is, isn't it?
+
+     [Men and women enter door L. and stand down L. watching.
+
+     [Enter PETRÚSHIN, from R. C., FÉDYA'S counsel, a stout man with
+      red cheeks; very animated.
+
+PETRÚSHIN (rubbing his hands). Well, well, my friend. It's going along
+splendidly. Only remember, don't go and spoil things for me in your
+last speech.
+
+FÉDYA (takes him by the arm). Tell me, what'll the worst be?
+
+PETRÚSHIN. I've already told you. Exile to Siberia.
+
+FÉDYA. Who'll be exiled to Siberia?
+
+PETRÚSHIN. You and your wife, naturally.
+
+FÉDYA. And at the best?
+
+PETRÚSHIN. Religious pardon and the annulment of the second marriage.
+
+FÉDYA. You mean--that we should be bound again--to one another----
+
+PETRÚSHIN. Yes. Only try to collect yourself. Keep up your courage.
+After all, there's no occasion for alarm.
+
+FÉDYA. There couldn't be any other sentence, you're sure?
+
+PETRÚSHIN. None other. None other.
+
+     [Exits R. I. FÉDYA stands motionless.
+
+GUARD (crosses and exits L. I. Calling). Pass on. Pass on. No
+loitering in the corridor.
+
+     [VICTOR and LISA enter from door L. Start to go off L. when pistol
+      shot stops them.
+
+FÉDYA (He turns his back to the audience, and from beneath his ragged
+coat shoots himself in the heart. There is a muffled explosion, smoke.
+He crumples up in a heap on the floor. All the people in the passage
+rush to him.) (In a very low voice.) This time--it's well done...
+Lisa....
+
+     [People are crowding in from all the doors, judges, etc. LISA
+      rushes to FÉDYA, KARÉNIN, IVÁN PETROVICH and PRINCE SERGIUS
+      follow.
+
+LISA. Fédya!... Fédya!... What have you done? Oh why!... why!...
+
+FÉDYA. Forgive me---- No other way---- Not for you--but for myself----
+
+LISA. You will live. You must live.
+
+FÉDYA. No--no---- Good-bye---- (He seems to smile, then he mutters
+just under his breath.) Masha.
+
+     [In the distance the gypsies are heard singing "No More at
+      Evening." They sing until the curtain.
+
+You're too late----
+
+     [Suddenly he raises his head from LISA'S knees, and barely utters
+      as if he saw something in front of him.
+
+Ah.... Happiness!...
+
+     [His head falls from LISA'S knees to the ground. She still clings
+      to it, in grief and horror. He dies.
+
+     [The lights dim and out.
+
+CURTAIN
+
+END OF _REDEMPTION_
+
+*       *       *       *       *
+
+THE POWER OF DARKNESS
+
+OR
+
+IF A CLAW IS CAUGHT THE BIRD IS LOST
+
+
+
+
+CHARACTERS
+
+PETER IGNÁTITCH. A well-to-do peasant, 42 years old, married for the
+second time, and sickly.
+
+ANÍSYA. His wife, 32 years old, fond of dress.
+
+AKOULÍNA. Peter's daughter by his first marriage, 16 years old, hard
+of hearing, mentally undeveloped.
+
+NAN (ANNA PETRÓVNA). His daughter by his second marriage, 10 years old
+
+NIKÍTA. Their laborer, 25 years old, fond of dress.
+
+AKÍM. Nikíta's father, 50 years old, a plain-looking, God-fearing
+peasant.
+
+MATRYÓNA. His wife and Nikíta's mother, 50 years old.
+
+MARÍNA An orphan girl, 22 years old.
+
+MARTHA. Peter's sister.
+
+MÍTRITCH An old laborer, ex-soldier.
+
+SIMON. Marína's husband.
+
+BRIDEGROOM. Engaged to Akoulína.
+
+IVÁN. His father.
+
+A NEIGHBOR.
+
+FIRST GIRL.
+
+SECOND GIRL.
+
+POLICE OFFICER.
+
+DRIVER.
+
+BEST MAN
+
+MATCHMAKER.
+
+VILLAGE ELDER.
+
+VISITORS, WOMEN, GIRLS, AND PEOPLE come to see the wedding
+
+N.B.--The "oven" mentioned is the usual large, brick, Russian
+baking-oven. The top of it outside is flat, so that more than one
+person can lie on it.
+
+
+
+
+ACT I
+
+The Act takes place in autumn in a large village. The Scene represents
+PETER'S roomy hut. PETER is sitting on a wooden bench, mending a
+horse-collar. ANÍSYA and AKOULÍNA are spinning, and singing a
+part-song.
+
+PETER (looking out of the window). The horses have got loose again. If
+we don't look out they'll be killing the colt. Nikíta! Hey, Nikíta! Is
+the fellow deaf? (Listens. To the women.) Shut up, one can't hear
+anything.
+
+NIKÍTA (from outside). What?
+
+PETER. Drive the horses in.
+
+NIKÍTA. We'll drive 'em in. All in good time.
+
+PETER (shaking his head). Ah, these laborers! If I were well, I'd not
+keep one on no account. There's nothing but bother with 'em. (Rises
+and sits down again.) Nikíta!.... It's no good shouting. One of you'd
+better go. Go, Akoúl, drive 'em in.
+
+AKOULÍNA. What? The horses?
+
+PETER. What else?
+
+AKOULÍNA. All right.
+
+     [Exit.
+
+PETER. Ah, but he's a loafer, that lad ... no good at all. Won't stir
+a finger if he can help it.
+
+ANÍSYA. You're so mighty brisk yourself. When you're not sprawling on
+the top of the oven you're squatting on the bench. To goad others to
+work is all you're fit for.
+
+PETER. If one weren't to goad you on a bit, one'd have no roof left
+over one's head before the year's out. Oh, what people!
+
+ANÍSYA. You go shoving a dozen jobs on to one's shoulders, and then do
+nothing but scold. It's easy to lie on the oven and give orders.
+
+PETER (sighing). Oh, if 'twere not for this sickness that's got hold
+of me, I'd not keep him on another day.
+
+AKOULÍNA (off the scene). Gee up, gee, woo.
+
+     [A colt neighs, the stamping of horses' feet and the creaking of
+      the gate are heard.
+
+PETER. Bragging, that's what he's good at. I'd like to sack him, I
+would indeed.
+
+ANÍSYA (mimicking him). "Like to sack him." You buckle to yourself,
+and then talk.
+
+AKOULÍNA (enters). It's all I could do to drive 'em in. That piebald
+always will....
+
+PETER. And where's Nikíta?
+
+AKOULÍNA. Where's Nikíta? Why, standing out there in the street.
+
+PETER. What's he standing there for?
+
+AKOULÍNA. What's he standing there for? He stands there jabbering.
+
+PETER. One can't get any sense out of her! Who's he jabbering with?
+
+AKOULÍNA (does not hear). Eh, what?
+
+     [PETER waves her off. She sits down to her spinning.
+
+NAN (running in to her mother). Nikíta's father and mother have come.
+They're going to take him away. It's true!
+
+ANÍSYA. Nonsense!
+
+NAN. Yes. Blest if they're not! (Laughing.) I was just going by, and
+Nikíta, he says, "Good-bye, Anna Petróvna," he says, "you must come
+and dance at my wedding. I'm leaving you," he says, and laughs.
+
+ANÍSYA (to her husband). There now. Much he cares. You see, he wants
+to leave of himself. "Sack him" indeed!
+
+PETER. Well, let him go. Just as if I couldn't find somebody else.
+
+ANÍSYA. And what about the money he's had in advance?
+
+     [NAN stands listening at the door for awhile, and then exit.
+
+PETER (frowning). The money? Well, he can work it off in summer,
+anyhow.
+
+ANÍSYA. Well, of course you'll be glad if he goes and you've not got
+to feed him. It's only me as'll have to work like a horse all the
+winter. That lass of yours isn't over fond of work either. And you'll
+be lying up on the oven. I know you.
+
+PETER. What's the good of wearing out one's tongue before one has the
+hang of the matter?
+
+ANÍSYA. The yard's full of cattle. You've not sold the cow, and have
+kept all the sheep for the winter: feeding and watering 'em alone
+takes all one's time, and you want to sack the laborer. But I tell you
+straight, I'm not going to do a man's work! I'll go and lie on the top
+of the oven same as you, and let everything go to pot! You may do what
+you like.
+
+PETER (to Akoulína). Go and see about the feeding, will you? it's
+time.
+
+AKOULÍNA. The feeding? All right.
+
+     [Puts on a coat and takes a rope.
+
+ANÍSYA. I'm not going to work for you. You go and work yourself. I've
+had enough of it, so there!
+
+PETER. That'll do. What are you raving about? Like a sheep with the
+staggers!
+
+ANÍSYA. You're a crazy cur, you are! One gets neither work nor
+pleasure from you. Eating your fill, that's all you do; you palsied
+cur, you!
+
+PETER (spits and puts on coat). Faugh! The Lord have mercy! I'd better
+go myself and see what's up.
+
+     [Exit.
+
+ANÍSYA (after him). Scurvy long-nosed devil!
+
+AKOULÍNA. What are you swearing at dad for?
+
+ANÍSYA. Hold your noise, you idiot!
+
+AKOULÍNA (going to the door). I know why you're swearing at him.
+You're an idiot yourself, you bitch. I'm not afraid of you.
+
+ANÍSYA. What do you mean? (Jumps up and looks round for something to
+hit her with.) Mind, or I'll give you one with the poker.
+
+AKOULÍNA (opening the door). Bitch! devil! that's what you are! Devil!
+bitch! bitch! devil!
+
+     [Runs off.
+
+ANÍSYA (ponders). "Come and dance at my wedding!" What new plan is
+this? Marry? Mind. Nikíta, if that's your intention, I'll go and....
+No, I can't live without him. I won't let him go.
+
+NIKÍTA (enters, looks round, and, seeing Anísya alone, approaches
+quickly. In a low tone). Here's a go; I'm in a regular fix! That
+governor of mine wants to take me away,--tells me I'm to come home.
+Says quite straight I'm to marry and live at home.
+
+ANÍSYA. Well, go and marry! What's that to me?
+
+NIKÍTA. Is that it? Why, here am I reckoning how best to consider
+matters, and just hear her! She tells me to go and marry. Why's that?
+(Winking.) Has she forgotten?
+
+ANÍSYA. Yes, go and marry! What do I care?
+
+NIKÍTA. What are you spitting for? Just see, she won't even let me
+stroke her.... What's the matter?
+
+ANÍSYA. This! That you want to play me false.... If you do,--why, I
+don't want you either. So now you know!
+
+NIKÍTA. That'll do, Anísya. Do you think I'll forget you? Never while
+I live! I'll not play you false, that's flat. I've been thinking that
+supposing they do go and make me marry, I'd still come back to you. If
+only he don't make me live at home.
+
+ANÍSYA. Much need I'll have of you, once you're married.
+
+NIKÍTA. There's a go now. How is it possible to go against one's
+father's will?
+
+ANÍSYA. Yes, I daresay, shove it all on your father. You know it's
+your own doing. You've long been plotting with that slut of yours,
+MARÍNA. It's she has put you up to it. She didn't come here for
+nothing t'other day.
+
+NIKÍTA. Marína? What's she to me? Much I care about her!... Plenty of
+them buzzing around.
+
+ANÍSYA. Then what has made your father come here? It's you have told
+him to. You've gone and deceived me.
+
+     [Cries.
+
+NIKÍTA. Anísya, do you believe in a God or not? I never so much as
+dreamt of it. I know nothing at all about it. I never even dreamt of
+it--that's flat. My old dad has got it all out of his own pate.
+
+ANÍSYA. If you don't wish it yourself who can force you? He can't
+drive you like an ass.
+
+NIKÍTA. Well, I reckon it's not possible to go against one's parent.
+But it's not by my wish.
+
+ANÍSYA. Don't you budge, that's all about it!
+
+NIKÍTA. There was a fellow wouldn't budge, and the village elder gave
+him such a hiding.... That's what it might come to! I've no great wish
+for that sort of thing. They say it touches one up....
+
+ANÍSYA. Shut up with your nonsense. Nikíta, listen to me: if you marry
+that Marína I don't know what I won't do to myself.... I shall lay
+hands on myself! I have sinned, I have gone against the law, but I
+can't go back now. If you go away I'll....
+
+NIKÍTA. Why should I go? Had I wanted to go--I should have gone long
+ago. There was Iván Semyónitch t'other day--offered me a place as his
+coachman.... Only fancy what a life that would have been! But I did
+not go. Because, I reckon, I am good enough for any one. Now if you
+did not love me it would be a different matter.
+
+ANÍSYA. Yes, and that's what you should remember. My old man will die
+one of these fine days, I'm thinking; then we could cover our sin,
+make it all right and lawful, and then you'll be master here.
+
+NIKÍTA. Where's the good of making plans? What do I care? I work as
+hard as if I were doing it for myself. My master loves me, and his
+missus loves me. And if the wenches run after me, it's not my fault,
+that's flat.
+
+ANÍSYA. And you'll love me?
+
+NIKÍTA (embracing her). There, as you have ever been in my heart....
+
+MATRYÓNA (enters and crosses herself a long time before the icón.
+NIKÍTA and ANÍSYA step apart). What I saw I didn't perceive, what I
+heard, I didn't hearken to. Playing with the lass, eh? Well,--even a
+calf will play. Why shouldn't one have some fun when one's young? But
+your master is out in the yard a-calling you, sonny.
+
+NIKÍTA. I only came to get the axe.
+
+MATRYÓNA. I know, sonny, I know; them sort of axes are mostly to be
+found where the women are.
+
+NIKÍTA (stooping to pick up axe). I say, mother, is it true you want
+me to marry? As I reckon, that's quite unnecessary. Besides, I've got
+no wish that way.
+
+MATRYÓNA. Eh, honey! why should you marry? Go on as you are. It's all
+the old man. You'd better go, sonny; we can talk these matters over
+without you.
+
+NIKÍTA. It's a queer go! One moment I'm to be married, the next, not.
+I can't make head or tail of it.
+
+     [Exit.
+
+ANÍSYA. What's it all about, then? Do you really wish him to get
+married?
+
+MATRYÓNA. Eh, why should he marry, my jewel? It's all nonsense, all my
+old man's drivel. "Marry, marry." But he's reckoning without his host.
+You know the saying, "From oats and hay, why should horses stray?"
+When you've enough to spare, why look elsewhere? And so in this case.
+(Winks.) Don't I see which way the wind blows?
+
+ANÍSYA. Where's the good of my pretending to you, Mother Matryóna? You
+know all about it. I have sinned. I love your son.
+
+MATRYÓNA. Dear me, here's news! D'you think Mother Matryóna didn't
+know? Eh, lassie,--Mother Matryóna's been ground, and ground again,
+ground fine! This much I can tell you, my jewel: Mother Matryóna can
+see through a brick wall three feet thick. I know it all, my jewel! I
+know what young wives need sleeping draughts for, so I've brought some
+along.
+
+     [Unties a knot in her handkerchief and brings out paper-packets.
+
+As much as is wanted, I see, and what's not wanted I neither see nor
+perceive! There! Mother Matryóna has also been young. I had to know a
+thing or two to live with my old fool. I know seventy-and-seven
+dodges. But I see your old man's quite seedy, quite seedy! How's one
+to live with such as him? Why, if you pricked him with a hayfork it
+wouldn't fetch blood. See if you don't bury him before the spring.
+Then you'll need some one in the house. Well, what's wrong with my
+son? He'll do as well as another. Then where's the advantage of my
+taking him away from a good place? Am I my child's enemy?
+
+ANÍSYA. Oh, if only he does not go away!
+
+MATRYÓNA. He won't go away, birdie. It's all nonsense. You know my old
+man. His wits are always wool-gathering; yet sometimes he takes a
+thing into his pate, and it's as if it were wedged in, you can't knock
+it out with a hammer.
+
+ANÍSYA. And what started this business?
+
+MATRYÓNA. Well, you see, my jewel, you yourself know what a fellow
+with women the lad is,--and he's handsome too, though I say it as
+shouldn't. Well, you know, he was living at the railway, and they had
+an orphan wench there to cook for them. Well, that same wench took to
+running after him.
+
+ANÍSYA. Marína?
+
+MATRYÓNA. Yes, the plague seize her! Whether anything happened or not,
+anyhow something got to my old man's ears. Maybe he heard from the
+neighbors, maybe she's been and blabbed....
+
+ANÍSYA. Well, she is a bold hussy!
+
+MATRYÓNA. So my old man--the old blockhead--off he goes: "Marry,
+marry," he says, "he must marry her and cover the sin," he says. "We
+must take the lad home," he says, "and he shall marry," he says. Well,
+I did my best to make him change his mind, but, dear me, no. So, all
+right, thinks I,--I'll try another dodge. One always has to entice
+them fools in this way, just pretend to be of their mind, and when it
+comes to the point one goes and turns it all one's own way. You know,
+a woman has time to think seventy-and-seven thoughts while falling off
+the oven, so how's such as he to see through it? "Well, yes," says I,
+"it would be a good job,--only we must consider well beforehand. Why
+not go and see our son, and talk it over with Peter Ignátitch and hear
+what he has to say?" So here we are.
+
+ANÍSYA. Oh dear, oh dear, how will it all end? Supposing his father
+just orders him to marry her?
+
+MATRYÓNA. Orders, indeed! Chuck his orders to the dogs! Don't you
+worry; that affair will never come off. I'll go to your old man
+myself, and sift and strain this matter clear--there will be none of
+it left. I have come here only for the look of the thing. A very
+likely thing! Here's my son living in happiness and expecting
+happiness, and I'll go and match him with a slut! No fear, I'm not a
+fool!
+
+ANÍSYA. And she--this Marína--came dangling after him here! Mother,
+would you believe, when they said he was going to marry, it was as if
+a knife had gone right through my heart. I thought he cared for her.
+
+MATRYÓNA. Oh, my jewel! Why, you don't think him such a fool, that he
+should go and care for a homeless baggage like that? Nikíta is a
+sensible fellow, you see. He knows whom to love. So don't you go and
+fret, my jewel. We'll not take him away, and we won't marry him. No,
+we'll let him stay on, if you'll only oblige us with a little money.
+
+ANÍSYA. All I know is, that I could not live if Nikíta went away.
+
+MATRYÓNA. Naturally, when one's young it's no easy matter! You, a
+wench in full bloom, to be living with the dregs of a man like that
+husband of yours.
+
+ANÍSYA. Mother Matryóna, would you believe it? I'm that sick of him,
+that sick of this long-nosed cur of mine, I can hardly bear to look at
+him.
+
+MATRYÓNA. Yes, I see, it's one of them cases. Just look here. (Looks
+round and whispers.) I've been to see that old man, you know he's
+given me simples of two kinds. This, you see, is a sleeping draught.
+"Just give him one of these powders," he says, "and he'll sleep so
+sound you might jump on him!" And this here, "This is that kind of
+simple," he says, "that if you give one some of it to drink it has no
+smell whatever, but its strength is very great. There are seven doses
+here, a pinch at a time. Give him seven pinches," he says, "and she
+won't have far to look for freedom," he says.
+
+ANÍSYA. O-o-oh! What's that?
+
+MATRYÓNA. "No sign whatever," he says. He's taken a rouble for it.
+"Can't sell it for less," he says. Because it's no easy matter to get
+'em, you know. I paid him, dearie, out of my own money. If she takes
+them, thinks I, it's all right; if she don't, I can let old Michael's
+daughter have them.
+
+ANÍSYA. O-o-oh! But mayn't some evil come of them? I'm frightened!
+
+MATRYÓNA. What evil, my jewel? If your old man was hale and hearty,
+'twould be a different matter, but he's neither alive nor dead as it
+is. He's not for this world. Such things often happen.
+
+ANÍSYA. O-o-oh, my poor head! I'm afeared, Mother Matryóna, lest some
+evil come of them. No. That won't do.
+
+MATRYÓNA. Just as you like. I might even return them to him.
+
+ANÍSYA. And are they to be used in the same way as the others? Mixed
+in water?
+
+MATRYÓNA. Better in tea, he says. "You can't notice anything," he says,
+"no smell nor nothing." He's a cute old fellow, too.
+
+ANÍSYA (taking the powder). O-oh, my poor head! Could I have ever
+thought of such a thing if my life were not a very hell?
+
+MATRYÓNA. You'll not forget that rouble? I promised to take it to the
+old man. He's had some trouble, too.
+
+ANÍSYA. Of course?
+
+     [Goes to her box and hides the powders.
+
+MATRYÓNA. And now, my jewel, keep it as close as you can, so that no
+one should find it out. Heaven defend that it should happen, but if
+any one notices it, tell 'em it's for the black-beetles. (Takes the
+rouble.) It's also used for beetles. (Stops short.)
+
+     [Enter AKÍM, who crosses himself in front of the icon, and then
+      PETER, who sits down.
+
+PETER. Well, then, how's it to be, Daddy Akím?
+
+AKÍM. As it's best, Peter Ignátitch, as it's best.... I mean--as it's
+best. 'Cos why? I'm afeared of what d'you call 'ems, some tomfoolery,
+you know. I'd like to, what d'you call it.... to start, you know,
+start the lad honest, I mean. But supposing you'd rather, what d'you
+call it, we might, I mean, what's name? As it's best....
+
+PETER. All right. All right. Sit down and let's talk it over. (Akím
+sits down.) Well, then, what's it all about? You want him to marry?
+
+MATRYÓNA. As to marrying, he might bide a while, Peter Ignátitch. You
+know our poverty, Peter Ignátitch. What's he to marry on? We've hardly
+enough to eat ourselves. How can he marry then?...
+
+PETER. You must consider what will be best.
+
+MATRYÓNA. Where's the hurry for him to get married? Marriage is not
+that sort of thing, it's not like ripe raspberries that drop off if
+not picked in time.
+
+PETER. If he were to get married, 'twould be a good thing in a way.
+
+AKÍM. We'd like to ... what d'you call it? 'Cos why, you see. I've
+what d'you call it ... a job. I mean, I've found a paying job in town,
+you know.
+
+MATRYÓNA. And a fine job too--cleaning out cesspools. The other day
+when he came home, I could do nothing but spew and spew. Faugh!
+
+AKÍM. It's true, at first it does seem what d'you call it ... "knocks
+one clean over," you know,--the smell, I mean. But one gets used to
+it, and then it's nothing, no worse than malt grain, and then it's,
+what d'you call it, ... pays, pays, I mean. And as to the smell being,
+what d'you call it, it's not for the likes of us to complain. And one
+changes one's clothes. So we'd like to take what's his name ...
+NIKÍTA, I mean, home. Let him manage things at home while I, what
+d'you call it,--earn something in town.
+
+PETER. You want to keep your son at home? Yes, that would be well: but
+how about the money he has had in advance?
+
+AKÍM. That's it, that's it! It's just as you Say, Ignátitch, it's just
+what d'you call it. 'Cos why? If you go into service, it's as good as
+if you had sold yourself, they say. That will be all right. I mean he
+may stay and serve his time, only he must, what d'you call it, get
+married. I mean--so: you let him off for a little while, that he may,
+what d'you call it?
+
+PETER. Yes, we could manage that.
+
+MATRYÓNA. Ah, but it's not yet settled between ourselves, Peter
+Ignátitch. I'll speak to you as I would before God, and you may judge
+between my old man and me. He goes on harping on that marriage. But
+just ask--who it is he wants him to marry. If it were a girl of the
+right sort now--I am not my child's enemy, but the wench is not
+honest.
+
+AKÍM. No, that's wrong! Wrong, I say. 'Cos why? She, that same girl--
+it's my son as has offended, offended the girl I mean.
+
+PETER. How offended?
+
+AKÍM. That's how. She's what d'you call it, with him, with my son,
+NIKÍTA. With Nikíta, what d'you call it, mean.
+
+MATRYÓNA. You wait a bit, my tongue runs smoother--let me tell it. You
+know, this lad of ours lived at the railway before he came to you.
+There was a girl there as kept dangling after him. A girl of no
+account, you know; her name's Marína. She used to cook for the men. So
+now this same girl accuses our son, Nikíta, that he, so to say,
+deceived her.
+
+PETER. Well, there's nothing good in that.
+
+MATRYÓNA. But she's no honest girl herself; she runs after the fellows
+like a common slut.
+
+AKÍM. There you are again, old woman, and it's not at all what d'you
+call it, it's all not what d'you call it, I mean....
+
+MATRYÓNA. There now, that's all the sense one gets from my old owl--
+"what d'you call it, what d'you call it," and he doesn't know himself
+what he means. Peter Ignátitch, don't listen to me, but go yourself
+and ask any one you like about the girl, everybody will say the same.
+She's just a homeless good-for-nothing.
+
+PETER. You know, Daddy Akím, if that's how things are, there's no
+reason for him to marry her. A daughter-in-law's not like a shoe, you
+can't kick her off.
+
+AKÍM (excitedly). It's false, old woman, it's what d'you call it,
+false; I mean, about the girl; false! 'Cos why? The lass is a good
+lass, a very good lass, you know. I'm sorry, sorry for the lassie, I
+mean.
+
+MATRYÓNA. It's an old saying: "For the wide world old Miriam grieves,
+and at home without bread her children she leaves." He's sorry for the
+girl, but not sorry for his own son! Sling her round your neck and
+carry her about with you! That's enough of such empty cackle!
+
+AKÍM. No, it's not empty.
+
+MATRYÓNA. There, don't interrupt, let me have my say.
+
+AKÍM (interrupts). No, not empty! I mean, you twist things your own
+way, about the lass or about yourself. Twist them, I mean, to make it
+better for yourself; but God, what d'you call it, turns them His way.
+That's how it is.
+
+MATRYÓNA. Eh! One only wears out one's tongue with you.
+
+AKÍM. The lass is hard-working and spruce, and keeps everything round
+herself ... what d'you call it. And in our poverty, you know, it's a
+pair of hands, I mean; and the wedding needn't cost much. But the
+chief thing's the offence, the offence to the lass, and she's a what
+d'you call it, an orphan, you know; that's what she is, and there's
+the offence.
+
+MATRYÓNA. Eh! they'll all tell you a tale of that sort....
+
+ANÍSYA. Daddy Akím, you'd better listen to us women; we can tell you a
+thing or two.
+
+AKÍM. And God, how about God? Isn't she a human being, the lass? A
+what d'you call it,--also a human being I mean, before God. And how do
+you look at it?
+
+MATRYÓNA. Eh! ... started off again?...
+
+PETER. Wait a bit, Daddy Akím. One can't believe all these girls say,
+either. The lad's alive, and not far away; send for him, and find out
+straight from him if it's true. He won't wish to lose his soul. Go and
+call the fellow, (Anísya rises) and tell him his father wants him.
+
+     [Exit ANÍSYA.
+
+MATRYÓNA. That's right, dear friend; you've cleared the way clean, as
+with water. Yes, let the lad speak for himself. Nowadays, you know,
+they'll not let you force a son to marry; one must first of all ask
+the lad. He'll never consent to marry her and disgrace himself, not
+for all the world. To my thinking, it's best he should go on living
+with you and serving you as his master. And we need not take him home
+for the summer either; we can hire a help. If you would only give us
+ten roubles now, we'll let him stay on. Peter. All in good time. First
+let us settle one thing before we start another. Akím. You see, Peter
+Ignátitch, I speak. 'Cos why? you know how it happens. We try to fix
+things up as seems best for ourselves, you know; and as to God, we
+what d'you call it, we forget Him. We think it's best so, turn it our
+own way, and lo! we've got into a fix, you know. We think it will be
+best, I mean; and lo! it turns out much worse--without God, I mean.
+
+PETER. Of course one must not forget God.
+
+AKÍM. It turns out worse! But when it's the right way--God's way--it
+what d'you call it, it gives one joy; seems pleasant, I mean. So I
+reckon, you see, get him, the lad, I mean, get him to marry her, to
+keep him from sin, I mean, and let him what d'you call it at home, as
+it's lawful, I mean, while I go and get the job in town. The work is
+of the right sort--it's payin', I mean. And in God's sight it's what
+d'you call it--it's best, I mean. Ain't she an orphan? Here, for
+example, a year ago some fellows went and took timber from the
+steward,--thought they'd do the steward, you know. Yes, they did the
+steward, but they couldn't what d'you call it--do God, I mean. Well,
+and so....
+
+     [Enter NIKÍTA and NAN.
+
+NIKÍTA. You called me?
+
+     [Sits down and takes out his tobacco-pouch.
+
+PETER (in a low, reproachful voice). What are you thinking about--have
+you no manners? Your father is going to speak to you, and you sit down
+and fool about with tobacco. Come, get up!
+
+     [NIKÍTA rises, leans carelessly with his elbow on the table, and
+smiles.
+
+AKÍM. It seems there's a complaint, you know, about you, Nikíta--a
+complaint, I mean, a complaint.
+
+NIKÍTA. Who's been complaining?
+
+AKÍM. Complaining? It's a maid, an orphan maid, complaining, I mean.
+It's her, you know--a complaint against you, from Marína, I mean.
+
+NIKÍTA (laughs). Well, that's a good one. What's the complaint? And
+who's told you--she herself?
+
+AKÍM. It's I am asking you, and you must now, what d'you call it, give
+me an answer. Have you got mixed up with the lass, I mean--mixed up,
+you know?
+
+NIKÍTA. I don't know what you mean. What's up?
+
+AKÍM. Foolin', I mean, what d'you call it? foolin'. Have you been
+foolin' with her, I mean?
+
+NIKÍTA. Never mind what's been! Of course one does have some fun with
+a cook now and then to while away the time. One plays the concertina
+and gets her to dance. What of that?
+
+PETER. Don't shuffle, Nikíta, but answer your father straight out.
+
+AKÍM (solemnly). You can hide it from men but not from God, Nikíta.
+You, what d'you call it--think, I mean, and don't tell lies. She's an
+orphan; so, you see, any one is free to insult her. An orphan, you
+see. So you should say what's rightest.
+
+NIKÍTA. But what if I have nothing to say? I have told you everything
+--because there isn't anything to tell, that's flat! (Getting excited.)
+She can go and say anything about me, same as if she was speaking of
+one as is dead. Why don't she say anything about Fédka Mikíshin?
+Besides, how's this, that one mayn't even have a bit of fun nowadays?
+And as for her, well, she's free to say anything she likes.
+
+AKÍM. Ah, Nikíta, mind! A lie will out. Did anything happen?
+
+NIKÍTA (aside). How he sticks to it; it's too bad. (To Akím.) I tell
+you, I know nothing more. There's been nothing between us. (Angrily.)
+By God! and may I never leave this spot (crosses himself) if I know
+anything about it. (Silence. Then still more excitedly.) Why! have you
+been thinking of getting me to marry her? What do you mean by it?--
+it's a confounded shame. Besides, nowadays you've got no such rights
+as to force a fellow to marry. That's plain enough. Besides, haven't I
+sworn I know nothing about it?
+
+MATRYÓNA (to her husband). There now, that's just like your silly
+pate, to believe all they tell you. He's gone and put the lad to shame
+all for nothing. The best thing is to let him live as he is living,
+with his master. His master will help us in our present need, and give
+us ten roubles, and when the time comes....
+
+PETER. Well, Daddy Akím, how's it to be?
+
+AKÍM (looks at his son, clicking his tongue disapprovingly). Mind,
+Nikíta, the tears of one that's been wronged never, what d'you call
+it--never fall beside the mark but always on, what's name--the head of
+the man as did the wrong. So mind, don't what d'you call it.
+
+NIKÍTA (sits down). What's there to mind? mind yourself.
+
+NAN (aside). I must run and tell mother.
+
+     [Exit.
+
+MATRYÓNA (to Peter). That's always the way with this old mumbler of
+mine, Peter Ignátitch. Once he's got anything wedged in his pate
+there's no knocking it out. We've gone and troubled you all for
+nothing. The lad can go on living as he has been. Keep him; he's your
+servant.
+
+PETER. Well, Daddy Akím, what do you say?
+
+AKÍM. Why, the lad's his own master, if only he what d'you call it....
+I only wish that, what d'you call it, I mean.
+
+MATRYÓNA. You don't know yourself what you're jawing about. The lad
+himself has no wish to leave. Besides, what do we want with him at
+home? We can manage without him.
+
+PETER. Only one thing, Daddy Akím--if you are thinking of taking him
+back in summer, I don't want him here for the winter. If he is to stay
+at all, it must be for the whole year.
+
+MATRYÓNA. And it's for a year he'll bind himself. If we want help when
+the press of work comes, we can hire help, and the lad shall remain
+with you. Only give us ten roubles now....
+
+PETER. Well then, is it to be for another year?
+
+AKÍM (sighing). Yes, it seems, it what d'you call it ... if it's so, I
+mean, it seems that it must be what d'you call it.
+
+MATRYÓNA. For a year, counting from St. Dimítry's day. We know you'll
+pay him fair wages. But give us ten roubles now. Help us out of our
+difficulties. (Gets up and bows to Peter.)
+
+     [Enter NAN and ANÍSYA. The latter sits down at one side.
+
+PETER. Well, if that's settled we might step across to the inn and
+have a drink. Come, Daddy Akím, what do you say to a glass of vódka?
+
+AKÍM. No, I never drink that sort of thing.
+
+PETER. Well, you'll have some tea?
+
+AKÍM. Ah, tea! yes, I do sin that way. Yes, tea's the thing.
+
+PETER. And the women will also have some tea. Come. And you, Nikíta,
+go and drive the sheep in and clear away the straw.
+
+NIKÍTA. All right. (Exeunt all but NIKÍTA. NIKÍTA lights a cigarette.
+It grows darker.) Just see how they bother one. Want a fellow to tell
+'em how he larks about with the wenches! It would take long to tell
+'em all those stories--"Marry her," he says. Marry them all! One would
+have a good lot of wives! And what need have I to marry? Am as good as
+married now! There's many a chap as envies me. Yet how strange it felt
+when I crossed myself before the icón. It was just as if some one
+shoved me. The whole web fell to pieces at once. They say it's
+frightening to swear what's not true. That's all humbug. It's all
+talk, that is. It's simple enough.
+
+AKOULÍNA (enters with a rope, which she puts down. She takes off her
+outdoor things and goes into closet). You might at least have got a
+light.
+
+NIKÍTA. What, to look at you? I can see you well enough without.
+
+AKOULÍNA. Oh, bother you!
+
+     [NAN enters and whispers to NIKÍTA.
+
+NAN. Nikíta, there's a person wants you. There is!
+
+NIKÍTA. What person?
+
+NAN. Marína from the railway; she's out there, round the corner.
+
+NIKÍTA. Nonsense!
+
+NAN. Blest if she isn't! Nikíta. What does she want?
+
+NAN. She wants you to come out. She says, "I only want to say a word
+to Nikíta." I began asking, but she won't tell, but only says, "Is it
+true he's leaving you?" And I say, "No, only his father wanted to take
+him away and get him to marry, but he won't, and is going to stay with
+us another year." And she says, "For goodness' sake send him out to
+me. I must see him," she says, "I must say a word to him somehow."
+She's been waiting a long time. Why don't you go?
+
+NIKÍTA. Bother her! What should I go for?
+
+NAN. She says, "If he don't come, I'll go into the hut to him." Blest
+if she didn't say she'd come in!
+
+NIKÍTA. Not likely. She'll wait a bit and then go away.
+
+NAN. "Or is it," she says, "that they want him to marry Akoulína?"
+
+     [Re-enter AKOULÍNA, passing near NIKÍTA to take her distaff.
+
+AKOULÍNA. Marry whom to Akoulína?
+
+NAN. Why, Nikíta. Akoulína. A likely thing! Who says it?
+
+NIKÍTA (looks at her and laughs). It seems people do say it. Would you
+marry me, Akoulína?
+
+AKOULÍNA. Who, you? Perhaps I might have afore, but I won't now.
+
+NIKÍTA. And why not now? Akoulína. 'Cos you wouldn't love me.
+
+NIKÍTA. Why not? Akoulína. 'Cos you'd be forbidden to.
+
+     [Laughs.
+
+NIKÍTA. Who'd forbid it?
+
+AKOULÍNA. Who? My step-mother. She does nothing but grumble, and is
+always staring at you.
+
+NIKÍTA (laughing). Just hear her! Ain't she cute?
+
+AKOULÍNA. Who? Me? What's there to be cute about? Am I blind? She's
+been rowing and rowing at dad all day. The fat-muzzled witch!
+
+     [Goes into closet.
+
+NAN (looking out of the window). Look, Nikíta, she's coming! I'm blest
+if she isn't! I'll go away.
+
+     [Exit.
+
+MARÍNA (enters). What are you doing with me?
+
+NIKÍTA. Doing? I'm not doing anything.
+
+MARÍNA. You mean to desert me.
+
+NIKÍTA (gets up angrily). What does this look like, your coming here?
+
+MARÍNA. Oh, Nikíta!
+
+NIKÍTA. Well, you are strange! What have you come for?
+
+MARÍNA. Nikíta!
+
+NIKÍTA. That's my name. What do you want with Nikíta? Well, what next?
+Go away, I tell you!
+
+MARÍNA. I see, you do want to throw me over.
+
+NIKÍTA. Well, and what's there to remember? You yourself don't know.
+When you stood out there round the corner and sent Nan for me, and I
+didn't come, wasn't it plain enough that you're not wanted? It seems
+pretty simple. So there--go!
+
+MARÍNA. Not wanted! So now I'm not wanted! I believed you when you
+said you would love me. And now that you've ruined me, I'm not wanted.
+
+NIKÍTA. Where's the good of talking? This is quite improper. You've
+been telling tales to father. Now, do go away, will you?
+
+MARÍNA. You know yourself I never loved any one but you. Whether you
+married me or not, I'd not have been angry. I've done you no wrong,
+then why have you left off caring for me? Why?
+
+NIKÍTA. Where's the use of baying at the moon? You go away. Goodness
+me! what a duffer!
+
+MARÍNA. It's not that you deceived me when you promised to marry me
+that hurts, but that you've left off loving. No, it's not that you've
+stopped loving me either, but that you've changed me for another,
+that's what hurts. I know who it is!
+
+NIKÍTA (comes up to her viciously). Eh! what's the good of talking to
+the likes of you, that won't listen to reason? Be off, or you'll drive
+me to do something you'll be sorry for.
+
+MARÍNA. What, will you strike me, then? Well then, strike me! What are
+you turning away for? Ah, Nikíta!
+
+NIKÍTA. Supposing some one came in. Of course, it's quite improper.
+And what's the good of talking?
+
+MARÍNA. So this is the end of it! What has been has flown. You want me
+to forget it? Well then, Nikíta, listen. I kept my maiden honor as the
+apple of my eye. You have ruined me for nothing, you have deceived me.
+You have no pity on a fatherless and motherless girl! (Weeping.) You
+have deserted, you have killed me, but I bear you no malice. God
+forgive you! If you find a better one you'll forget me, if a worse one
+you'll remember me. Yes, you will remember, Nikíta! Good-bye, then, if
+it is to be. Oh, how I loved you! Good-bye for the last time.
+
+     [Takes his head in her hands and tries to kiss him.
+
+NIKÍTA (tossing his head back). I'm not going to talk with the likes
+of you. If you won't go away I will, and you may stay here by
+yourself.
+
+MARÍNA (screams). You are a brute. (In the doorway.) God will give you
+no joy.
+
+     [Exit, crying.
+
+AKOULÍNA (comes out of closet). You're a dog, Nikíta!
+
+NIKÍTA. What's up?
+
+AKOULÍNA. What a cry she gave!
+
+     [Cries.
+
+NIKÍTA. What's up with you?
+
+AKOULÍNA. What's up? You've hurt her, ... That's the way you'll hurt
+me also. You're a dog.
+
+     [Exit into closet.
+
+     [Silence.
+
+NIKÍTA. Here's a fine muddle. I'm as sweet as honey on the lasses, but
+when a fellow's sinned with 'em it's a bad look-out!
+
+CURTAIN
+
+
+
+
+ACT II
+
+The scene represents the village street. To the left the outside of
+PETER'S hut, built of logs, with a porch in the middle; to the right
+of the hut the gates and a corner of the yard buildings. ANÍSYA is
+beating hemp in the street near the corner of the yard. Six months
+have elapsed since the First Act.
+
+ANÍSYA (stops and listens). Mumbling something again. He's probably
+got off the stove.
+
+     [AKOULÍNA enters, carrying two pails on a yoke.
+
+ANÍSYA. He's calling. You go and see what he wants, kicking up such a
+row.
+
+AKOULÍNA. Why don't you go?
+
+ANÍSYA. Go, I tell you!
+
+     [Exit AKOULÍNA into hut.
+
+He's bothering me to death. Won't let out where the money is, and
+that's all about it. He was out in the passage the other day. He must
+have been hiding it there. Now, I don't know myself where it is. Thank
+goodness he's afraid of parting with it, so that at least it will stay
+in the house. If only I could manage to find it. He hadn't it on him
+yesterday. Now I don't know where it can be. He has quite worn the
+life out of me.
+
+     [Enter AKOULÍNA, tying her kerchief over her head.
+
+ANÍSYA. Where are you off to?
+
+AKOULÍNA. Where? Why, he's told me to go for Aunt Martha. "Fetch my
+sister," he says. "I am going to die," he says. "I have a word to say
+to her."
+
+ANÍSYA (aside). Asking for his sister? Oh, my poor head! Sure he wants
+to give it her. What shall I do? Oh! (To AKOULÍNA.) Don't go! Where
+are you off to?
+
+AKOULÍNA. To call Aunt.
+
+ANÍSYA. Don't go I tell you, I'll go myself. You go and take the
+clothes to the river to rinse. Else you'll not have finished by the
+evening.
+
+AKOULÍNA. But he told me to go.
+
+ANÍSYA. You go and do as you're bid. I tell you I'll fetch Martha
+myself. Take the shirts off the fence.
+
+AKOULÍNA. The shirts? But maybe you'll not go. He's given the order.
+
+ANÍSYA. Didn't I say I'd go? Where's Nan?
+
+AKOULÍNA. Nan? Minding the calves.
+
+ANÍSYA. Send her here. I dare say they'll not run away.
+
+     [AKOULÍNA collects the clothes, and exit.
+
+ANÍSYA. If one doesn't go he'll scold. If one goes he'll give the
+money to his sister. All my trouble will be wasted. I don't myself
+know what I'm to do. My poor head's splitting.
+
+     [Continues to work.
+
+     [Enter MATRYÓNA, with a stick and a bundle, in outdoor clothes.
+
+MATRYÓNA. May the Lord help you, honey.
+
+ANÍSYA (looks round, stops working, and claps her hands with joy).
+Well, I never expected this! Mother Matryóna, God has sent the right
+guest at the right time.
+
+MATRYÓNA. Well, how are things?
+
+ANÍSYA. Ah, I'm driven well-nigh crazy. It's awful!
+
+MATRYÓNA. Well, still alive, I hear?
+
+ANÍSYA. Oh, don't talk about it. He doesn't live and doesn't die!
+
+MATRYÓNA. But the money--has he given it to anybody?
+
+ANÍSYA. He's just sending for his sister Martha--probably about the
+money.
+
+MATRYÓNA. Well, naturally! But hasn't he given it to any one else?
+
+ANÍSYA. To no one. I watch like a hawk.
+
+MATRYÓNA. And where is it?
+
+ANÍSYA. He doesn't let out. And I can't find out in any way. He hides
+it now here, now there, and I can't do anything because of Akoulína.
+Idiot though she is, she keeps watch, and is always about. Oh my poor
+head! I'm bothered to death.
+
+MATRYÓNA. Oh, my jewel, if he gives the money to any one but you,
+you'll never cease regretting it as long as you live! They'll turn you
+out of house and home without anything. You've been worriting, and
+worriting all your life with one you don't love, and will have to go
+a-begging when you are a widow.
+
+ANÍSYA. No need to tell me, mother. My heart's that weary, and I don't
+know what to do. No one to get a bit of advice from. I told Nikíta,
+but he's frightened of the job. The only thing he did was to tell me
+yesterday it was hidden under the floor.
+
+MATRYÓNA. Well, and did you look there?
+
+ANÍSYA. I couldn't. The old man himself was in the room. I notice that
+sometimes he carries it about on him, and sometimes he hides it.
+
+MATRYÓNA. But you, my lass, must remember that if once he gives you
+the slip there's no getting it right again! (Whispering.) Well, and
+did you give him the strong tea?
+
+ANÍSYA. Oh! oh!...
+
+     [About to answer, but sees neighbor and stops.
+
+     [The NEIGHBOR (a woman) passes the hut, and listens to a call from
+      within.
+
+NEIGHBOR (to Anísya). I say, Anísya! Oh, Anísya! There's your old man
+calling, I think.
+
+ANÍSYA. That's the way he always coughs,--just as if he were screaming.
+He's getting very bad.
+
+NEIGHBOR (approaches MATRYÓNA). How do you do, granny? Have you come
+far?
+
+MATRYÓNA. Straight from home, dear. Come to see my son. Brought him
+some shirts--can't help thinking of these things, you see, when it's
+one's own child.
+
+NEIGHBOR. Yes, that's always so. (To Anísya.) And I was thinking of
+beginning to bleach the linen, but it is a bit early, no one has begun
+yet.
+
+ANÍSYA. Where's the hurry?
+
+MATRYÓNA. Well, and has he had communion?
+
+ANÍSYA. Oh, dear, yes, the priest was here yesterday.
+
+NEIGHBOR. I had a look at him yesterday. Dearie me! one wonders his
+body and soul keep together. And, O Lord, the other day he seemed just
+at his last gasp, so that they laid him under the holy icóns.[1] They
+started lamenting and got ready to lay him out.
+
+ANÍSYA. He came to, and creeps about again.
+
+MATRYÓNA. Well, and is he to have extreme unction?
+
+ANÍSYA. The neighbors advise it. If he lives till to-morrow we'll send
+for the priest.
+
+NEIGHBOR. Oh, Anísya dear, I should think your heart must be heavy. As
+the saying goes, "Not he is sick that's ill in bed, but he that sits
+and waits in dread."
+
+ANÍSYA. Yes, if it were only over one way or other!
+
+NEIGHBOR. Yes, that's true, dying for a year, it's no joke. You're
+bound hand and foot like that.
+
+MATRYÓNA. Ah, but a widow's lot is also bitter. It's all right as long
+as one's young, but who'll care for you when you're old? Oh yes, old
+age is not pleasure. Just look at me. I've not walked very far, and
+yet am so footsore I don't know how to stand. Where's my son?
+
+ANÍSYA. Ploughing. But you come in and we'll get the samovár ready;
+the tea'll set you up again.
+
+MATRYÓNA (sitting down). Yes, it's true, I'm quite done up, my dears.
+As to extreme unction, that's absolutely necessary. Besides, they say
+it's good for the soul.
+
+ANÍSYA. Yes, we'll send to-morrow.
+
+MATRYÓNA. Yes, you had better. And we've had a wedding down in our
+parts.
+
+NEIGHBOR. What, in spring?[2]
+
+MATRYÓNA. Ah, now if it were a poor man, then, as the saying is, it's
+always unseasonable for a poor man to marry. But it's Simon
+Matvéyitch, he's married that Marína.
+
+ANÍSYA. What luck for her!
+
+NEIGHBOR. He's a widower. I suppose there are children?
+
+MATRYÓNA. Four of 'em. What decent girl would have him! Well, so he's
+taken her, and she's glad. You see, the vessel was not sound, so the
+wine trickled out.
+
+NEIGHBOR. Oh, my! And what do people say to it? And he, a rich
+peasant!
+
+MATRYÓNA. They are living well enough so far.
+
+NEIGHBOR. Yes, it's true enough. Who wants to marry where there are
+children? There now, there's our Michael. He's such a fellow, dear
+me....
+
+PEASANT'S VOICE. Hullo, Mávra. Where the devil are you? Go and drive
+the cow in.
+
+     [Exit NEIGHBOR.
+
+MATRYÓNA (while the NEIGHBOR is within hearing speaks in her ordinary
+voice). Yes, lass, thank goodness, she's married. At any rate my old
+fool won't go bothering about Nikíta. Now (suddenly changing her
+tone), she's gone! (Whispers.) I say, did you give him the tea?
+
+ANÍSYA. Don't speak about it. He'd better die of himself. It's no use
+--he doesn't die, and I have only taken a sin on my soul. O-oh, my
+head, my head! Oh, why did you give me those powders?
+
+MATRYÓNA. What of the powders? The sleeping powders, lass,--why not
+give them? No evil can come of them.
+
+ANÍSYA. I am not talking of the sleeping ones, but the others, the
+white ones.
+
+MATRYÓNA. Well, honey, those powders are medicinal.
+
+ANÍSYA (sighs). I know, yet it's frightening. Though he's worried me
+to death.
+
+MATRYÓNA. Well, and did you use many?
+
+ANÍSYA. I gave two doses.
+
+MATRYÓNA. Was anything noticeable?
+
+ANÍSYA. I had a taste of the tea myself--just a little bitter. And he
+drank them with the tea and says, "Even tea disgusts me," and I say,
+"Everything tastes bitter when one's sick." But I felt that scared,
+mother.
+
+MATRYÓNA. Don't go thinking about it. The more one thinks the worse it
+is.
+
+ANÍSYA. I wish you'd never given them to me and led me into sin. When
+I think of it something seems to tear my heart. Oh, dear, why did you
+give them to me?
+
+MATRYÓNA. What do you mean, honey? Lord help you! Why are you turning
+it on to me? Mind, lass, don't go twisting matters from the sick on to
+the healthy. If anything were to happen, I stand aside! I know
+nothing! I'm aware of nothing! I'll kiss the cross on it; I never gave
+you any kind of powders, never saw any, never heard of any, and never
+knew there were such powders. You think about yourself, lass. Why, we
+were talking about you the other day. "Poor thing, what torture she
+endures. The step-daughter an idiot; the old man rotten, sucking her
+lifeblood. What wouldn't one be ready to do in such a case!"
+
+ANÍSYA. I'm not going to deny it. A life such as mine could make one
+do worse than that. It could make you hang yourself or throttle him.
+Is this a life?
+
+MATRYÓNA. That's just it. There's no time to stand gaping; the money
+must be found one way or other, and then he must have his tea.
+
+ANÍSYA. O-oh, my head, my head! I can't think what to do. I am so
+frightened; he'd better die of himself. I don't want to have it on my
+soul.
+
+MATRYÓNA (viciously). And why doesn't he show the money? Does he mean
+to take it along with him? Is no one to have it? Is that right? God
+forbid such a sum should be lost all for nothing. Isn't that a sin?
+What's he doing? Is he worth considering?
+
+ANÍSYA. I don't know anything. He's worried me to death.
+
+MATRYÓNA. What is it you don't know? The business is clear. If you
+make a slip now, you'll repent it all your life. He'll give the money
+to his sister and you'll be left without.
+
+ANÍSYA. O--oh dear! Yes, and he did send for her--I must go.
+
+MATRYÓNA. You wait a bit and light the samovár first. We'll give him
+some tea and search him together--we'll find it, no fear.
+
+ANÍSYA. Oh dear, oh dear; supposing something were to happen.
+
+MATRYÓNA. What now? What's the good of waiting? Do you want the money
+to slip from your hand when it's just in sight? You go and do as I
+say.
+
+ANÍSYA. Well, I'll go and light the samovár.
+
+MATRYÓNA. Go, honey, do the business so as not to regret it
+afterwards. That's right!
+
+     [ANÍSYA turns to go. MATRYÓNA calls her back.
+
+MATRYÓNA. Just a word. Don't tell Nikíta about the business. He's
+silly. God forbid he should find out about the powders. The Lord only
+knows what he would do. He's so tender-hearted. D'you know, he usen't
+to be able to kill a chicken. Don't tell him. 'Twould be a fine go, he
+wouldn't understand things.
+
+     [Stops horror-struck as PETER appears in the doorway.
+
+PETER (holding on to the wall, creeps out into the porch and calls
+with a faint voice). How's it one can't make you hear? Oh, oh, Anísya!
+Who's there?
+
+     [Drops on the bench.
+
+ANÍSYA (steps from behind the corner). Why have you come out? You
+should have stayed where you were lying.
+
+PETER. Has the girl gone for Martha? It's very hard.... Oh, if only
+death would come quicker!
+
+ANÍSYA. She had no time. I sent her to the river. Wait a bit, I'll go
+myself when I'm ready.
+
+PETER. Send Nan. Where's she? Oh, I'm that bad! Oh, death's at hand!
+
+ANÍSYA. I've sent for her already. Peter. Oh, dear! Then where is she?
+
+ANÍSYA. Where's she got to, the plague seize her!
+
+PETER. Oh, dear! I can't bear it. All my inside's on fire. It's as if
+a gimlet were boring me. Why have you left me as if I were a dog? ...
+no one to give me a drink.... Oh ... send Nan to me.
+
+ANÍSYA. Here she is. Nan, go to father.
+
+     [NAN runs in. ANÍSYA goes behind the corner of the house.
+
+PETER. Go you. Oh ... to Aunt Martha, tell her father wants her; say
+she's to come, I want her.
+
+NAN. All right.
+
+PETER. Wait a bit. Tell her she's to come quick. Tell her I'm dying.
+O--oh!
+
+NAN. I'll just get my shawl and be off.
+
+     [Runs off.
+
+MATRYÓNA (winking). Now, then, mind and look sharp, lass. Go into the
+hut, hunt about everywhere, like a dog that's hunting for fleas: look
+under everything, and I'll search him.
+
+ANÍSYA (to MATRYÓNA). I feel a bit bolder, somehow, now you're here.
+(Goes up to porch. To PETER.) Hadn't I better light the samovár?
+Here's Mother Matryóna come to see her son; you'll have a cup of tea
+with her?
+
+PETER. Well, then, light it.
+
+     [ANÍSYA goes into the house. MATRYÓNA comes up to the porch.
+
+PETER. How do you do?
+
+MATRYÓNA (bowing). How d'you do, my benefactor; how d'you do, my
+precious ... still ill, I see. And my old man, he's that sorry! "Go,"
+says he, "see how he's getting on." He sends his respects to you.
+
+     [Bows again.
+
+PETER. I'm dying.
+
+MATRYÓNA. Ah, yes, Peter Ignátitch, now I look at you I see, as the
+saying has it, "Sickness lives where men live." You've shrivelled,
+shrivelled, all to nothing, poor dear, now I come to look at you.
+Seems illness does not add to good looks.
+
+PETER. My last hour has come.
+
+MATRYÓNA. Oh well, Peter Ignátitch, it's God's will you know, you've
+had communion, and you'll have unction, God willing. Your missus is a
+wise woman, the Lord be thanked; she'll give you a good burial, and
+have prayers said for your soul, all most respectable! And my son,
+he'll look after things meanwhile.
+
+PETER. There'll be no one to manage things! She's not steady. Has her
+head full of folly--why, I know all about it, I know. And my girl is
+silly and young. I've got the homestead together, and there's no one
+to attend to things. One can't help feeling it.
+
+     [Whimpers.
+
+MATRYÓNA. Why, if it's money, or something, you can leave orders?
+
+PETER (to Anísya inside the house). Has Nan gone?
+
+MATRYÓNA (aside). There now, he's remembered!
+
+ANÍSYA (from inside). She went then and there. Come inside, won't you?
+I'll help you in.
+
+PETER. Let me sit here a bit for the last time. The air's so stuffy
+inside. Oh, how bad I feel! Oh, my heart's burning.... Oh, if death
+would only come!
+
+MATRYÓNA. If God don't take a soul, the soul can't go out. Death and
+life are in God's will. Peter Ignátitch. You can't be sure of death
+either. Maybe you'll recover yet. There was a man in our village just
+like that, at the very point of death....
+
+PETER. No, I feel I shall die to-day, I feel it.
+
+     [Leans back and shuts his eyes.
+
+ANÍSYA (enters). Well, now, are you coming in or not? You do keep one
+waiting. Peter! eh, Peter!
+
+MATRYÓNA (steps aside and beckons to ANÍSYA with her finger). Well?
+
+ANÍSYA (comes down the porch steps). Not there.
+
+MATRYÓNA. But have you searched everywhere? Under the floor?
+
+ANÍSYA. No, it's not there either. In the shed perhaps; he was
+rummaging there yesterday.
+
+MATRYÓNA. Go, search, search for all you're worth. Go all over
+everywhere, as if you licked with your tongue! But I see he'll die
+this very day, his nails are turning blue and his face looks earthy.
+Is the samovár ready?
+
+ANÍSYA. Just on the boil.
+
+NIKÍTA (comes from the other side, if possible on horse-back, up to
+the gate, and does not see PETER. To MATRYÓNA). How d'you do, mother,
+is all well at home?
+
+MATRYÓNA. The Lord be thanked, we're all alive and have a crust to
+bite.
+
+NIKÍTA. Well and how's master?
+
+MATRYÓNA. Hush, there he sits.
+
+     [Points to porch.
+
+NIKÍTA. Well, let him sit. What's it to me?
+
+PETER (opens his eyes). Nikíta, I say, Nikíta, come here!
+
+     [NIKÍTA approaches. ANÍSYA and MATRYÓNA whisper together.
+
+PETER. Why have you come back so early?
+
+NIKÍTA. I've finished ploughing.
+
+PETER. Have you done the strip beyond the bridge?
+
+NIKÍTA. It's too far to go there.
+
+PETER. Too far? From here it's still farther. You'll have to go on
+purpose now. You might have made one job of it.
+
+     [ANÍSYA, without showing herself, stands and listens.
+
+MATRYÓNA (approaches). Oh, sonny, why don't you take more pains for
+your master? Your master is ill and depends on you; you should serve
+him as you would your own father, straining every muscle just as I
+always tell you to.
+
+PETER. Well, then--o--oh!... Get out the seed potatoes, and the women
+will go and sort them.
+
+ANÍSYA (aside). No fear, I'm not going. He's again sending every one
+away; he must have the money on him now, and wants to hide it
+somewhere.
+
+PETER. Else ... o--oh! when the time comes for planting, they'll all
+be rotten. Oh, I can't stand it!
+
+     [Rises.
+
+MATRYÓNA (runs up into the porch and holds PETER up). Shall I help you
+into the hut?
+
+PETER. Help me in. (Stops.) Nikíta!
+
+NIKÍTA (angrily). What now?
+
+PETER. I shan't see you again.... I'll die to-day.... Forgive me,[3]
+for Christ's sake, forgive me if I have ever sinned against you.... If
+I have sinned in word or deed.... There's been all sorts of things.
+Forgive me!
+
+NIKÍTA. What's there to forgive? I'm a sinner myself.
+
+MATRYÓNA. Ah, sonny, have some feeling.
+
+PETER. Forgive me, for Christ's sake.
+
+     [Weeps.
+
+NIKÍTA (snivels). God will forgive you, Daddy Peter. I have no cause
+to complain of you. You've never done me any wrong. You forgive me;
+maybe I've sinned worse against you. (Weeps.)
+
+     [PETER goes in whimpering, MATRYÓNA supporting him.
+
+ANÍSYA. Oh, my poor head! It's not without some reason he's hit on
+that. (Approaches NIKÍTA.) Why did you say the money was under the
+floor? It's not there.
+
+NIKÍTA (does not answer, but cries). I have never had anything bad
+from him, nothing but good, and what have I gone and done!
+
+ANÍSYA. Enough now! Where's the money?
+
+NIKÍTA (angrily). How should I know? Go and look for it yourself!
+
+ANÍSYA. What's made you so tender?
+
+NIKÍTA. I am sorry for him,--that sorry. How he cried! Oh, dear!
+
+ANÍSYA. Look at him,--seized with pity! He has found some one to pity
+too! He's been treating you like a dog, and even just now was giving
+orders to have you turned out of the house. You'd better show me some
+pity!
+
+NIKÍTA. What are you to be pitied for?
+
+ANÍSYA. If he dies, and the money's been hidden away....
+
+NIKÍTA. No fear, he'll not hide it....
+
+ANÍSYA. Oh, Nikíta darling! he's sent for his sister, and wants to
+give it to her. It will be a bad lookout for us. How are we going to
+live, if he gives her the money? They'll turn me out of the house! You
+try and manage somehow! You said he went to the shed last night.
+
+NIKÍTA. I saw him coming from there, but where he's shoved it to, who
+can tell?
+
+ANÍSYA. Oh, my poor head! I'll go and have a look there.
+
+     [NIKÍTA steps aside.
+
+MATRYÓNA (comes out of the hut and down the steps of the porch to
+ANÍSYA and NIKÍTA). Don't go anywhere. He's got the money on him. I
+felt it on a string round his neck.
+
+ANÍSYA. Oh my head, my head!
+
+MATRYÓNA. If you don't keep wide awake now, then you may whistle for
+it. If his sister comes--then good-bye to it!
+
+ANÍSYA. That's true. She'll come and he'll give it her. What's to be
+done? Oh, my poor head!
+
+MATRYÓNA. What is to be done? Why, look here; the samovár is boiling,
+go and make the tea and pour him out a cup, and then (whispers) put in
+all that's left in the paper. When he's drunk the cup, then just take
+it. He'll not tell, no fear.
+
+ANÍSYA. Oh! I'm afeared!
+
+MATRYÓNA. Don't be talking now, but look alive, and I'll keep his
+sister off if need be. Mind, don't make a blunder! Get hold of the
+money and bring it here, and Nikíta will hide it.
+
+ANÍSYA. Oh my head, my head! I don't know how I'm going to....
+
+MATRYÓNA. Don't talk about it I tell you, do as I bid you. Nikíta!
+
+NIKÍTA. What is it?
+
+MATRYÓNA. You stay here--sit down--in case something is wanted.
+
+NIKÍTA (waves his hand). Oh, these women, what won't they be up to?
+Muddle one up completely. Bother them! I'll really go and fetch out
+the potatoes.
+
+MATRYÓNA (catches him by the arm). Stay here, I tell you.
+
+     [NAN enters.
+
+ANÍSYA. Well?
+
+NAN. She was down in her daughter's vegetable plot--she's coming.
+
+ANÍSYA. Coming! What shall we do?
+
+MATRYÓNA. There's plenty of time if you do as I tell you.
+
+ANÍSYA. I don't know what to do; I know nothing, my brain's all in a
+whirl. Nan! Go, daughter, and see to the calves, they'll have run
+away, I'm afraid.... Oh dear, I haven't the courage.
+
+MATRYÓNA. Go on! I should think the samovár's boiling over.
+
+ANÍSYA. Oh my head, my poor head!
+
+     [Exit.
+
+MATRYÓNA (approaches NIKÍTA). Now then, sonny. (Sits down beside him.)
+Your affairs must also be thought about, and not left anyhow.
+
+NIKÍTA. What affairs?
+
+MATRYÓNA. Why, this affair--how you're to live your life.
+
+NIKÍTA. How to live my life? Others live, and I shall live!
+
+MATRYÓNA. The old man will probably die to-day.
+
+NIKÍTA. Well, if he dies, God give him rest! What's that to me?
+
+MATRYÓNA (keeps looking towards the porch while she speaks). Eh,
+sonny! Those that are alive have to think about living. One needs
+plenty of sense in these matters, honey. What do you think? I've
+tramped all over the place after your affairs, I've got quite footsore
+bothering about matters. And you must not forget me when the time
+comes.
+
+NIKÍTA. And what's it you've been bothering about?
+
+MATRYÓNA. About your affairs, about your future. If you don't take
+trouble in good time you'll get nothing. You know Iván Mosévitch?
+Well, I've been to him too. I went there the other day. I had
+something else to settle, you know. Well, so I sat and chatted awhile
+and then came to the point. "Tell me, Iván Mosévitch," says I, "how's
+one to manage an affair of this kind? Supposing," says I, "a peasant
+as is a widower married a second wife, and supposing all the children
+he has is a daughter by the first wife, and a daughter by the second.
+Then," says I, "when that peasant dies, could an outsider get hold of
+the homestead by marrying the widow? Could he," says I, "give both the
+daughters in marriage and remain master of the house himself?" "Yes,
+he could," says he, "but," says he, "it would mean a deal of trouble;
+still the thing could be managed by means of money, but if there's no
+money it's no good trying."
+
+NIKÍTA (laughs). That goes without saying, only fork out the money.
+Who does not want money?
+
+MATRYÓNA. Well then, honey, so I spoke out plainly about the affair.
+And he says, "First and foremost, your son will have to get himself on
+the register of that village--that will cost something. The elders
+will have to be treated. And they, you see, they'll sign. Everything,"
+says he, "must be done sensibly." Look (unwraps her kerchief and takes
+out a paper), he's written out this paper; just read it, you're a
+scholar, you know.
+
+     [NIKÍTA reads.
+
+NIKÍTA. This paper's only a decision for the elders to sign. There's
+no great wisdom needed for that.
+
+MATRYÓNA. But you just hear what Iván Mosévitch bids us do. "Above
+all," he says, "mind and don't let the money slip away, dame. If she
+don't get hold of the money," he says, "they'll not let her do it.
+Money's the great thing!" So look out, sonny, things are coming to a
+head.
+
+NIKÍTA. What's that to me? The money's hers--so let her look out.
+
+MATRYÓNA. Ah, sonny, how you look at it! How can a woman manage such
+affairs? Even if she does get the money, is she capable of arranging
+it all? One knows what a woman is! You're a man anyhow. You can hide
+it, and all that. You see, you've after all got more sense, in case of
+anything happening.
+
+NIKÍTA. Oh, your woman's notions are all so inexpedient!
+
+MATRYÓNA. Why inexpedient? You just collar the money, and the woman's
+in your hands. And then should she ever turn snappish you'd be able to
+tighten the reins!
+
+NIKÍTA. Bother you all,--I'm going.
+
+ANÍSYA (quite pale, runs out of the hut and round the corner to
+MATRYÓNA). So it was, it was on him! Here it is!
+
+     [Shows that she has something under her apron.
+
+MATRYÓNA. Give it to Nikíta; he'll hide it. Nikíta, take it and hide
+it somewhere.
+
+NIKÍTA. All right, give here!
+
+ANÍSYA. O--oh, my poor head! No, I'd better do it myself.
+
+     [Goes towards the gate.
+
+MATRYÓNA (seizing her by the arm). Where are you going to? You'll be
+missed. There's the sister coming; give it him; he knows what to do.
+Eh, you blockhead!
+
+ANÍSYA (stops irresolutely). Oh, my head, my head!
+
+NIKÍTA. Well, give it here. I'll shove it away somewhere.
+
+ANÍSYA. Where will you shove it to?
+
+NIKÍTA (laughing). Why, are you afraid?
+
+     [Enter AKOULÍNA, carrying clothes from the wash.
+
+ANÍSYA. O--oh, my poor head! (Gives the money.) Mind, Nikíta.
+
+NIKÍTA. What are you afraid of? I'll hide it so that I'll not be able
+to find it myself.
+
+     [Exit.
+
+ANÍSYA (stands in terror). Oh dear, and supposing he....
+
+MATRYÓNA. Well, is he dead?
+
+ANÍSYA. Yes, he seems dead. He did not move when I took it.
+
+MATRYÓNA. Go in, there's Akoulína.
+
+ANÍSYA. Well there, I've done the sin and he has the money....
+
+MATRYÓNA. Have done and go in! There's Martha coming!
+
+ANÍSYA. There now, I've trusted him. What's going to happen now?
+
+     [Exit.
+
+Martha (enters from one side, AKOULÍNA enters from the other. To
+AKOULÍNA). I should have come before, but I was at my daughter's.
+Well, how's the old man? Is he dying?
+
+AKOULÍNA (puts down the clothes). Don't know; I've been to the river.
+
+Martha (pointing to MATRYÓNA). Who's that?
+
+MATRYÓNA. I'm from Zoúevo. I'm Nikíta's mother from Zoúevo, my dearie.
+Good afternoon to you. He's withering, withering away, poor dear--your
+brother, I mean. He came out himself. "Send for my sister," he said,
+"because," said he.... Dear me, why, I do believe he's dead!
+
+ANÍSYA (runs out screaming. Clings to a post, and begins wailing).[4]
+Oh, oh, ah! who-o-o-o-m have you left me to, why-y-y have you
+dese-e-e-e-rted me--a miserable widow ... to live my life alone....
+Why have you closed your bright eyes....
+
+     [Enter NEIGHBOR. MATRYÓNA and NEIGHBOR catch hold of ANÍSYA under
+      the arms to support her. AKOULÍNA and MARTHA go into the hut. A
+      crowd assembles.
+
+A VOICE IN THE CROWD. Send for the old women to lay out the body.
+
+MATRYÓNA (rolls up her sleeves). Is there any water in the copper? But
+I daresay the samovár is still hot. I'll also go and help a bit.
+
+CURTAIN
+
+
+
+
+ACT III
+
+The same hut. Winter. Nine months have passed since Act II. ANÍSYA,
+plainly dressed, sits before a loom weaving. NAN is on the oven.
+
+MÍTRITCH (an old laborer, enters and slowly takes off his outdoor
+things). Oh Lord, have mercy! Well, hasn't the master come home yet?
+
+ANÍSYA. What?
+
+MÍTRITCH. Nikíta isn't back from town, is he?
+
+ANÍSYA. No.
+
+MÍTRITCH. Must have been on the spree. Oh Lord!
+
+ANÍSYA. Have you finished in the stackyard?
+
+MÍTRITCH. What d'you think? Got it all as it should be, and covered
+everything with straw! I don't like doing things by halves! Oh Lord!
+holy Nicholas! (Picks at the corns on his hands.) But it's time he was
+back.
+
+ANÍSYA. What need has he to hurry? He's got money. Merry-making with
+that girl, I daresay....
+
+MÍTRITCH. Why shouldn't one make merry if one has the money? And why
+did Akoulína go to town?
+
+ANÍSYA. You'd better ask her. How do I know what the devil took her
+there!
+
+MÍTRITCH. What! to town? There's all sorts of things to be got in town
+if one's got the means. Oh Lord!
+
+NAN. Mother, I heard myself. "I'll get you a little shawl," he says,
+blest if he didn't; "you shall choose it yourself," he says. And she
+got herself up so fine; she put on her velveteen coat and the French
+shawl.
+
+ANÍSYA. Really, a girl's modesty reaches only to the door. Step over
+the threshold and it's forgotten. She is a shameless creature.
+
+MÍTRITCH. Oh my! What's the use of being ashamed? While there's plenty
+of money make merry. Oh Lord! It is too soon to have supper, eh?
+(ANÍSYA does not answer.) I'll go and get warm meanwhile. (Climbs on
+the stove.) Oh, Lord! Blessed Virgin Mother! Holy Nicholas!
+
+NEIGHBOR (enters). Seems your good man's not back yet?
+
+ANÍSYA. No.
+
+NEIGHBOR. It's time he was. Hasn't he perhaps stopped at our inn? My
+sister, Thekla, says there's heaps of sledges standing there as have
+come from the town.
+
+ANÍSYA. Nan! Nan, I say!
+
+NAN. Yes?
+
+ANÍSYA. You run to the inn and see! Mayhap, being drunk, he's gone
+there.
+
+NAN (jumps down from the oven and dresses). All right.
+
+NEIGHBOR. And he's taken Akoulína with him?
+
+ANÍSYA. Else he'd not have had any need of going. It's because of her
+he's unearthed all the business there. "Must go to the bank," he says;
+"it's time to receive the payments," he says. But it's all her
+fooling.
+
+NEIGHBOR (shakes her head). It's a bad look-out.
+
+     [Silence.
+
+NAN (at the door). And if he's there, what am I to say?
+
+ANÍSYA. You only see if he's there.
+
+NAN. All right. I'll be back in a winking.
+
+     [Long silence.
+
+MÍTRITCH (roars). Oh Lord! merciful Nicholas!
+
+NEIGHBOR (starting). Oh, how he scared me! Who is it?
+
+ANÍSYA. Why, Mítritch, our laborer.
+
+NEIGHBOR. Oh dear, oh dear, what a fright he did give me! I had quite
+forgotten. But tell me, dear, I've heard some one's been wooing
+Akoulína?
+
+ANÍSYA (gets up from the loom and sits down by the table). There was
+some one from Dédlovo; but it seems the affair's got wind there too.
+They made a start, and then stopped; so the thing fell through. Of
+course, who'd care to?
+
+NEIGHBOR. And the Lizounófs from Zoúevo?
+
+ANÍSYA. They made some steps too, but it didn't come off either. They
+won't even see us.
+
+NEIGHBOR. Yet it's time she was married.
+
+ANÍSYA. Time and more than time! Ah, my dear, I'm that impatient to
+get her out of the house; but the matter does not come off. He does
+not wish it, nor she either. He's not yet had enough of his beauty,
+you see.
+
+NEIGHBOR. Eh, eh, eh, what doings! Only think of it. Why, he's her
+step-father!
+
+ANÍSYA. Ah, friend, they've taken me in completely. They've done me so
+fine it's beyond saying. I, fool that I was, noticed nothing,
+suspected nothing, and so I married him. I guessed nothing, but they
+already understood one another.
+
+NEIGHBOR. Oh dear, what goings on!
+
+ANÍSYA. So it went on from bad to worse, and I see they begin hiding
+from me. Ah, friend, I was that sick--that sick of my life! It's not
+as if I didn't love him.
+
+NEIGHBOR. That goes without saying.
+
+ANÍSYA. Ah, how hard it is to bear such treatment from him! Oh, how it
+hurts!
+
+NEIGHBOR. Yes, and I've heard say he's becoming too free with his
+fists?
+
+ANÍSYA. And that too! There was a time when he was gentle when he'd
+had a drop. He used to hit out before, but of me he was always fond!
+But now when he's in a temper he goes for me and is ready to trample
+me under his feet. The other day he got both my hands entangled in my
+hair so that I could hardly get away. And the girl's worse than a
+serpent; it's a wonder the earth bears such furies.
+
+NEIGHBOR. Ah, ah, my dear, now I look at you, you are a sufferer! To
+suffer like that is no joke. To have given shelter to a beggar, and he
+to lead you such a dance! Why don't you pull in the reins?
+
+ANÍSYA. Ah, but, my dear, if it weren't for my heart! Him as is gone
+was stern enough, still I could twist him about any way I liked; but
+with this one I can do nothing. As soon as I see him all my anger
+goes. I haven't a grain of courage before him; I go about like a
+drowned hen.
+
+NEIGHBOR. Ah, neighbor, you must be under a spell. I've heard that
+Matryóna goes in for that sort of thing. It must be her.
+
+ANÍSYA. Yes, dear; I think so myself sometimes. Gracious me, how hurt
+I feel at times! I'd like to tear him to pieces. But when I set eyes
+on him, my heart won't go against him.
+
+NEIGHBOR. It's plain you're bewitched. It don't take long to blight a
+body. There now, when I look at you, what you have dwindled to!
+
+ANÍSYA. Growing a regular spindle-shanks. And just look at that fool
+Akoulína. Wasn't the girl a regular untidy slattern, and just look at
+her now! Where has it all come from? Yes, he has fitted her out. She's
+grown so smart, so puffed up, just like a bubble that's ready to
+burst. And, though she's a fool, she's got it into her head. "I'm the
+mistress," she says; "the house is mine; it's me father wanted him to
+marry." And she's that vicious! Lord help us, when she gets into a
+rage she's ready to tear the thatch off the house.
+
+NEIGHBOR. Oh dear, what a life yours is, now I come to look at you.
+And yet there's people envying you: "They're rich," they say; but it
+seems that gold don't keep tears from falling.
+
+ANÍSYA. Much reason for envy indeed! And the riches, too, will soon be
+made ducks and drakes of. Dear me, how he squanders money!
+
+NEIGHBOR. But how's it, dear, you've been so simple to give up the
+money? It's yours.
+
+ANÍSYA. Ah, if you knew all! The thing is that I've made one little
+mistake.
+
+NEIGHBOR. Well, if I were you, I'd go straight and have the law of
+him. The money's yours; how dare he squander it? There's no such
+rights.
+
+ANÍSYA. They don't pay heed to that nowadays.
+
+NEIGHBOR. Ah, my dear, now I come to look at you, you've got that
+weak. Anísya. Yes, quite weak, dear, quite weak. He's got me into a
+regular fix. I don't myself know anything. Oh, my poor head!
+
+NEIGHBOR (listening). There's some one coming, I think.
+
+     [The door opens and AKÍM enters.
+
+AKÍM (crosses himself, knocks the snow off his feet, and takes off his
+coat). Peace be to this house! How do you do? Are you well, daughter?
+
+ANÍSYA. How d'you do, father? Do you come straight from home?
+
+AKÍM. I've been a-thinking I'll go and see what's name, go to see my
+son, I mean,--my son. I didn't start early--had my dinner, I mean; I
+went, and it's so what d'you call it--so snowy, hard walking, and so
+there I'm what d'you call it--late, I mean. And my son--is he at home?
+At home? My son, I mean.
+
+ANÍSYA. No; he's gone to the town.
+
+AKÍM (sits down on a bench). I've some business with him, d'you see,
+some business, I mean. I told him t'other day, told him I was in need
+--told him, I mean, that our horse was done for, our horse, you see. So
+we must what d'ye call it, get a horse, I mean, some kind of a horse,
+I mean. So there, I've come, you see.
+
+ANÍSYA. Nikíta told me. When he comes back you'll have a talk. (Goes
+to the oven.) Have some supper now, and he'll soon come. Mítritch, eh,
+Mítritch, come have your supper.
+
+MÍTRITCH. Oh Lord! merciful Nicholas!
+
+ANÍSYA. Come to supper.
+
+NEIGHBOR. I shall go now. Good-night.
+
+     [Exit.
+
+MÍTRITCH (gets down from the oven). I never noticed how I fell asleep.
+Oh, Lord! gracious Nicholas! How d'you do, Daddy Akím?
+
+AKÍM. Ah, Mítritch! What are you, what d'ye call it, I mean?...
+
+MÍTRITCH. Why, I'm working for your son, Nikíta.
+
+AKÍM. Dear me! What d'ye call ... working for my son, I mean. Dear me!
+
+MÍTRITCH. I was living with a tradesman in town, but drank all I had
+there. Now I've come back to the village. I've no home, so I've gone
+into service. (Gapes.) Oh Lord!
+
+AKÍM. But how's that, what d'you call it, or what's name, Nikíta, what
+does he do? Has he some business, I mean besides, that he should hire
+a laborer, a laborer, I mean, hire a laborer?
+
+ANÍSYA. What business should he have? He used to manage, but now he's
+other things on his mind, so he's hired a laborer.
+
+MÍTRITCH. Why shouldn't he, seeing he has money?
+
+AKÍM. Now that's what d'you call it, that's wrong, I mean, quite
+wrong, I mean. That's spoiling oneself.
+
+ANÍSYA. Oh, he has got spoilt, that spoilt, it's just awful.
+
+AKÍM. There now, what d'you call it, one thinks how to make things
+better, and it gets worse I mean. Riches spoil a man, spoil, I mean.
+
+MÍTRITCH. Fatness makes even a dog go mad; how's one not to get spoilt
+by fat living? Myself now; how I went on with fat living. I drank for
+three weeks without being sober. I drank my last breeches. When I had
+nothing left, I gave it up. Now I've determined not to. Bother it!
+
+AKÍM. And where's what d'you call, your old woman?
+
+MÍTRITCH. My old woman has found her right place, old fellow. She's
+hanging about the gin-shops in town. She's a swell too; one eye
+knocked out, and the other black, and her muzzle twisted to one side.
+And she's never sober; drat her!
+
+AKÍM. Oh, oh, oh, how's that?
+
+MÍTRITCH. And where's a soldier's wife to go? She has found her right
+place.
+
+     [Silence.
+
+AKÍM (to ANÍSYA). And Nikíta,--has he what d'you call it, taken
+anything up to town? I mean, anything to sell?
+
+ANÍSYA (laying the table and serving up). No, he's taken nothing. He's
+gone to get money from the bank.
+
+AKÍM (sitting down to supper). Why? D'you wish to put it to another
+use, the money I mean?
+
+ANÍSYA. No, we don't touch it. Only some twenty or thirty roubles as
+have come due; they must be taken.
+
+AKÍM. Must be taken. Why take it, the money I mean? You'll take some
+to-day I mean, and some to-morrow; and so you'll what d'you call it,
+take it all, I mean.
+
+ANÍSYA. We get this besides. The money is all safe.
+
+AKÍM. All safe? How's that, safe? You take it, and it what d'you call
+it, it's all safe. How's that? You put a heap of meal into a bin, or a
+barn, I mean, and go on taking meal, will it remain there, what d'you
+call it, all safe, I mean? That's, what d'you call it, it's cheating.
+You'd better find out, or else they'll cheat you. Safe indeed! I mean
+you what d'ye call ... you take it and it remains all safe there?
+
+ANÍSYA. I know nothing about it. Iván Mosévitch advised us at the
+time. "Put the money in the bank," he said, "the money will be safe,
+and you'll get interest," he said.
+
+MÍTRITCH (having finished his supper). That's so. I've lived with a
+tradesman. They all do like that. Put the money in the bank, then lie
+down on the oven and it will keep coming in.
+
+AKÍM. That's queer talk. How's that--what d'ye call, coming in, how's
+that coming in, and they, who do they get it from I mean, the money I
+mean?
+
+ANÍSYA. They take the money out of the bank.
+
+MÍTRITCH. Get along! Tain't a thing a woman can understand! You look
+here, I'll make it all clear to you. Mind and remember. You see,
+suppose you've got some money, and I, for instance, have spring coming
+on, my land's idle, I've got no seeds, or I have to pay taxes. So, you
+see, I go to you. "Akím," I say, "give us a ten-rouble note, and when
+I've harvested in autumn I'll return it, and till two acres for you
+besides, for having obliged me!" And you, seeing I've something to
+fall back on--a horse say, or a cow--you say, "No, give two or three
+roubles for the obligation," and there's an end of it. I'm stuck in
+the mud, and can't do without. So I say, "All right!" and take a
+tenner. In the autumn, when I've made my turnover, I bring it back,
+and you squeeze the extra three roubles out of me.
+
+AKÍM. Yes, but that's what peasants do when they what d'ye call it,
+when they forget God. It's not honest, I mean, it's no good, I mean.
+
+MÍTRITCH. You wait. You'll see it comes just to the same thing. Now
+don't forget how you've skinned me. And Anísya, say, has got some
+money lying idle. She does not know what to do with it, besides, she's
+a woman, and does not know how to use it. She comes to you. "Couldn't
+you make some profit with my money too?" she says. "Why not?" say you,
+and you wait. Before the summer I come again and say, "Give me another
+tenner, and I'll be obliged." Then you find out if my hide isn't all
+gone, and if I can be skinned again you give me Anísya's money. But
+supposing I'm clean shorn,--have nothing to eat,--then you see I can't
+be fleeced any more, and you say, "Go your way, friend," and you look
+out for another, and lend him your own and Anísya's money and skin
+him. That's what the bank is. So it goes round and round. It's a cute
+thing, old fellow!
+
+AKÍM (excitedly). Gracious me, whatever is that like? It's what d'ye
+call it, it's filthy! The peasants--what d'ye call it, the peasants do
+so I mean, and know it's, what d'ye call it, a sin! It's what d'you
+call, not right, not right, I mean. It's filthy! How can people as
+have learnt ... what d'ye call it....
+
+MÍTRITCH. That, old fellow, is just what they're fond off And
+remember, them that are stupid, or the women folk, as can't put their
+money into use themselves, they take it to the bank, and they there,
+deuce take 'em, clutch hold of it, and with this money they fleece the
+people. It's a cute thing!
+
+AKÍM (sighing). Oh dear, I see, what d'ye call it, without money it's
+bad, and with money it's worse! How's that? God told us to work, but
+you, what d'you call ... I mean you put money into the bank and go to
+sleep, and the money will what d'ye call it, will feed you while you
+sleep. It's filthy, that's what I call it; it's not right.
+
+MÍTRITCH. Not right? Eh, old fellow, who cares about that nowadays? And
+how clean they pluck you, too! That's the fact of the matter.
+
+AKÍM (sighs). Ah, yes, seems the time's what d'ye call it, the time's
+growing ripe. There, I've had a look at the closets in town. What
+they've come to! It's all polished and polished I mean, it's fine,
+it's what d'ye call it, it's like inside an inn. And what's it all
+for? What's the good of it? Oh, they've forgotten God. Forgotten, I
+mean. We've forgotten, forgotten God, God, I mean! Thank you, my dear,
+I've had enough. I'm quite satisfied.
+
+     [Rises. MÍTRITCH climbs on to the oven.
+
+ANÍSYA (eats, and collects the dishes). If his father would only take
+him to task! But I'm ashamed to tell him.
+
+AKÍM. What d'you say?
+
+ANÍSYA. Oh! it's nothing.
+
+     [Enter NAN.
+
+AKÍM. Here's a good girl, always busy! You're cold, I should think?
+
+NAN. Yes, I am, terribly. How d'you do, grandfather?
+
+ANÍSYA. Well? Is he there?
+
+NAN. No. But Andriyán is there. He's been to town, and he says he saw
+them at an inn in town. He says Dad's as drunk as drunk can be!
+
+ANÍSYA. Do you want anything to eat? Here you are.
+
+NAN (goes to the oven). Well, it is cold. My hands are quite numb.
+
+     [AKÍM takes off his leg-bands and bast-shoes. ANÍSYA washes up.
+
+ANÍSYA. Father!
+
+AKÍM. Well, what is it?
+
+ANÍSYA. And is Marína living well?
+
+AKÍM. Yes, she's living all right. The little woman is what d'ye call
+it, clever and steady; she's living, and what d'ye call it, doing her
+best. She's all right; the little woman's of the right sort I mean;
+painstaking and what d'ye call it, submissive; the little woman's all
+right I mean, all right, you know.
+
+ANÍSYA. And is there no talk in your village that a relative of
+Marína's husband thinks of marrying our Akoulína? Have you heard
+nothing of it?
+
+AKÍM. Ah; that's Mirónof. Yes, the women did chatter something. But I
+didn't pay heed, you know. It don't interest me I mean, I don't know
+anything. Yes, the old women did say something, but I've a bad memory,
+bad memory, I mean. But the Mirónofs are what d'ye call it, they're
+all right, I mean they're all right.
+
+ANÍSYA. I'm that impatient to get her settled.
+
+AKÍM. And why?
+
+NAN (listens). They've come!
+
+ANÍSYA. Well, don't you go bothering them.
+
+     [Goes on washing the spoons without turning her head.
+
+NIKÍTA (enters). Anísya! Wife! who has come?
+
+     [ANÍSYA looks up and turns away in silence.
+
+NIKÍTA (severely). Who has come? Have you forgotten?
+
+ANÍSYA. Now don't humbug. Come in!
+
+NIKÍTA (still more severely). Who's come?
+
+ANÍSYA (goes up and takes him by the arm). Well, then, husband has
+come. Now then, come in!
+
+NIKÍTA (holds back). Ah, that's it! Husband! And what's husband
+called? Speak properly.
+
+ANÍSYA. Oh bother you! Nikíta!
+
+NIKÍTA. Where have you learnt manners? The full name.
+
+ANÍSYA. Nikíta Akímitch! Now then!
+
+NIKÍTA. (still in the doorway). Ah, that's it! But now--the surname?
+
+ANÍSYA (laughs and pulls him by the arm). Tchilíkin. Dear me, what
+airs!
+
+NIKÍTA. Ah, that's it. (Holds on to the door-post.) No, now say with
+which foot Tchilíkin steps into this house!
+
+ANÍSYA. That's enough! You're letting the cold in!
+
+NIKÍTA. Say with which foot he steps? You've got to say it,--that's
+flat.
+
+ANÍSYA (aside). He'll go on worrying. (To NIKÍTA.) Well then, with the
+left. Come in!
+
+NIKÍTA. Ah, that's it.
+
+ANÍSYA. You look who's in the hut!
+
+NIKÍTA. Ah, my parent! Well, what of that? I'm not ashamed of my
+parent. I can pay my respects to my parent. How d'you do, father?
+(Bows and puts out his hand.) My respects to you.
+
+AKÍM (does not answer). Drink, I mean drink, what it does! It's
+filthy!
+
+NIKÍTA. Drink, what's that? I've been drinking? I'm to blame, that's
+flat! I've had a glass with a friend, drank his health.
+
+ANÍSYA. Go and lie down, I say.
+
+NIKÍTA. Wife, say where am I standing?
+
+ANÍSYA. Now then, it's all right, lie down!
+
+NIKÍTA. No, I'll first drink a samovár with my parent. Go and light
+the samovár. Akoulína, I say, come here!
+
+     [Enter AKOULÍNA, smartly dressed and carrying their purchases.
+
+AKOULÍNA. Why have you thrown everything about? Where's the yarn?
+
+NIKÍTA. The yarn? The yarn's there. Hullo, Mítritch, where are you?
+Asleep? Asleep? Go and put the horse up.
+
+AKÍM (not seeing AKOULÍNA but looking at his son). Dear me, what is he
+doing? The old man's what d'ye call it, quite done up, I mean,--been
+thrashing,--and look at him, what d'ye call it, putting on airs! Put
+up the horse! Faugh, what filth!
+
+MÍTRITCH (climbs down from the oven, and puts on felt boots). Oh,
+merciful Lord! Is the horse in the yard? Done it to death, I dare say.
+Just see how he's been swilling, the deuce take him. Up to his very
+throat. Oh Lord, Holy Nicholas!
+
+     [Puts on sheepskin and exit.
+
+NIKÍTA (sits down). You must forgive me, father. It's true I've had a
+drop; well, what of that? Even a hen will drink. Ain't it true? So you
+must forgive me. Never mind Mítritch, he doesn't mind, he'll put it
+up.
+
+ANÍSYA. Shall I really light the samovár?
+
+NIKÍTA. Light it! My parent has come. I wish to talk to him, and shall
+drink tea with him. (To AKOULÍNA.) Have you brought all the parcels?
+
+AKOULÍNA. The parcels? I've brought mine, the rest's in the sledge.
+Hi, take this, this isn't mine!
+
+     [Throws a parcel on the table and puts the others into her box.
+      NAN watches her while she puts them away. AKÍM does not look at
+      his son, but puts his leg-bands and bast-shoes on the oven.
+
+ANÍSYA (going out with the samovár). Her box is full as it is, and
+still he's bought more!
+
+NIKÍTA (pretending to be sober). You must not be cross with me,
+father. You think I'm drunk? I am all there, that's flat! As they say,
+"Drink, but keep your wits about you." I can talk with you at once,
+father. I can attend to any business. You told me about the money;
+your horse is worn-out,--I remember! That can all be managed. That's
+all in our hands. If it was an enormous sum that's wanted, then we
+might wait; but as it is I can do everything. That's the case.
+
+AKÍM (goes on fidgeting with the leg-bands). Eh, lad, "It's ill
+sledging when the thaw has set in."
+
+NIKÍTA. What do you mean by that? "And it's ill talking with one who
+is drunk?" But don't you worry, let's have some tea. And I can do
+anything; that's flat! I can put everything to rights.
+
+AKÍM (shakes his head). Eh, eh, eh!
+
+NIKÍTA. The money, here it is. (Puts his hand in his pocket, pulls out
+pocket-book, handles the notes in it and takes out a ten-rouble
+note.) Take this to get a horse; I can't forget my parent. I shan't
+forsake him, that's flat. Because he's my parent! Here you are, take
+it! Really now, I don't grudge it. (Comes up and pushes the note
+towards AKÍM, who won't take it. NIKÍTA catches hold of his father's
+hand.) Take it, I tell you. I don't grudge it.
+
+AKÍM. I can't what d'you call it, I mean, can't take it! And can't
+what d'ye call it, talk to you, because you're not yourself, I mean.
+
+NIKÍTA. I'll not let you go! Take it!
+
+     [Puts the money into AKÍM'S hand.
+
+ANÍSYA (enters, and stops). You'd better take it, he'll give you no
+peace!
+
+AKÍM (takes it, and shakes his head). Oh! that liquor. Not like a man,
+I mean!
+
+NIKÍTA. That's better! If you repay it you'll repay it, if not I'll
+make no bother. That's what I am! (Sees AKOULÍNA.) Akoulína, show your
+presents.
+
+AKOULÍNA. What?
+
+NIKÍTA. Show your presents.
+
+AKOULÍNA. The presents, what's the use of showing 'em? I've put 'em
+away.
+
+NIKÍTA. Get them, I tell you. Nan will like to see 'em. Undo the
+shawl. Give it here.
+
+AKÍM. Oh, oh! It's sickening!
+
+     [Climbs on the oven.
+
+AKOULÍNA (gets out the parcels and puts them on the table). Well,
+there you are,--what's the good of looking at 'em?
+
+NAN. Oh how lovely! It's as good as Stepanída's.
+
+AKOULÍNA. Stepanída's? What's Stepanída's compared to this?
+(Brightening up and undoing the parcels.) Just look here,--see the
+quality! It's a French one.
+
+NAN. The print is fine! Mary has a dress like it, only lighter on a
+blue ground. This is pretty.
+
+NIKÍTA. Ah, that's it!
+
+     [ANÍSYA passes angrily into the closet, returns with a tablecloth
+      and the chimney of the Samovár, and goes up to the table.
+
+ANÍSYA. Drat you, littering the table!
+
+NIKÍTA. You look here!
+
+ANÍSYA. What am I to look at? Have I never seen anything? Put it away!
+
+     [Sweeps the shawl on to the floor with her arm.
+
+AKOULÍNA. What are you pitching things down for? You pitch your own
+things about!
+
+     [Picks up the shawl.
+
+NIKÍTA. Anísya! Look here!
+
+ANÍSYA. Why am I to look?
+
+NIKÍTA. You think I have forgotten you? Look here! (Shows her a parcel
+and sits down on it.) It's a present for you. Only you must earn it!
+Wife, where am I sitting?
+
+ANÍSYA. Enough of your humbug. I'm not afraid of you. Whose money are
+you spreeing on and buying your fat wench presents with? Mine!
+
+AKOULÍNA. Yours indeed? No fear! You wished to steal it, but it did
+not come off! Get out of the way!
+
+     [Pushes her while trying to pass.
+
+ANÍSYA. What are you shoving for? I'll teach you to shove!
+
+AKOULÍNA. Shove me? You try!
+
+     [Presses against ANÍSYA.
+
+NIKÍTA. Now then, now then, you women. Have done now!
+
+     [Steps between them.
+
+AKOULÍNA. Comes shoving herself in! You ought to keep quiet and
+remember your doings! You think no one knows!
+
+ANÍSYA. Knows what? Out with it, out with it! What do they know?
+
+AKOULÍNA. I know something about you!
+
+ANÍSYA. You're a slut who goes with another's husband!
+
+AKOULÍNA. And you did yours to death!
+
+ANÍSYA (throwing herself on AKOULÍNA). You're raving!
+
+NIKÍTA (holding her back). Anísya, you seem to have forgotten!
+
+ANÍSYA. Want to frighten me! I'm not afraid of you!
+
+NIKÍTA (turns ANÍSYA round and pushes her out). Be off!
+
+ANÍSYA. Where am I to go? I'll not go out of my own house!
+
+NIKÍTA. Be off, I tell you, and don't dare to come in here!
+
+ANÍSYA. I won't go! (NIKÍTA pushes her, ANÍSYA cries and screams and
+clings to the door.) What! am I to be turned out of my own house by
+the scruff of the neck? What are you doing, you scoundrel? Do you
+think there's no law for you? You wait a bit!
+
+NIKÍTA. Now then!
+
+ANÍSYA. I'll go to the Elder! To the policeman!
+
+NIKÍTA. Off, I tell you!
+
+     [Pushes her out.
+
+ANÍSYA (behind the door). I'll hang myself!
+
+NIKÍTA. No fear!
+
+NAN. Oh, oh, oh! Mother, dear, darling!
+
+     [Cries.
+
+NIKÍTA. Me frightened of her! A likely thing! What are you crying for?
+She'll come back, no fear. Go and see to the samovár.
+
+     [Exit NAN.
+
+AKOULÍNA (collects and folds her presents). The mean wretch, how she's
+messed it up. But wait a bit, I'll cut up her jacket for her! Sure I
+will!
+
+NIKÍTA. I've turned her out; what more do you want?
+
+AKOULÍNA. She's dirtied my new shawl. If that bitch hadn't gone away,
+I'd have torn her eyes out!
+
+NIKÍTA. That's enough. Why should you be angry? Now if I loved her....
+
+AKOULÍNA. Loved her? She's worth loving, with her fat mug! If you'd
+have given her up, then nothing would have happened. You should have
+sent her to the devil. And the house was mine all the same, and the
+money was mine! Says she is the mistress, but what sort of mistress is
+she to her husband? She's a murderess, that's what she is! She'll
+serve you the same way!
+
+NIKÍTA. Oh dear, how's one to stop a woman's jaw? You don't yourself
+know what you're jabbering about!
+
+AKOULÍNA. Yes, I do. I'll not live with her! I'll turn her out of the
+house! She can't live here with me. The mistress indeed! She's not the
+mistress,--that jailbird!
+
+NIKÍTA. That's enough! What have you to do with her? Don't mind her.
+You look at me! I am the master! I do as I like. I've ceased to love
+her, and now I love you. I love who I like! The power is mine, she's
+under me. That's where I keep her. (Points to his feet.) A pity we've
+no concertina.
+
+     [Sings.
+
+"We have loaves on the stoves, We have porridge on the shelf. So we'll
+live and be gay, Making merry every day, And when death comes, Then
+we'll die! We have loaves on the stoves, We have porridge on the
+shelf...."
+
+     [Enter MÍTRITCH. He takes off his outdoor things and climbs on
+      the oven.
+
+MÍTRITCH. Seems the women have been fighting again! Tearing each
+other's hair. Oh Lord, gracious Nicholas!
+
+AKÍM. (sitting on the edge of the oven, takes his leg-bands and shoes
+and begins putting them on). Get in, get into the corner.
+
+MÍTRITCH. Seems they can't settle matters between them. Oh Lord!
+
+NIKÍTA. Get out the liquor, we'll have some with our tea.
+
+NAN (to AKOULÍNA). Sister, the samovár is just boiling over.
+
+NIKÍTA. And where's your mother?
+
+NAN. She's standing and crying out there in the passage.
+
+NIKÍTA. Oh, that's it! Call her, and tell her to bring the samovár.
+And you, Akoulína, get the tea things.
+
+AKOULÍNA. The tea things? All right.
+
+     [Brings the things.
+
+NIKÍTA (unpacks spirits, rusks, and salt herrings). That's for myself.
+This is yarn for the wife. The paraffin is out there in the passage,
+and here's the money. Wait a bit (takes a counting-frame); I'll add it
+up. (Adds.) Wheat-flour, 80 kopeykas, oil ... Father, 10 roubles ...
+Father, come let's have some tea!
+
+     [Silence. AKÍM sits on the oven and winds the bands round his
+      legs. Enter ANÍSYA with samovár.
+
+ANÍSYA. Where shall I put it?
+
+NIKÍTA. Here on the table. Well! have you been to the Elder? Ah,
+that's it! Have your say and then eat your words. Now then, that's
+enough. Don't be cross; sit down and drink this. (Fills a wine-glass
+for her.) And here's your present.
+
+     [Gives her the parcel he had been sitting on. ANÍSYA takes it
+      silently and shakes her head.
+
+AKÍM (gets down and puts on his sheepskin, then comes up to the table
+and puts down the money). Here, take your money back! Put it away.
+
+NIKÍTA (does not see the money). Why have you put on your things?
+
+AKÍM. I'm going, going, I mean; forgive me, for the Lord's sake.
+
+     [Takes up his cap and belt.
+
+NIKÍTA. My gracious! Where are you going to at this time of night?
+
+AKÍM. I can't, I mean what d'ye call 'em, in your house, what d'ye
+call 'em, can't stay I mean, stay, can't stay, forgive me.
+
+NIKÍTA. But are you going without having any tea?
+
+AKÍM (fastens his belt). Going because, I mean, it's not right in your
+house, I mean, what d'you call it, not right, Nikíta, in the house,
+what d'ye call it, not right! I mean, you are living a bad life,
+Nikíta, bad,--I'll go.
+
+NIKÍTA. Eh, now! Have done talking! Sit down and drink your tea!
+
+ANÍSYA. Why, father, you'll shame us before the neighbors. What has
+offended you?
+
+AKÍM. Nothing what d'ye call it, nothing has offended me, nothing at
+all! I mean only, I see, what d'you call it, I mean, I see my son, to
+ruin, I mean, to ruin, I mean my son's on the road to ruin, I mean.
+
+NIKÍTA. What ruin? Just prove it!
+
+AKÍM. Ruin, ruin; you're in the midst of it! What did I tell you that
+time?
+
+NIKÍTA. You said all sorts of things! Akím. I told you, what d'ye call
+it, I told you about the orphan lass. That you had wronged an orphan--
+Marína, I mean, wronged her!
+
+NIKÍTA. Eh! he's at it again. Let bygones be bygones.... All that's
+past!
+
+AKÍM (excited). Past! No, lad, it's not past. Sin, I mean, fastens on
+to sin--drags sin after it, and you've stuck fast, Nikíta, fast in
+sin! Stuck fast in sin! I see you're fast in sin. Stuck fast, sunk in
+sin, I mean!
+
+NIKÍTA. Sit down and drink your tea, and have done with it!
+
+AKÍM. I can't, I mean can't what d'ye call it, can't drink tea.
+Because of your filth, I mean; I feel what d'ye call it, I feel sick,
+very sick! I can't what d'ye call it, I can't drink tea with you.
+
+NIKÍTA. Eh! There he goes rambling! Come to the table.
+
+AKÍM. You're in your riches same as in a net--you're in a net, I mean.
+Ah, Nikíta, it's the soul that God needs!
+
+NIKÍTA. Now really, what right have you to reprove me in my own house?
+Why do you keep on at me? Am I a child that you can pull by the hair?
+Nowadays those things have been dropped!
+
+AKÍM. That's true. I have heard that nowadays, what d'ye call it, that
+nowadays children pull their fathers' beards, I mean! But that's ruin,
+that's ruin, I mean!
+
+NIKÍTA (angrily). We are living without help from you, and it's you
+who came to us with your wants!
+
+AKÍM. The money? There's your money! I'll go begging, begging I mean,
+before I'll take it, I mean.
+
+NIKÍTA. That's enough! Why be angry and upset the whole company!
+
+     [Holds him by the arm.
+
+AKÍM (shrieks). Let go! I'll not stay. I'd rather sleep under some
+fence than in the midst of your filth! Faugh! God forgive me!
+
+     [Exit.
+
+NIKÍTA. Here's a go!
+
+AKÍM (reopens the door). Come to your senses, Nikíta! It's the soul
+that God wants!
+
+     [Exit.
+
+AKOULÍNA (takes cups). Well, shall I pour out the tea?
+
+     [Takes a cup. All are silent.
+
+MÍTRITCH (roars). Oh Lord be merciful to me a sinner!
+
+     [All start.
+
+NIKÍTA (lies down on the bench). Oh, it's dull, it's dull! (To
+AKOULÍNA.) Where's the concertina?
+
+AKOULÍNA. The concertina? He's bethought himself of it. Why, you took
+it to be mended. I've poured out your tea. Drink it!
+
+NIKÍTA. I don't want it! Put out the light.... Oh, how dull I feel,
+how dull!
+
+     [Sobs.
+
+CURTAIN
+
+
+
+
+ACT IV
+
+Autumn. Evening. The moon is shining. The stage represents the
+interior of courtyard. The scenery at the back shows, in the middle,
+the back porch of the hut. To the right the winter half of the hut and
+the gate; to the left the summer half and the cellar. To the right of
+the stage is a shed. The sound of tipsy voices and shouts are heard
+from the hut.[5] SECOND NEIGHBOR WOMAN comes out of the hut and
+beckons to FIRST NEIGHBOR WOMAN.
+
+SECOND NEIGHBOR. How's it Akoulína has not shown herself?
+
+FIRST NEIGHBOR. Why hasn't she shown herself? She'd have been glad to;
+but she's too ill, you know. The suitor's relatives have come, and
+want to see the girl; and she, my dear, she's lying in the cold hut
+and can't come out, poor thing!
+
+SECOND NEIGHBOR. But how's that?
+
+FIRST NEIGHBOR. They say she's been bewitched by an evil eye! She's
+got pains in the stomach!
+
+SECOND NEIGHBOR. You don't say so?
+
+FIRST NEIGHBOR. What else could it be?
+
+     [Whispers.
+
+SECOND NEIGHBOR. Dear me! There's a go! But his relatives will surely
+find it out?
+
+FIRST NEIGHBOR. They find it out! They're all drunk! Besides, they are
+chiefly after her dowry. Just think what they give with the girl! Two
+furs, my dear, six dresses, a French shawl, and I don't know how many
+pieces of linen, and money as well,--two hundred roubles, it's said!
+
+SECOND NEIGHBOR. That's all very well, but even money can't give much
+pleasure in the face of such a disgrace.
+
+FIRST NEIGHBOR. Hush!... There's his father, I think.
+
+     [They cease talking and go into the hut.
+
+     [The SUITOR'S FATHER comes out of the hut hiccoughing.
+
+THE FATHER. Oh, I'm all in a sweat. It's awfully hot! Will just cool
+myself a bit. (Stands puffing.) The Lord only knows what--something
+is not right. I can't feel happy.--Well, it's the old woman's affair.
+
+     [Enter MATRYÓNA from hut.
+
+MATRYÓNA. And I was just thinking, where's the father? Where's the
+father? And here you are, dear friend.... Well, dear friend, the Lord
+be thanked! Everything is as honorable as can be! When one's arranging
+a match one should not boast. And I have never learnt to boast. But as
+you've come about the right business, so with the Lord's help, you'll
+be grateful to me all your life! She's a wonderful girl! There's no
+other like her in all the district!
+
+THE FATHER. That's true enough, but how about the money?
+
+MATRYÓNA. Don't you trouble about the money! All she had from her
+father goes with her. And it's more than one gets easily, as things
+are nowadays. Three times fifty roubles!
+
+THE FATHER. We don't complain, but it's for our own child. Naturally
+we want to get the best we can.
+
+MATRYÓNA. I'll tell you straight, friend: if it hadn't been for me,
+you'd never have found anything like her! They've had an offer from
+the Karmilins, but I stood out against it. And as for the money, I'll
+tell you truly: when her father, God be merciful to his soul, was
+dying, he gave orders that the widow should take Nikíta into the
+homestead--of course I know all about it from my son,--and the money
+was to go to Akoulína. Why, another one might have thought of his own
+interests, but Nikíta gives everything clean! It's no trifle. Fancy
+what a sum it is!
+
+THE FATHER. People are saying that more money was left her? The lad's
+sharp too!
+
+MATRYÓNA. Oh, dear soul alive! A slice in another's hand always looks
+big; all she had will be handed over. I tell you, throw doubts to the
+wind and make all sure! What a girl she is! as fresh as a daisy!
+
+THE FATHER. That's so. But my old woman and I were only wondering
+about the girl; why has she not come out? We've been thinking, suppose
+she's sickly?
+
+MATRYÓNA. Ah, ah.... Who? She? Sickly? Why, there's none to compare
+with her in the district. The girl's as sound as a bell; you can't
+pinch her. But you saw her the other day! And as for work, she's
+wonderful! She's a bit deaf, that's true, but there are spots on the
+sun, you know. And her not coming out, you see, it's from an evil eye!
+A spell's been cast on her! And I know the bitch who's done the
+business! They know of the betrothal and they bewitched her. But I
+know a counter-spell. The girl will get up to-morrow. Don't you worry
+about the girl!
+
+THE FATHER. Well, of course, the thing's settled.
+
+MATRYÓNA. Yes, of course! Don't you turn back. And don't forget me,
+I've had a lot of trouble. Don't forget....
+
+     [A woman's voice from the hut.
+
+Voice. If we are to go, let's go. Come along, Iván!
+
+THE FATHER. I'm coming.
+
+     [Exeunt. Guests crowd together in the passage and prepare to go
+      away.
+
+NAN (runs out of the hut and calls to ANÍSYA). Mother!
+
+ANÍSYA (from inside.) What d'you want?
+
+NAN. Mother, come here, or they'll hear.
+
+     [ANÍSYA enters and they go together to the shed.
+
+ANÍSYA. Well? What is it? Where's Akoulína?
+
+NAN She's gone into the barn. It's awful what's she's doing there! I'm
+blest! "I can't bear it," she says. "I'll scream," she says, "I'll
+scream out loud." Blest if she didn't.
+
+ANÍSYA. She'll have to wait. We'll see our visitors off first.
+
+NAN. Oh, mother! She's so bad! And she's angry too. "What's the good
+of their drinking my health?" she says. "I shan't marry," she says. "I
+shall die," she says. Mother, supposing she does die! It's awful. I'm
+so frightened!
+
+ANÍSYA. No fear, she'll not die. But don't you go near her. Come
+along.
+
+     [Exit ANÍSYA and NAN.
+
+MÍTRITCH (comes in at the gate and begins collecting the scattered
+hay). Oh, Lord! Merciful Nicholas! What a lot of liquor they've been
+and swilled, and the smell they've made! It smells even out here! But
+no, I don't want any, drat it! See how they've scattered the hay
+about. They don't eat it, but only trample it under foot. A truss gone
+before you know it. Oh, that smell, it seems to be just under my nose!
+Drat it! (Yawns.) It's time to go to sleep! But I don't care to go
+into the hut. It seems to float just round my nose! It has a strong
+scent, the damned stuff! (The guests are heard driving off.) They're
+off at last. Oh Lord! Merciful Nicholas! There they go, binding
+themselves and gulling one another. And it's all gammon!
+
+     [Enter NIKÍTA.
+
+NIKÍTA. Mítritch, you get off to sleep and I'll put this straight.
+
+MÍTRITCH. All right, you throw it to the sheep. Well, have you seen
+'em all off?
+
+NIKÍTA. Yes, they're off! But things are not right! I don't know what
+to do!
+
+MÍTRITCH. It's a fine mess. But there's the Foundlings'[6] for that
+sort of thing. Whoever likes may drop one there; they'll take 'em all.
+Give 'em as many as you like, they ask no questions, and even pay--if
+the mother goes in as a wet-nurse. It's easy enough nowadays.
+
+NIKÍTA. But mind, Mítritch, don't go blabbing.
+
+MÍTRITCH. It's no concern of mine. Cover the tracks as you think best.
+Dear me, how you smell of liquor! I'll go in. Oh, Lord!
+
+     [Exit, yawning.
+
+     [NIKÍTA is long silent. Sits down on a sledge.
+
+NIKÍTA. Here's a go!
+
+     [Enter ANÍSYA.
+
+ANÍSYA. Where are you?
+
+NIKÍTA. Here.
+
+ANÍSYA. What are you doing there? There's no time to be lost! We must
+take it out directly!
+
+NIKÍTA. What are we to do?
+
+ANÍSYA. I'll tell you what you are to do. And you'll have to do it!
+
+NIKÍTA. You'd better take it to the Foundlings'--if anything.
+
+ANÍSYA. Then you'd better take it there yourself if you like! You've a
+hankering for smut, but you're weak when it comes to settling up, I
+see!
+
+NIKÍTA. What's to be done?
+
+ANÍSYA. Go down into the cellar, I tell you, and dig a hole!
+
+NIKÍTA. Couldn't you manage, somehow, some other way?
+
+ANÍSYA (imitating him). "Some other way?" Seems we can't "some other
+way!" You should have thought about it a year ago. Do what you're told
+to! Nikíta. Oh, dear, what a go!
+
+     [Enter NAN.
+
+NAN. Mother! Grandmother's calling! I think sister's got a baby! I'm
+blest if it didn't scream!
+
+ANÍSYA. What are you babbling about? Plague take you! It's kittens
+whining there. Go into the hut and sleep, or I'll give it you!
+
+NAN. Mammy dear, truly, I swear....
+
+ANÍSYA (raising her arm as if to strike). I'll give it you! You be off
+and don't let me catch sight of you! (Nan runs into hut. To Nikíta.)
+Do as you're told, or else mind!
+
+     [Exit.
+
+NIKÍTA (alone. After a long silence). Here's a go! Oh, these women!
+What a fix! Says you should have thought of it a year ago. When's one
+to think beforehand? When's one to think? Why, last year this Anísya
+dangled after me. What was I to do? Am I a monk? The master died; and
+I covered my sin as was proper, so I was not to blame there. Aren't
+there lots of such cases? And then those powders. Did I put her up to
+that? Why, had I known what the bitch was up to, I'd have killed her!
+I'm sure I should have killed her! She's made me her partner in these
+horrors--that jade! And she became loathsome to me from that day! She
+became loathsome, loathsome to me as soon as mother told me about it.
+I can't bear the sight of her! Well, then, how could I live with her?
+And then it begun.... That wench began hanging round. Well, what was I
+to do! If I had not done it, some one else would. And this is what
+comes of it! Still I'm not to blame in this either. Oh, what a go!
+(Sits thinking.) They are bold, these women! What a plan to think of!
+But I won't have a hand in it!
+
+     [Enter MATRYÓNA with a lantern and spade, panting.
+
+MATRYÓNA. Why are you sitting there like a hen on a perch? What did
+your wife tell you to do? You just get things ready!
+
+NIKÍTA. What do you mean to do?
+
+MATRYÓNA. We know what to do. You do your share!
+
+NIKÍTA. You'll be getting me into a mess!
+
+MATRYÓNA. What? You're not thinking of backing out, are you? Now it's
+come to this, and you back out!
+
+NIKÍTA. Think what a thing it would be! It's a living soul.
+
+MATRYÓNA. A living soul indeed! Why, it's more dead than alive. And
+what's one to do with it? Go and take it to the Foundlings'--it will
+die just the same, and the rumor will get about, and people will talk,
+and the girl be left on our hands.
+
+NIKÍTA. And supposing it's found out?
+
+MATRYÓNA. Not manage to do it in one's own house? We'll manage it so
+that no one will have an inkling. Only do as I tell you. We women
+can't do it without a man. There, take the spade, and get it done
+there,--I'll hold the light.
+
+NIKÍTA. What am I to get done?
+
+MATRYÓNA (in a low voice). Dig a hole; then we'll bring it out and get
+it out of the way in a trice! There, she's calling again. Now then,
+get in, and I'll go.
+
+NIKÍTA. Is it dead then?
+
+MATRYÓNA. Of course it is. Only you must be quick, or else people will
+notice! They'll see or they'll hear! The rascals must needs know
+everything. And the policeman went by this evening. Well then, you see
+(gives him the spade), you get down into the cellar and dig a hole
+right in the corner; the earth is soft there, and you'll smooth it
+over. Mother earth will not blab to any one; she'll keep it close. Go
+then; go, dear.
+
+NIKÍTA. You'll get me into a mess, bother you! I'll go away! You do it
+alone as best you can!
+
+ANÍSYA (through the doorway). Well? Has he dug it?
+
+MATRYÓNA. Why have you come away? What have you done with it?
+
+ANÍSYA. I've covered it with rags. No one can hear it. Well, has he
+dug it?
+
+MATRYÓNA. He doesn't want to!
+
+ANÍSYA (springs out enraged). Doesn't want to! How will he like
+feeding vermin in prison! I'll go straight away and tell everything to
+the police! It's all the same if one must perish. I'll go straight and
+tell!
+
+NIKÍTA (taken aback). What will you tell?
+
+ANÍSYA. What? Everything! Who took the money? You! (NIKÍTA is silent.)
+And who gave the poison? I did! But you knew! You knew! You knew! We
+were in agreement!
+
+MATRYÓNA. That's enough now. Nikíta dear, why are you obstinate?
+What's to be done now? One must take some trouble. Go, honey.
+
+ANÍSYA. See the fine gentleman! He doesn't like it! You've put upon me
+long enough! You've trampled me under foot! Now it's my turn! Go, I
+tell you, or else I'll do what I said.... There, take the spade;
+there, now go!
+
+NIKÍTA. Drat you! Can't you leave a fellow alone! (Takes the spade,
+but shrinks.) If I don't choose to, I'll not go!
+
+ANÍSYA. Not go? (Begins to shout.) Neighbors! Heh! heh!
+
+MATRYÓNA (closes her mouth). What are you about? You're mad! He'll
+go.... Go, sonny, go, my own.
+
+ANÍSYA. I'll cry murder!
+
+NIKÍTA. Now stop! Oh, what people! You'd better be quick.... As well
+be hung for a sheep as a lamb!
+
+     [Goes towards the cellar.
+
+MATRYÓNA. Yes, that's just it, honey. If you know how to amuse
+yourself, you must know how to hide the consequences.
+
+ANÍSYA (still excited). He's trampled on me ... he and his slut! But
+it's enough! I'm not going to be the only one! Let him also be a
+murderer! Then he'll know how it feels!
+
+MATRYÓNA. There, there! How she flares up! Don't you be cross, lass,
+but do things quietly little by little, as it's best. You go to the
+girl, and he'll do the work.
+
+     [Follows NIKÍTA to the cellar with a lantern. He descends into
+      the cellar.
+
+ANÍSYA. And I'll make him strangle his dirty brat! (Still excited.)
+I've worried myself to death all alone, with Peter's bones weighing on
+my mind! Let him feel it too! I'll not spare myself; I've said I'll
+not spare myself!
+
+NIKÍTA (from the cellar). Show a light!
+
+MATRYÓNA (holds up the lantern to him. To ANÍSYA). He's digging. Go
+and bring it.
+
+ANÍSYA. You stay with him, or he'll go away, the wretch! And I'll go
+and bring it.
+
+MATRYÓNA. Mind, don't forget to baptize it, or I will if you like.
+Have you a cross?
+
+ANÍSYA. I'll find one. Ï know how to do it.
+
+     [Exit.
+
+       *       *       *       *       *
+
+See at end of Act, VARIATION, which may be used instead of the
+following.
+
+       *       *       *       *       *
+
+MATRYÓNA. How the woman bristled up! But one must allow she's been put
+upon. Well, but with the Lord's help, when we've covered this
+business, there'll be an end of it. We'll shove the girl off without
+any trouble. My son will live in comfort. The house, thank God, is as
+full as an egg. They'll not forget me either. Where would they have
+been without Matryóna? They'd not have known how to contrive things.
+(Peering into the cellar.) Is it ready, sonny? Nikíta (puts out his
+head). What are you about there? Bring it quick! What are you dawdling
+for? If it is to be done, let it be done.
+
+MATRYÓNA (goes towards door of the hut and meets ANÍSYA. ANÍSYA comes
+out with a baby wrapped in rags). Well, have you baptized it?
+
+ANÍSYA. Why, of course. It was all I could do to take it away--she
+wouldn't give it up!
+
+     [Comes forward and hands it to NIKÍTA.
+
+NIKÍTA (does not take it). You bring it yourself!
+
+ANÍSYA. Take it, I tell you!
+
+     [Throws the baby to him.
+
+NIKÍTA (catches it). It's alive! Gracious me, it's moving! It's alive!
+What am I to....
+
+ANÍSYA (snatches the baby from him and throws it into the cellar). Be
+quick and smother it, and then it won't be alive! (Pushes NIKÍTA
+down.) It's your doing, and you must finish it.
+
+MATRYÓNA (sits on the doorstep of the hut). He's tender-hearted. It's
+hard on him, poor dear. Well, what of that? Isn't it also his sin?
+
+     [ANÍSYA stands by the cellar.
+
+MATRYÓNA (sits looking at her and discourses). Oh, oh, oh! How
+frightened he was: well, but what of that? If it is hard, it's the
+only thing to be done. Where was one to put it? And just think, how
+often it happens that people pray to God to have children! But no, God
+gives them none; or they are all still-born. Look at our priest's wife
+now.... And here, where it's not wanted, here it lives. (Looks towards
+the cellar.) I suppose he's finished. (To ANÍSYA.) Well?
+
+ANÍSYA (looking into the cellar). He's put a board on it and is
+sitting on it. It must be finished!
+
+MATRYÓNA. Oh, oh! One would be glad not to sin, but what's one to do?
+
+     [Re-enter NIKÍTA from cellar, trembling all over.
+
+NIKÍTA. It's still alive! I can't! It's alive!
+
+ANÍSYA. If it's alive, where are you off to?
+
+     [Tries to stop him.
+
+NIKÍTA (rushes at her). Go away! I'll kill you! (Catches hold of her
+arms; she escapes, he runs after her with the spade. MATRYÓNA runs
+towards him and stops him. ANÍSYA runs into the porch. MATRYÓNA tries
+to wrench the spade from him. To his mother.) I'll kill you! I'll kill
+you! Go away! (MATRYÓNA runs to ANÍSYA in the porch. NIKÍTA stops.)
+I'll kill you! I'll kill you all!
+
+MATRYÓNA. That's because he's so frightened! Never mind, it will pass!
+
+NIKÍTA. What have they made me do? What have they made me do? How it
+whimpered.... How it crunched under me! What have they done with
+me?... And it's really alive, still alive! (Listens in silence.) It's
+whimpering... There, it's whimpering.
+
+     [Runs to the cellar.
+
+MATRYÓNA (to ANÍSYA). He's going; it seems he means to bury it.
+Nikíta, you'd better take the lantern!
+
+NIKÍTA (does not heed her, but listens by the cellar door). I can hear
+nothing! I suppose it was fancy! (Moves away, then stops.) How the
+little bones crunched under me. Krr ... kr.... What have they made me
+do? (Listens again.) Again whimpering! It's really whimpering! What
+can it be? Mother! Mother, I say!
+
+     [Goes up to her.
+
+MATRYÓNA. What is it, sonny?
+
+NIKÍTA. Mother, my own mother, I can't do any more! Can't do any more!
+My own mother, have some pity on me!
+
+MATRYÓNA. Oh dear, how frightened you are, my darling! Come, come,
+drink a drop to give you courage!
+
+NIKÍTA. Mother, mother! It seems my time has come! What have you done
+with me? How the little bones crunched, and how it whimpered! My own
+mother! What have you done with me?
+
+     [Steps aside and sits down on the sledge.
+
+MATRYÓNA. Come, my own, have a drink! It certainly does seem uncanny
+at night-time. But wait a bit. When the day breaks, you know, and one
+day and another passes, you'll forget even to think of it. Wait a bit;
+when the girl's married we'll even forget to think of it. But you go
+and have a drink; have a drink! I'll go and put things straight in the
+cellar myself.
+
+NIKÍTA (rouses himself). Is there any drink left? Perhaps I can drink
+it off!
+
+     [Exit.
+
+     [ANÍSYA, who has stood all the time by the door, silently makes
+      way for him.
+
+MATRYÓNA. Go, go, honey, and I'll set to work! I'll go down myself and
+dig! Where has he thrown the spade to? (Finds the spade, and goes down
+into the cellar.) Anísya, come here! Hold the light, will you?
+
+ANÍSYA. And what of him?
+
+MATRYÓNA. He's so frightened! You've been too hard with him. Leave him
+alone, he'll come to his senses. God help him! I'll set to work
+myself. Put the lantern down here. I can see.
+
+     [MATRYÓNA disappears into the cellar.
+
+ANÍSYA. (looking towards the door by which Nikíta entered the hut).
+Well, have you had enough spree? You've been puffing yourself up, but
+now you'll know how it feels! You'll lose some of your bluster!
+
+NIKÍTA (rushes out of the hut towards the cellar). Mother! Mother, I
+say!
+
+MATRYÓNA (puts out her head). What is it, sonny?
+
+NIKÍTA (listening) Don't bury it, it's alive? Don't you hear? Alive!
+There--it's whimpering! There ... quite plain!
+
+MATRYÓNA. How can it whimper? Why, you've flattened it into a pancake!
+The whole head is smashed to bits!
+
+NIKÍTA. What is it then? (Stops his ears.) It's still whimpering! I am
+lost! Lost! What have they done with me?... Where shall I go?
+
+     [Sits down on the step.
+
+CURTAIN
+
+       *       *       *       *       *
+
+VARIATION
+
+Instead of the end of Act IV. (from the words, "ANÍSYA. I'll find one.
+I know how to do it. [Exit]") the following variation may be read, and
+is the one usually acted.
+
+       *       *       *       *       *
+
+SCENE II
+
+The interior of the hut as in Act I.
+
+NAN lies on the bench, and is covered with a coat. MÍTRITCH is sitting
+on the oven smoking.
+
+MÍTRITCH. Dear me! How they've made the place smell I Drat 'em!
+They've been spilling the fine stuff. Even tobacco don't get rid of
+the smell! It keeps tickling one's nose so. Oh Lord! But it's bedtime,
+I guess.
+
+     [Approaches the lamp to put it out.
+
+NAN (jumps up, and remains sitting up). Daddy dear,[7] don't put it
+out!
+
+MÍTRITCH. Not put it out? Why?
+
+NAN. Didn't you hear them making a row in the yard? (Listens.) D'you
+hear, there in the barn again now?
+
+MÍTRITCH. What's that to you? I guess no one's asked you to mind! Lie
+down and sleep! And I'll turn down the light.
+
+     [Turns down lamp.
+
+NAN. Daddy darling! Don't put it right out; leave a little bit if only
+as big as a mouse's eye, else it's so frightening!
+
+MÍTRITCH (laughs). All right, all right. (Sits down by her.) What's
+there to be afraid of?
+
+NAN. How can one help being frightened, daddy! Sister did go on so!
+She was beating her head against the box! (Whispers.) You know, I know
+... a little baby is going to be born.... It's already born, I
+think....
+
+MÍTRITCH. Eh, what a little busybody it is! May the frogs tick her!
+Must needs know everything. Lie down and sleep! (NAN lies down.)
+That's right! (Tucks her up.) That's right! There now, if you know too
+much you'll grow old too soon.
+
+NAN. And you are going to lie on the oven?
+
+Mitrich. Well, of course! What a little silly you are, now I come to
+look at you! Must needs know everything. (Tucks her up again, then
+stands up to go.) There now, lie still and sleep!
+
+     [Goes up to the oven.
+
+NAN. It gave just one cry, and now there's nothing to be heard.
+
+MÍTRITCH. Oh Lord! Gracious Nicholas! What is it you can't hear?
+
+NAN. The baby.
+
+MÍTRITCH. There is none, that's why you can't hear it.
+
+NAN. But I heard it! Blest if I didn't hear it! Such a thin voice!
+
+MÍTRITCH. Heard indeed! Much you heard! Well, if you know,--why then
+it was just such a little girl as you that the bogey popped into his
+bag and made off with.
+
+NAN. What bogey?
+
+MÍTRITCH. Why, just his very self! (Climbs up on to the oven.) The
+oven is beautifully warm to-night. Quite a treat! Oh Lord! Gracious
+Nicholas!
+
+NAN. Daddy! are you going to sleep?
+
+MÍTRITCH. What else? Do you think I'm going to sing songs?
+
+     [Silence.
+
+NAN. Daddy! Daddy, I say! They are digging! they're digging--don't
+you hear? Blest if they're not, they're digging!
+
+MÍTRITCH. What are you dreaming about? Digging! Digging in the night!
+Who's digging? The cow's rubbing herself, that's all. Digging indeed!
+Go to sleep I tell you, else I'll just put out the light!
+
+NAN. Daddy darling, don't put it out! I won't ... truly, truly, I
+won't. It's so frightful!
+
+MÍTRITCH. Frightful? Don't be afraid and then it won't be frightful.
+Look at her, she's afraid, and then says it's frightful. How can it
+help being frightful if you are afraid? Eh, what a stupid little girl!
+
+     [Silence. The cricket chirps.
+
+NAN (whispers). Daddy! I say, daddy! Are you asleep?
+
+MÍTRITCH. Now then, what d'you want?
+
+NAN. What's the bogey like?
+
+MÍTRITCH. Why, like this! When he finds such a one as you, who won't
+sleep, he comes with a sack and pops the girl into it, then in he gets
+himself, head and all, lifts her dress, and gives her a fine whipping!
+
+NAN. What with?
+
+MÍTRITCH. He takes a birch-broom with him.
+
+NAN. But he can't see there--inside the sack!
+
+MÍTRITCH. He'll see, no fear!
+
+NAN. But I'll bite him.
+
+MÍTRITCH. No, friend, him you can't bite!
+
+NAN. Daddy, there's some one coming! Who is it? Oh gracious goodness!
+Who can it be?
+
+MÍTRITCH. Well, if some one's coming, let them come! What's the matter
+with you? I suppose it's your mother!
+
+     [Enter ANÍSYA.
+
+ANÍSYA (NAN pretends to be asleep). Mítritch!
+
+MÍTRITCH. What?
+
+ANÍSYA. What's the lamp burning for? We are going to sleep in the
+summer-hut.
+
+MÍTRITCH. Why, you see I've only just got straight. I'll put the light
+out all right.
+
+ANÍSYA (rummages in her box and grumbles). When a thing's wanted one
+never can find it!
+
+MÍTRITCH. Why, what is it you are looking for?
+
+ANÍSYA. I'm looking for a cross. Suppose it were to die unbaptized! It
+would be a sin, you know!
+
+MÍTRITCH. Of course it would! Everything in due order.... Have you
+found it?
+
+ANÍSYA. Yes, I've found it.
+
+     [Exit.
+
+MÍTRITCH. That's right, else I'd have lent her mine. Oh Lord!
+
+NAN (jumps up trembling). Oh, oh, daddy! Don't go to sleep; for
+goodness' sake, don't! It's so frightful!
+
+MÍTRITCH. What's frightful?
+
+NAN. It will die--the little baby will! At Aunt Irene's the old woman
+also baptized the baby, and it died!
+
+MÍTRITCH. If it dies, they'll bury it!
+
+NAN. But maybe it wouldn't have died, only old Granny Matryóna's
+there! Didn't I hear what granny was saying? I heard her! Blest if I
+didn't!
+
+MÍTRITCH. What did you hear? Go to sleep, I tell you. Cover yourself
+up, head and all, and let's have an end of it!
+
+NAN. If it lived, I'd nurse it!
+
+MÍTRITCH (roars). Oh Lord!
+
+NAN. Where will they put it?
+
+MÍTRITCH. In the right place! It's no business of yours! Go to sleep I
+tell you, else mother will come; she'll give it you!
+
+     [Silence.
+
+NAN. Daddy! Eh, daddy! That girl, you know, you were telling about
+--they didn't kill her?
+
+MÍTRITCH. That girl? Oh yes. That girl turned out all right!
+
+NAN. How was it? You were saying you found her?
+
+MÍTRITCH. Well, we just found her!
+
+NAN. But where did you find her? Do tell!
+
+MÍTRITCH. Why, in their own house; that's where! We came to a village,
+the soldiers began hunting about in the house, when suddenly there's
+that same little girl lying on the floor, flat on her stomach. We were
+going to give her a knock on the head, but all at once I felt that
+sorry, that I took her up in my arms; but no, she wouldn't let me!
+Made herself so heavy, quite a hundredweight, and caught hold where
+she could with her hands, so that one couldn't get them off! Well, so
+I began stroking her head. It was so bristly,--just like a hedgehog! So
+I stroked and stroked, and she quieted down at last. I soaked a bit of
+rusk and gave it her. She understood that, and began nibbling. What
+were we to do with her? We took her; took her, and began feeding and
+feeding her, and she got so used to us that we took her with us on the
+march, and so she went about with us. Ah, she was a fine girl!
+
+NAN. Yes, and not baptized?
+
+MÍTRITCH. Who can tell! They used to say, not altogether. 'Cos why,
+those people weren't our own.
+
+NAN. Germans?
+
+MÍTRITCH. What an idea! Germans! Not Germans, but Asiatics. They are
+just the same as Jews, but still not Jews. Polish, yet Asiatics. Curls
+... or, Curdlys is their name.... I've forgotten what it is![8] We
+called the girl Sáshka. She was a fine girl, Sáshka was! There now,
+I've forgotten everything I used to know! But that girl--the deuce
+take her--seems to be before my eyes now! Out of all my time of
+service, I remember how they flogged me, and I remember that girl.
+That's all I remember! She'd hang round one's neck, and one 'ud carry
+her so. That was a girl,--if you wanted a better you'd not find one!
+We gave her away afterwards. The captain's wife took her to bring up
+as her daughter. So--she was all right! How sorry the soldiers were to
+let her go!
+
+NAN. There now, daddy, and I remember when father was dying,--you
+were not living with us then. Well, he called Nikíta and says,
+"Forgive me, Nikíta!" he says, and begins to cry. (Sighs.) That also
+felt very sad!
+
+MÍTRITCH. Yes; there now, so it is....
+
+NAN. Daddy! Daddy, I say! There they are again, making a noise in the
+cellar! Oh gracious heavens! Oh dear! Oh dear! Oh, daddy! They'll do
+something to it! They'll make away with it, and it's so little! Oh,
+oh!
+
+     [Covers up her head and cries.
+
+MÍTRITCH (listening). Really they're up to some villainy, blow them to
+shivers! Oh, these women are vile creatures! One can't say much for
+men either; but women!... They are like wild beasts, and stick at
+nothing!
+
+NAN (rising). Daddy; I say, daddy!
+
+MÍTRITCH. Well, what now?
+
+NAN. The other day a traveller stayed the night; he said that when an
+infant died its soul goes up straight to heaven. Is that true?
+
+MÍTRITCH. Who can tell? I suppose so. Well?
+
+NAN. Oh, it would be best if I died too.
+
+     [Whimpers.
+
+MÍTRITCH. Then you'd be off the list!
+
+NAN. Up to ten one's an infant, and maybe one's soul would go to God.
+Else one's sure to go to the bad!
+
+MÍTRITCH. And how to the bad? How should the likes of you not go to
+the bad? Who teaches you? What do you see? What do you hear? Only
+vileness! I, though I've not been taught much, still know a thing or
+two. I'm not quite like a peasant woman. A peasant woman, what is she?
+Just mud! There are many millions of the likes of you in Russia, and
+all as blind as moles--knowing nothing! All sorts of spells: how to
+stop the cattle-plague with a plough, and how to cure children by
+putting them under the perches in the hen-house! That's what they
+know!
+
+NAN. Yes, mother also did that!
+
+MÍTRITCH. Yes,--there it is,--just so! So many millions of girls and
+women, and all like beasts in a forest! As she grows up, so she dies!
+Never sees anything; never hears anything. A peasant,--he may learn
+something at the pub, or maybe in prison, or in the army,--as I did.
+But a woman? Let alone about God, she doesn't even know rightly what
+Friday it is! Friday! Friday! But ask her what's Friday? She don't
+know! They're like blind puppies, creeping about and poking their
+noses into the dungheap.... All they know are their silly songs. Ho,
+ho, ho, ho! But what they mean by ho-ho, they don't know themselves!
+
+NAN. But I, daddy, I do know half the Lord's Prayer!
+
+MÍTRITCH. A lot you know! But what Can one expect of you? Who teaches
+you? Only a tipsy peasant--with the strap perhaps! That's all the
+teaching you get! I don't know who'll have to answer for you. For a
+recruit, the drill-sergeant or the corporal has to answer; but for the
+likes of you there's no one responsible! Just as the cattle that have
+no herdsman are the most mischievous, so with you women--you are the
+stupidest class! The most foolish class is yours!
+
+NAN. Then what's one to do?
+
+MÍTRITCH. That's what one has to do.... You just cover up your head
+and sleep! Oh Lord!
+
+     [Silence. The cricket chirps.
+
+NAN (jumps up). Daddy! Some one's screaming awfully! Blest if some one
+isn't screaming! Daddy darling, it's coming here!
+
+MÍTRITCH. Cover up your head, I tell you!
+
+     [Enter NIKÍTA, followed by MATRYÓNA.
+
+NIKÍTA. What have they done with me? What have they done with me?
+
+MATRYÓNA. Have a drop, honey; have a drop of drink! What's the matter?
+
+     [Fetches the spirits and sets the bottle before him.
+
+NIKÍTA. Give it here! Perhaps the drink will help me!
+
+MATRYÓNA. Mind! They're not asleep! Here you are, have a drop!
+
+NIKÍTA. What does it all mean? Why did you plan it? You might have
+taken it somewhere!
+
+MATRYÓNA (whispers). Sit still a bit and drink a little more, or have
+a smoke. It will ease your thoughts!
+
+NIKÍTA. My own mother! My turn seems to have come! How it began to
+whimper, and how the little bones crunched ... krr.... I'm not a man
+now!
+
+MATRYÓNA. Eh, now, what's the use of talking so silly! Of course it
+does seem fearsome at night, but wait till the daylight comes, and a
+day or two passes, and you'll forget to think of it!
+
+     [Goes up to NIKÍTA and puts her hand on his shoulder.
+
+NIKÍTA. Go away from me! What have you done with me?
+
+MATRYÓNA. Come, come, sonny! Now, really, what's the matter with you?
+
+     [Takes his hand.
+
+NIKÍTA. Go away from me! I'll kill you! It's all one to me now! I'll
+kill you!
+
+MATRYÓNA. Oh, oh, how frightened he's got! You should go and have a
+sleep now!
+
+NIKÍTA. I have nowhere to go; I'm lost!
+
+MATRYÓNA (shaking her head). Oh, oh, I'd better go and tidy things up.
+He'll sit and rest a bit, and it will pass!
+
+     [Exit.
+
+     [NIKÍTA sits with his face in his hands. MÍTRITCH and NAN seem
+stunned.
+
+NIKÍTA. It's whining! It's whining! It is really--there, there, quite
+plain! She'll bury it, really she will! (Runs to the door.) Mother,
+don't bury it, it's alive....
+
+     [Enter MATRYÓNA.
+
+MATRYÓNA (whispers). Now then, what is it? Heaven help you! Why won't
+you get to rest? How can it be alive? All its bones are crushed!
+
+NIKÍTA. Give me more drink.
+
+     [Drinks.
+
+MATRYÓNA. Now go, sonny. You'll fall asleep now all right.
+
+NIKÍTA (stands listening). Still alive ... there ... it's whining!
+Don't you hear?... There!
+
+MATRYÓNA (whispers). No! I tell you!
+
+NIKÍTA. Mother! My own mother! I've ruined my life! What have you done
+with me? Where am I to go?
+
+     [Runs out of the hut; MATRYÓNA follows him.
+
+NAN. Daddy dear, darling, they've smothered it!
+
+MÍTRITCH (angrily). Go to sleep, I tell you! Oh dear, may the frogs
+kick you! I'll give it to you with the broom! Go to sleep, I tell you!
+
+NAN. Daddy, my treasure! Something is catching hold of my shoulders,
+something is catching hold with its paws! Daddy dear ... really,
+really ... I must go! Daddy, darling! let me get up on the oven with
+you! Let me, for Heaven's sake! Catching hold ... catching hold! Oh!
+
+     [Runs to the stove.
+
+MÍTRITCH. See how they've frightened the girl.... What vile creatures
+they are! May the frogs kick them! Well then, climb up. Nan (climbs on
+oven). But don't you go away! Mítritch. Where should I go to? Climb
+up, climb up! Oh Lord! Gracious Nicholas! Holy Mother!... How they
+have frightened the girl. (Covers her up.) There's a little fool--
+really a little fool! How they've frightened her; really, they are
+vile creatures! The deuce take 'em!
+
+CURTAIN
+
+
+
+
+ACT V
+
+SCENE I
+
+In front of scene a stack-stand, to the left a thrashing ground, to
+the right a barn. The barn doors are open. Straw is strewn about in
+the doorway. The hut with yard and out-buildings is seen in the
+background, whence proceed sounds of singing and of a tambourine. Two
+GIRLS are walking past the barn towards the hut.
+
+FIRST GIRL. There, you see we've managed to pass without so much as
+getting our boots dirty! But to come by the street is terribly muddy!
+(Stop and wipe their boots on the straw. FIRST GIRL looks at the straw
+and sees something .) What's that?
+
+SECOND GIRL (looks where the straw lies and sees some one). It's
+MÍTRITCH, their laborer. Just look how drunk he is!
+
+FIRST GIRL. Why, I thought be didn't drink.
+
+SECOND GIRL. It seems he didn't, until it was going around. First
+Girl. Just see! He must have come to fetch some straw. Look! he's got
+a rope in his hand, and he's fallen asleep.
+
+SECOND GIRL (listening). They're still singing the praises.[9] So I
+s'pose the bride and bridegroom have not yet been blessed! They say
+Akoulína didn't even lament![10]
+
+FIRST GIRL. Mammie says she is marrying against her will. Her
+stepfather threatened her, or else she'd not have done it for the
+world! Why, you know what they've been saying about her?
+
+MARÍNA (catching up the GIRLS). How d'you you do, lassies?
+
+GIRLS. How d'you do?
+
+MARÍNA. Going to the wedding, my dears?
+
+FIRST GIRL. It's nearly over! We've come just to have a look.
+
+MARÍNA. Would you call my old man for me? Simon, from Zoúevo; but
+surely you know him?
+
+FIRST GIRL. To be sure we do; he's a relative of the bridegroom's, I
+think?
+
+MARÍNA. Of course; he's my old man's nephew, the bridegroom is.
+
+SECOND GIRL. Why don't you go yourself? Fancy not going to a wedding!
+
+MARÍNA. I have no mind for it, and no time either. It's time for us to
+be going home. We didn't mean to come to the wedding. We were taking
+oats to town. We only stopped to feed the horse, and they made my old
+man go in.
+
+FIRST GIRL. Where did you put up then? At Fyódoritch's?
+
+MARÍNA. Yes. Well then, I'll stay here and you go and call him, my
+dear--my old man. Call him, my pet, and say "Your missis, Marína, says
+you must go now!" His mates are harnessing.
+
+FIRST GIRL. Well, all right--if you won't go in yourself.
+
+     [The GIRLS go away towards the house along a footpath. Sounds of
+      songs and tambourine.
+
+MARÍNA (alone, stands thinking). I might go in, but I don't like to,
+because I have not met him since that day he threw me over. It's more
+than a year now. But I'd have liked to have a peep and see how he
+lives with his Anísya. People say they don't get on. She's a coarse
+woman, and with a character of her own. I should think he's remembered
+me more than once. He's been caught by the idea of a comfortable life
+and has changed me for it. But, God help him, I don't cherish
+ill-will! Then it hurt! Oh dear, it was pain! But now it's worn away
+and been forgotten. But I'd like to have seen him. (Looks towards hut
+and sees NIKÍTA.) Look there! Why, he is coming here! Have the girls
+told him? How's it he has left his guests? I'll go away! (NIKÍTA
+approaches, hanging his head down, swinging his arms, and muttering.)
+And how sullen he looks!
+
+NIKÍTA (sees and recognises MARÍNA). Marína, dearest friend, little
+MARÍNA, what do you want?
+
+MARÍNA. I have come for my old man.
+
+NIKÍTA. Why didn't you come to the wedding? You might have had a look
+round, and a laugh at my expense!
+
+MARÍNA. What have I to laugh at? I've come for my husband.
+
+NIKÍTA. Ah, Marína dear!
+
+     [Tries to embrace her.
+
+MARÍNA (steps angrily aside). You'd better drop that sort of thing,
+Nikíta! What has been is past! I've come for my husband. Is he in your
+house?
+
+NIKÍTA. So I must not remember the past? You won't let me?
+
+MARÍNA. It's no use recalling the past! What used to be is over now!
+
+NIKÍTA. And can never come back, you mean?
+
+MARÍNA. And will never come back! But why have you gone away? You, the
+master,--and to go away from the feast!
+
+NIKÍTA (sits down on the straw). Why have I gone away? Eh, if you
+knew, if you had any idea.... I'm dull, Marína, so dull that I wish my
+eyes would not see! I rose from the table and left them, to get away
+from the people. If I could only avoid seeing any one!
+
+MARÍNA (coming nearer to him). How's that?
+
+NIKÍTA. This is how it is: when I eat, it's there! When I drink, it's
+there! When I sleep, it's there! I'm so sick of it--so sick! But it's
+chiefly because I'm all alone that I'm so sick, Marína. I have no one
+to share my trouble.
+
+MARÍNA. You can't live your life without trouble, Nikíta. However,
+I've wept over mine and wept it away.
+
+NIKÍTA. The former, the old trouble! Ah, dear friend, you've wept
+yours away, and I've got mine up to there!
+
+     [Puts his hand to his throat.
+
+MARÍNA. But why?
+
+NIKÍTA. Why, I'm sick of my whole life! I am sick of myself! Ah,
+MARÍNA, why did you not know how to keep me? You've ruined me, and
+yourself too! Is this life?
+
+MARÍNA (stands by the barn crying, but restrains herself). I do not
+complain of my life, Nikíta! God grant every one a life like mine. I
+do not complain. I confessed to my old man at the time, and he forgave
+me. And he does not reproach me. I'm not discontented with my life.
+The old man is quiet, and is fond of me, and I keep his children
+clothed and washed! He is really kind to me. Why should I complain? It
+seems God willed it so. And what's the matter with your life? You are
+rich....
+
+NIKÍTA. My life!... It's only that I don't wish to disturb the wedding
+feast, or I'd take this rope here (takes hold of the rope on the
+straw) and throw it across that rafter there. Then I'd make a noose
+and stretch it out, and I'd climb on to that rafter and jump down with
+my head in the noose! That's what my life is!
+
+MARÍNA. That's enough! Lord help you!
+
+NIKÍTA. You think I'm joking? You think I'm drunk? I'm not drunk!
+To-day even drink takes no hold on me! I'm devoured by misery! Misery
+is eating me up completely, so that I care for nothing! Oh little
+Marína, it's only with you I ever lived! Do you remember how we used
+to while away the nights together at the railway?
+
+MARÍNA. Don't you rub the sores, Nikíta! I'm bound legally now, and
+you too. My sin has been forgiven, don't disturb...
+
+NIKÍTA. What shall I do with my heart? Where am I to turn to?
+
+MARÍNA. What's there to be done? You've got a wife. Don't go looking
+at others, but keep to your own! You loved Anísya, then go on loving
+her!
+
+NIKÍTA. Oh, that Anísya, she's gall and wormwood to me, but she's
+round my feet like rank weeds!
+
+MARÍNA. Whatever she is, still she's your wife.... But what's the use
+of talking; you'd better go to your visitors, and send my husband to
+me.
+
+NIKÍTA. Oh dear, if you knew the whole business... but there's no good
+talking!
+
+     [Enter MARÍNA'S husband, red and tipsy, and NAN.
+
+MARÍNA'S HUSBAND. Marína! Missis! My old woman! are you here?
+
+NIKÍTA. There's your husband calling you. Go!
+
+MARÍNA. And you?
+
+NIKÍTA. I? I'll lie down here for a bit!
+
+     [Lies down on the straw.
+
+Husband. Where is she then?
+
+NAN. There she is, near the barn.
+
+HUSBAND. What are you standing there for? Come to the feast! The hosts
+want you to come and do them honor! The wedding party is just going to
+start, and then we can go too.
+
+MARÍNA (going towards her husband). I didn't want to go in.
+
+HUSBAND. Come on, I tell you! You'll drink a glass to our nephew
+Peter's health, the rascal! Else the hosts might take offense! There's
+plenty of time for our business.
+
+     [MARÍNA'S husband puts his arm around her, and goes reeling out
+      with her.
+
+NIKÍTA (rises and sits down on the straw). Ah, now that I've seen her,
+life seems more sickening than ever! It was only with her that I ever
+really lived! I've ruined my life for nothing! I've done for myself!
+(Lies down.) Where can I go? If mother earth would but open and
+swallow me!
+
+NAN (sees NIKÍTA, and runs towards him). Daddy, I say, daddy! They're
+looking for you! Her godfather and all of them have already blessed
+her. Truly they have, they're getting cross!
+
+NIKÍTA (aside). Where can I go to?
+
+NAN. What? What are you saying?
+
+NIKÍTA. I'm not saying anything! Don't bother!
+
+NAN. Daddy! Come, I say! (NIKÍTA is silent, NAN pulls him by the
+hand.) Dad, go and bless them! My word, they're angry, they're
+grumbling!
+
+NIKÍTA (drags away his hand). Leave me alone!
+
+NAN. Now then!
+
+NIKÍTA (threatens her with the rope). Go, I say! I'll give it you!
+
+NAN. Then I'll send mother!
+
+     [Runs away.
+
+NIKÍTA (rises). How can I go? How can I take the holy icón in my
+hands? How am I to look her in the face! (Lies down again.) Oh, if
+there were a hole in the ground, I'd jump in! No one should see me,
+and I should see no one! (Rises again.) No, I shan't go.... May they
+all go to the devil, I shan't go! (Takes the rope and makes a noose,
+and tries it on his neck.) That's the way!
+
+     [Enter MATRYÓNA. NIKÍTA sees his mother, takes the rope off his
+      neck, and again lies down in the straw.
+
+MATRYÓNA (comes in hurriedly). Nikíta! Nikíta, I say! He don't even
+answer! Nikíta, what's the matter? Have you had a drop too much? Come,
+Nikíta dear; come, honey! The people are tired of waiting.
+
+NIKÍTA. Oh dear, what have you done with me? I'm a lost man!
+
+MATRYÓNA. But what is the matter then? Come, my own; come, give them
+your blessing, as is proper and honorable, and then it'll all be over!
+Why, the people are waiting!
+
+NIKÍTA. How can I give blessings?
+
+MATRYÓNA. Why, in the usual way! Don't you know?
+
+NIKÍTA. I know, I know! But who is it I am to bless? What have I done
+to her?
+
+MATRYÓNA. What have you done? Eh, now he's going to remember it! Why,
+who knows anything about it? Not a soul! And the girl is going of her
+own accord.
+
+NIKÍTA. Yes, but how?
+
+MATRYÓNA. Because she's afraid, of course. But still she's going.
+Besides, what's to be done now? She should have thought sooner! Now
+she can't refuse. And his kinsfolks can't take offense either. They
+saw the girl twice, and get money with her too! It's all safe and
+sound!
+
+NIKÍTA. Yes, but what's in the cellar?
+
+MATRYÓNA (laughs). In the cellar? Why, cabbages, mushrooms, potatoes,
+I suppose! Why remember the past?
+
+NIKÍTA. I'd be only too glad to forget it; but I can't! When I let my
+mind go, it's just as if I heard.... Oh, what have you done with me?
+
+MATRYÓNA. Now, what are you humbugging for?
+
+NIKÍTA (turns face downward). Mother! Don't torment me! I've got it up
+to there!
+
+     [Puts his hand to his throat.
+
+MATRYÓNA. Still it has to be done! As it is, people are talking. "The
+master's gone away and won't come; he can't make up his mind to give
+his blessing." They'll be putting two and two together. As soon as
+they see you're frightened they'll begin guessing. "The thief none
+suspect who walks bold and erect!" But you'll be getting out of the
+frying-pan into the fire! Above all, lad, don't show it; don't lose
+courage, else they'll find out all the more!
+
+NIKÍTA. Oh dear! You have snared me into a trap!
+
+MATRYÓNA. That'll do, I tell you; come along! Come in and give your
+blessing, as is right and honorable;--and there's an end of the
+matter!
+
+NIKÍTA (lies face down). I can't!
+
+MATRYÓNA (aside). What has come over him? He seemed all right, and
+suddenly this comes over him! It seems he's bewitched! Get up, Nikíta!
+See! There's Anísya coming; she's left her guests!
+
+     [ANÍSYA enters, dressed up, red and tipsy.
+
+ANÍSYA. Oh, how nice it is, mother! So nice, so respectable! And how
+the people are pleased.... But where is he?
+
+MATRYÓNA. Here, honey, he's here; he's laid down on the straw and
+there he lies! He won't come!
+
+NIKÍTA (looking at his wife). Just see, she's tipsy too! When I look
+at her my heart seems to turn! How can one live with her? (Turns on
+his face.) I'll kill her some day! It'll be worse then!
+
+ANÍSYA. Only look, how he's got all among the straw! Is it the drink?
+(Laughs.) I'd not mind lying down there with you, but I've no time!
+Come, I'll lead you! It is so nice in the house! It's a treat to look
+on! A concertina! And the women singing so well! All tipsy! Everything
+so respectable, so nice!
+
+NIKÍTA. What's nice?
+
+ANÍSYA. The wedding--such a jolly wedding! They all say it's quite an
+uncommon fine wedding. All so respectable, so nice! Come along! We'll
+go together! I have had a drop, but I can give you a hand yet!
+
+     [Takes his hand.
+
+NIKÍTA. (pulls it back with disgust). Go alone! I'll come!
+
+ANÍSYA. What, are you humbugging for? We've got rid of all the bother,
+we've got rid of her as came between us; now we have nothing to do but
+to live and be merry! And all so respectable, and quite legal! I'm so
+pleased! I have no words for it! It's just as if I were going to marry
+you over again! And oh, the people, they are pleased! They're all
+thanking us! And the guests are all of the best: Iván Mosévitch is
+there, and the Police Officer; they've also been singing songs of
+praise!
+
+NIKÍTA. Then you should have stayed with them! What have you come for?
+
+ANÍSYA. True enough, I must go back! Else what does it look like! The
+hosts both go and leave the visitors! And the guests are all of the
+best!
+
+NIKÍTA (gets up and brushes the straw off himself). Go, and I'll come
+at once!
+
+MATRYÓNA. Just see! He listens to the young bird, but wouldn't listen
+to the old one! He would not hear me, but he follows his wife at once!
+(MATRYÓNA and ANÍSYA turn to go.) Well, are you coming?
+
+NIKÍTA. I'll come directly! You go and I'll follow! I'll come and give
+my blessing! (The women stop.) Go on! I'll follow! Now then, go! (Exit
+women. Sits down and takes his boots off.) Yes, I'm going! A likely
+thing! No, you'd better look at the rafter for me! I'll fix the noose
+and jump with it from the rafter, then you can look for me! And the
+rope is here just handy. (Ponders.) I'd have got over it, over any
+sorrow--I'd have got over that. But this now--here it is, deep in my
+heart, and I can't get over it! (Looks towards the yard.) Surely she's
+not coming back? (Imitates ANÍSYA.) "So nice, so nice. I'd lie down
+here with you." Oh, the baggage! Well, then, here I am! Come and
+cuddle when they've taken me down from the rafter! There's only one
+way!
+
+     [Takes the rope and pulls it.
+
+     [MÍTRITCH, who is tipsy, sits up and won't let go of the rope.
+
+MÍTRITCH. Shan't give it up! Shan't give it to no one! I'll bring it
+myself! I said I'd bring the straw--and so I will! Nikíta, is that
+you? (Laughs.) Oh, the devil! Have you come to get the straw?
+
+NIKÍTA. Give me the rope!
+
+Mítrich. No, you wait a bit! The peasants sent me! I'll bring it....
+(Rises to his feet and begins getting the straw together, but reels
+for a time, then falls.) It has beaten me. It's stronger....
+
+NIKÍTA. Give me the rope!
+
+MÍTRITCH. Didn't I say I won't! Oh, Nikíta, you're as stupid as a hog!
+(Laughs.) I love you, but you're a fool! You see that I'm drunk ...
+devil take you! You think I need you?... You just look at me; I'm a
+Non ... fool, can't say it--Non-commissioned Officer of Her Majesty's
+very First Regiment of Grenadier Guards! I've served Tsar and country,
+loyal and true! But who am I? You think I'm a warrior? No, I'm not a
+warrior; I'm the very least of men, a poor lost orphan! I swore not to
+drink, and now I had a smoke, and.... Well then, do you think I'm
+afraid of you? No fear; I'm afraid of no man! I've taken to drink, and
+I'll drink! Now I'll go it for a fortnight; I'll go it hard! I'll
+drink my last shirt; I'll drink my cap; I'll pawn my passport; and I'm
+afraid of no one! They flogged me in the army to stop me drinking!
+They switched and switched! "Well," they say, "will you leave off?"
+"No," says I! Why should I be afraid of them? Here I am! Such as I am,
+God made me! I swore off drinking, and didn't drink. Now I've took to
+drink, and I'll drink! And I fear no man! 'Cos I don't lie; but just
+as.... Why should one mind them--such muck as they are! "Here you
+are," I say; that's me. A priest told me, the devil's the biggest
+bragger! "As soon," says he, "as you begin to brag, you get
+frightened; and as soon as you fear men then the hoofed one just
+collars you and pushes you where he likes!" But as I don't fear men,
+I'm easy! I can spit in the devil's beard, and at the sow his mother!
+He can't do me no harm! There, put that in your pipe!
+
+NIKÍTA (crossing himself). True enough! What was I about?
+
+     [Throws down the rope.
+
+MÍTRITCH. What?
+
+NIKÍTA (rises). You tell me not to fear men?
+
+MÍTRITCH. Why fear such muck as they are? You look at 'em in the
+bath-house! All made of one paste! One has a bigger belly, another a
+smaller; that's all the difference there is! Fancy being afraid of
+'em! Deuce take 'em!
+
+MATRYÓNA (from the yard). Well, are you coming?
+
+NIKÍTA. Ah! Better so! I'm coming!
+
+     [Goes towards yard.
+
+
+SCENE II
+
+Interior of hut, full of people, some sitting round tables and others
+standing. In the front corner AKOULÍNA and the BRIDEGROOM. On one of
+the tables an Icon and a loaf of rye-bread. Among the visitors are
+MARÍNA, her husband, and a POLICE OFFICER, also a HIRED DRIVER, the
+MATCHMAKER, and the BEST MAN. The women are singing. ANÍSYA carries
+round the drink. The singing stops.
+
+THE DRIVER. If we are to go, let's go! The church ain't so near.
+
+THE BEST MAN. All right; you wait a bit till the step-father has given
+his blessing. But where is he?
+
+ANÍSYA. He is coming--coming at once, dear friends! Have another
+glass, all of you; don't refuse!
+
+THE MATCHMAKER. Why is he so long? We've been waiting such a time!
+
+ANÍSYA. He's coming; coming directly, coming in no time! He'll be here
+before one could plait a girl's hair who's had her hair cropped!
+Drink, friends! (Offers the drink.) Coming at once! Sing again, my
+pets, meanwhile!
+
+THE DRIVER. They've sung all their songs, waiting here!
+
+     [The women sing. NIKÍTA and AKÍM enter during the singing.
+
+NIKÍTA (holds his father's arm and pushes him in before him). Go,
+father; I can't do without you!
+
+AKÍM. I don't like--I mean what d'ye call it....
+
+NIKÍTA (to the women). Enough! Be quiet! (Looks round the hut.)
+Marína, are you there?
+
+THE MATCHMAKER. Go, take the icón, and give them your blessing!
+
+NIKÍTA. Wait a while! (Looks round.) Akoulína, are you there?
+
+MATCHMAKER. What are you calling everybody for? Where should she be?
+How queer he seems!
+
+ANÍSYA. Gracious goodness! Why, he's barefoot!
+
+NIKÍTA. Father, you are here! Look at me! Christian Commune, you are
+all here, and I am here! I am....
+
+     [Falls on his knees.
+
+ANÍSYA. Nikíta, darling, what's the matter with you? Oh, my head, my
+head!
+
+MATCHMAKER. Here's a go!
+
+MATRYÓNA. I did say he was taking too much of that French wine! Come
+to your senses; what are you about?
+
+     [They try to lift him; he takes no heed of them, but looks in
+      front of him.
+
+NIKÍTA. Christian Commune! I have sinned, and I wish to confess!
+
+MATRYÓNA (shakes him by the shoulder). Are you mad? Dear friends, he's
+gone crazy! He must be taken away!
+
+NIKÍTA (shakes her off). Leave me alone! And you, father, hear me! And
+first, Marína, look here! (Bows to the ground to her and rises.) I
+have sinned towards you! I promised to marry you, I tempted you, and
+forsook you! Forgive me, in Christ's name!
+
+     [Again bows to the ground before her.
+
+ANÍSYA. And what are you drivelling about? It's not becoming! No one
+wants to know! Get up! It's like your impudence!
+
+MATRYÓNA. Oh, oh, he's bewitched! And however did it happen? It's a
+spell! Get up! what nonsense are you jabbering?
+
+     [Pulls him.
+
+NIKÍTA (shakes his head). Don't touch me! Forgive me my sin towards
+you, Marína! Forgive me, for Christ's sake!
+
+     [MARÍNA covers her face with her hands in silence.
+
+ANÍSYA. Get up, I tell you! Don't be so impudent! What are you
+thinking about--to recall it? Enough humbug! It's shameful! Oh my poor
+head! He's quite crazy!
+
+NIKÍTA (pushes his wife away and turns to AKOULÍNA). Akoulína, now
+I'll speak to you! Listen, Christian Commune! I'm a fiend, Akoulína! I
+have sinned against you! Your father died no natural death! He was
+poisoned!
+
+ANÍSYA (screams). Oh my head! What's he about?
+
+MATRYÓNA. The man's beside himself! Lead him away!
+
+     [The folk come up and try to seize him.
+
+AKÍM (motions them back with his arms). Wait! You lads, what d'ye call
+it, wait, I mean!
+
+NIKÍTA. Akoulína, I poisoned him! Forgive me, in Christ's name!
+
+AKOULÍNA (jumps up). He's telling lies! I know who did it!
+
+MATCHMAKER. What are you about? You sit still!
+
+AKÍM. Oh Lord, what sins, what sins!
+
+POLICE OFFICER. Seize him, and send for the Elder! We must draw up an
+indictment and have witnesses to it! Get up and come here!
+
+AKÍM (to POLICE OFFICER). Now you--with the bright buttons--I mean,
+you wait! Let him, what d'ye call it, speak out, I mean!
+
+POLICE OFFICER. Mind, old man, and don't interfere! I have to draw up
+an indictment!
+
+AKÍM. Eh, what a fellow you are; wait, I say! Don't talk, I mean,
+about, what d'ye call it, 'ditements' Here God's work is being
+done.... A man is confessing, I mean! And you, what d'ye call it ...
+'ditements!
+
+POLICE OFFICER. The Elder!
+
+AKÍM. Let God's work be done, I mean, and then you. I mean you, do
+your business!
+
+NIKÍTA. And, Akoulína, my sin is great towards you; I seduced you;
+forgive me in Christ's name!
+
+     [Bows to the ground before her.
+
+AKOULÍNA (leaves the table). Let me go! I shan't be married! He told
+me to, but I shan't now!
+
+POLICE OFFICER. Repeat what you have said.
+
+NIKÍTA. Wait, sir, let me finish!
+
+AKÍM (with rapture). Speak, my son! Tell everything--you'll feel
+better! Confess to God, don't fear men! God--God! It is He!
+
+NIKÍTA. I poisoned the father, dog that I am, and I ruined the
+daughter! She was in my power, and I ruined her, and her baby!
+
+AKOULÍNA. True, that's true!
+
+NIKÍTA. I smothered the baby in the cellar with a board! I sat on it
+and smothered it--and its bones crunched! (Weeps.) And I buried it! I
+did it, all alone!
+
+AKOULÍNA. He raves! I told him to!
+
+NIKÍTA. Don't shield me! I fear no one now! Forgive me, Christian
+Commune!
+
+     [Bows to the ground.
+
+     [Silence.
+
+POLICE OFFICER. Bind him! The marriage is evidently off!
+
+     [Men come up with their belts.
+
+NIKÍTA. Wait, there's plenty of time! (Bows to the ground before his
+father.) Father, dear father, forgive me too,--fiend that I am! You
+told me from the first, when I took to bad ways, you said then, "If a
+claw is caught, the bird is lost!" I would not listen to your words,
+dog that I was, and it has turned out as you said! Forgive me, for
+Christ's sake!
+
+AKÍM (rapturously). God will forgive you, my own son! (Embraces him.)
+You have had no mercy on yourself; He will show mercy on you! God--
+God! It is He!
+
+     [Enter ELDER.
+
+ELDER. There are witnesses enough here.
+
+POLICE OFFICER. We will have the examination at once.
+
+     [NIKÍTA is bound.
+
+AKOULÍNA. (goes and stands by his side). I shall tell the truth! Ask
+me!
+
+NIKÍTA (bound). No need to ask! I did it all myself. The design was
+mine, and the deed was mine. Take me where you like. I will say no
+more!
+
+CURTAIN
+
+
+
+
+FOOTNOTES FOR THE POWER OF DARKNESS
+
+1.   It is customary to place a dying person under the icón. One or
+     more icóns hang in the hut of each Orthodox peasant.
+
+2.   Peasant weddings are usually in autumn. They are forbidden in
+     Lent, and soon after Easter the peasants become too busy to marry
+     till harvest is over.
+
+3.   A formal request for forgiveness is customary among Russians, but
+     it is often no mere formality. Nikíta's first reply is evasive;
+     his second reply, "God will forgive you," is the correct one
+     sanctioned by custom.
+
+4.   Loud public wailing of this kind is customary, and considered
+     indispensable, among the peasants.
+
+5.   Where not otherwise mentioned in the stage directions, it is
+     always the winter half of the hut that is referred to as "the
+     hut." The summer half is not heated, and not used in winter
+     under ordinary circumstances.
+
+6.   The Foundlings' Hospital in Moscow, where 80 to 90 percent of the
+     children die.
+
+7.   Nan calls Mítritch "daddy" merely as a term of endearment.
+
+8.   Probably Kurds
+
+9.   This refers to the songs customary at the wedding of Russian
+     peasants, praising the bride and bridegroom.
+
+10.  It is etiquette for a bride to bewail the approaching loss of her
+     maidenhood.
+
+END OF _THE POWER OF DARKNESS_
+
+*       *       *       *       *
+
+FRUITS OF CULTURE
+
+
+
+
+CHARACTERS
+
+LEONÍD FYÓDORITCH ZVEZDÍNTSEF. A retired Lieutenant of the Horse
+Guards. Owner of more than 60,000 acres of land in various provinces.
+A fresh-looking, bland, agreeable gentleman of 60. Believes in
+Spiritualism, and likes to astonish people with his wonderful stories.
+
+ANNA PÁVLOVNA ZVEZDÍNTSEVA. Wife of Leoníd. Stout; pretends to be
+young; quite taken up with the conventionalities of life; despises her
+husband, and blindly believes in her doctor. Very irritable.
+
+BETSY. Their daughter. A young woman of 20, fast, tries to be mannish,
+wears a pince-nez, flirts and giggles. Speaks very quickly and
+distinctly.
+
+VASÍLY LEONÍDITCH ZVEZDÍNTSEF. Their son, aged 25; has studied law,
+but has no definite occupation. Member of the Cycling Club, Jockey
+Club, and of the Society for Promoting the Breeding of Hounds. Enjoys
+perfect health, and has imperturbable self-assurance. Speaks loud and
+abruptly. Is either perfectly serious--almost morose, or is noisily
+gay and laughs loud. Is nicknamed Vovo.
+
+ALEXÉY VLADÍMIROVITCH KROUGOSVÉTLOF. A professor and scientist of
+about 50, with quiet and pleasantly self-possessed manners, and quiet,
+deliberate, harmonious speech. Likes to talk. Is mildly disdainful of
+those who do not agree with him. Smokes much. Is lean and active.
+
+THE DOCTOR. About 40. Healthy, fat, red-faced, loud-voiced, and rough;
+with a self-satisfied smile constantly on his lips.
+
+MÁRYA KONSTANTÍNOVNA. A girl of 20, from the Conservatoire, teacher of
+music. Wears a fringe, and is super-fashionably dressed. Obsequious,
+and gets easily confused.
+
+PETRÍSTCHEF. About 28; has taken his degree in philology, and is
+looking out for a position. Member of the same clubs as Vasíly
+Leoníditch, and also of the Society for the Organisation of Calico
+Balls. [1] Is bald-headed, quick in movement and speech, and very
+polite.
+
+THE BARONESS. A pompous lady of about 50, slow in her movements,
+speaks with monotonous intonation.
+
+THE PRINCESS. A society woman, a visitor.
+
+HER DAUGHTER. An affected young society woman, a visitor.
+
+THE COUNTESS. An ancient dame, with false hair and teeth. Moves with
+great difficulty.
+
+GROSSMAN. A dark, nervous, lively man of Jewish type. Speaks very
+loud.
+
+THE FAT LADY: MÁRYA VASÍLYEVNA TOLBOÚHINA. A very distinguished, rich,
+and kindly woman, acquainted with all the notable people of the last
+and present generations. Very stout. Speaks hurriedly, trying to be
+heard above every one else. Smokes.
+
+BARON KLÍNGEN (nicknamed KOKO). A graduate of Petersburg University.
+Gentleman of the Bedchamber, Attaché to an Embassy. Is perfectly
+correct in his deportment, and therefore enjoys peace of mind and is
+quietly gay.
+
+TWO SILENT LADIES.
+
+SERGÉY IVÁNITCH SAHÁTOF. About 50, an ex-Assistant Minister of State.
+An elegant gentleman, of wide European culture, engaged in nothing and
+interested in everything. His carriage is dignified and at times even
+severe.
+
+THEODORE IVÁNITCH. Personal attendant on Zvezdíntsef, aged about 60. A
+man of some education and fond of information. Uses his pince-nez and
+pocket-handkerchief too much, unfolding the latter very slowly. Takes
+an interest in politics. Is kindly and sensible.
+
+GREGORY. A footman, about 28, handsome, profligate, envious, and
+insolent.
+
+JACOB. Butler, about 40, a bustling, kindly man, to whom the interests
+of his family in the village are all-important.
+
+SIMON. The butler's assistant, about 20, a healthy, fresh, peasant
+lad, fair, beardless as yet; calm and smiling.
+
+THE COACHMAN. A man of about 35, a dandy. Has moustaches but no beard.
+Rude and decided.
+
+A DISCHARGED MAN-COOK. About 45, dishevelled, unshaved, bloated,
+yellow and trembling. Dressed in a ragged, light summer-overcoat and
+dirty trousers. Speaks hoarsely, ejecting the words abruptly.
+
+THE SERVANTS' COOK. A talkative, dissatisfied woman of 30.
+
+THE DOORKEEPER. A retired soldier.
+
+TÁNYA (TATYÁNA MÁRKOVNA). LADY's-maid, 19, energetic, strong, merry,
+with quickly-changing moods. At moments, when strongly excited, she
+shrieks with joy.
+
+FIRST PEASANT. About 60. Has served as village Elder. Imagines that he
+knows how to treat gentlefolk, and likes to hear himself talk.
+
+SECOND PEASANT. About 45, head of a family. A man of few words. Rough
+and truthful. The father of Simon.
+
+THIRD PEASANT. About 70. Wears shoes of plaited bast. Is nervous,
+restless, hurried, and tries to cover his confusion by much talking.
+
+FIRST FOOTMAN (in attendance on the Countess). An old man, with
+old-fashioned manners, and proud of his place.
+
+SECOND FOOTMAN. Of enormous size, strong, and rude.
+
+A PORTER FROM A FASHIONABLE DRESSMAKER'S SHOP. A fresh-faced man in
+dark-blue long coat. Speaks firmly, emphatically, and clearly.
+
+
+The action takes place in Moscow, in Zvesdíntsef's house.
+
+
+
+
+ACT I
+
+The entrance hall of a wealthy house in Moscow. There are three doors:
+the front door, the door of LEONÍD FYÓDORITCH'S study, and the door of
+VASÍLY LEONÍDITCH'S room. A staircase leads up to the other rooms;
+behind it is another door leading to the servants' quarters.
+
+
+SCENE I
+
+GREGORY (looks at himself in the glass and arranges his hair, etc.). I
+am sorry about those moustaches of mine! "Moustaches are not becoming
+to a footman," she says! And why? Why, so that any one might see
+you're a footman,--else my looks might put her darling son to shame.
+He's a likely one! There's not much fear of his coming anywhere near
+me, moustaches or no moustaches! (Smiling into the glass.) And what a
+lot of 'em swarm round me. And yet I don't care for any of them as
+much as for that Tánya. And she only a lady's-maid! Ah well, she's
+nicer than any young lady. (Smiles.) She's a duck! (Listening.) Ah,
+here she comes. (Smiles.) Yes, that's her, clattering with her little
+heels. Oh!
+
+     [Enter TÁNYA, carrying a cloak and boots.
+
+GREGORY. My respects to you, Tatyána Márkovna.
+
+TÁNYA. What are you always looking in the glass for? Do you think
+yourself so good-looking?
+
+GREGORY. Well, and are my looks not agreeable?
+
+TÁNYA. So, so; neither agreeable nor disagreeable, but just betwixt
+and between! Why are all those cloaks hanging there?
+
+GREGORY. I am just going to put them away, your lady-ship! (Takes down
+a fur cloak and, wrapping it round her, embraces her.) I say, Tánya,
+I'll tell you something....
+
+TÁNYA. Oh, get away, do! What do you mean by it? (Pulls herself
+angrily away.) Leave me alone, I tell you!
+
+GREGORY (looks cautiously around). Then give me a kiss!
+
+TÁNYA. Now, really, what are you bothering for? I'll give you such a
+kiss!
+
+     [Raises her hand to strike.
+
+VASÍLY LEONÍDITCH (off the scene, rings and then shouts). Gregory!
+
+TÁNYA. There now, go! Vasíly Leoníditch is calling you.
+
+GREGORY. He'll wait! He's only just opened his eyes! I say, why don't
+you love me?
+
+TÁNYA. What sort of loving have you imagined now? I don't love
+anybody.
+
+GREGORY. That's a fib. You love Simon! You have found a nice one to
+love--a common, dirty-pawed peasant, a butler's assistant!
+
+TÁNYA. Never mind; such as he is, you are jealous of him!
+
+VASÍLY LEONÍDITCH (off the scene). Gregory!
+
+GREGORY. All in good time.... Jealous indeed! Of what? Why, you have
+only just begun to get licked into shape, and who are you tying
+yourself up with? Now, wouldn't it be altogether a different matter if
+you loved me?.... I say, Tánya....
+
+TÁNYA (angrily and severely). You'll get nothing from me, I tell you!
+
+VASÍLY LEONÍDITCH (off the scene). Gregory!
+
+GREGORY. You're mighty particular, ain't you?
+
+VASÍLY LEONÍDITCH (off the scene, shouts persistently, monotonously,
+and with all his might) Gregory! Greg--ory! Gregory!
+
+     [TÁNYA and GREGORY laugh.
+
+GREGORY. You should have seen the girls that have been sweet on me.
+
+     [Bell rings.
+
+TÁNYA. Well then, go to them, and leave me alone!
+
+GREGORY. You are a silly, now I think of it. I'm not Simon!
+
+TÁNYA. Simon means marriage, and not tomfoolery!
+
+     [Enter PORTER, carrying a large cardboard box.
+
+PORTER. Good morning!
+
+GREGORY. Good morning! Where are you from?
+
+PORTER. From Bourdey's. I've brought a dress, and here's a note for
+the lady.
+
+TÁNYA (taking the note). Sit down, and I'll take it in.
+
+     [Exit.
+
+     [VASÍLY LEONÍDITCH looks out of the door in shirt-sleeves and
+      slippers.
+
+VASÍLY LEONÍDITCH. Gregory!
+
+GREGORY. Yes, sir.
+
+VASÍLY LEONÍDITCH. Gregory! Don't you hear me call?
+
+GREGORY. I've only just come, sir.
+
+VASÍLY LEONÍDITCH. Hot water, and a cup of tea.
+
+GREGORY. Yes, sir; Simon will bring them directly.
+
+VASÍLY LEONÍDITCH. And who is this? Ah, from Bourdier?
+
+PORTER. Yes, sir.
+
+     [Exeunt VASÍLY LEONÍDITCH and GREGORY. Bell rings. TÁNYA runs in
+      at the sound of the bell and opens the front door.
+
+TÁNYA (to PORTER). Please wait a little. Porter. I am waiting.
+
+     [SAHÁTOF enters at front door.
+
+TÁNYA. I beg your pardon, but the footman has just gone away. This
+way, sir. Allow me, please.
+
+     [Takes his fur cloak.
+
+SAHÁTOF (adjusting his clothes). Is Leoníd Fyódoritch at home? Is he
+up?
+
+     [Bell rings.
+
+TÁNYA. Oh yes, sir. He's been up a long time.
+
+     [DOCTOR enters and looks around for the footman. Sees SAHÁTOF and
+      addresses him in an offhand manner.
+
+DOCTOR. Ah, my respects to you!
+
+SAHÁTOF (looks fixedly at him). The Doctor, I believe?
+
+DOCTOR. And I thought you were abroad! Dropped in to see Leoníd
+Fyódoritch?
+
+SAHÁTOF. Yes. And you? Is any one ill?
+
+DOCTOR (laughing). Not exactly ill but, you know.... It's awful with
+these ladies! Sits up at cards till three every morning, and pulls her
+waist into the shape of a wine-glass. And the lady is flabby and fat,
+and carries the weight of a good many years on her back.
+
+SAHÁTOF. Is this the way you state your diagnosis to Anna Pávlovna? I
+should hardly think it quite pleases her!
+
+DOCTOR (laughing). Well, it's the truth. They do all these tricks--and
+then come derangements of the digestive organs, pressure on the liver,
+nerves, and all sorts of things, and one has to come and patch them
+up. It's just awful! (Laughs.) And you? You are also a spiritualist,
+it seems?
+
+SAHÁTOF. I? No, I am not also a spiritualist.... Good morning!
+
+     [Is about to go, but is stopped by the DOCTOR.
+
+DOCTOR. No! But I can't myself, you know, positively deny the
+possibility of it, when a man like Krougosvétlof is connected with it
+all. How can one? Is he not a professor,--a European celebrity? There
+must be something in it. I should like to see for myself, but I never
+have the time. I have other things to do.
+
+SAHÁTOF. Yes, yes! Good morning.
+
+     [Exit, bowing slightly.
+
+DOCTOR (to Tánya). Is Anna Pávlovna up?
+
+TÁNYA. She's in her bedroom, but please come up.
+
+     [DOCTOR goes upstairs.
+
+     [THEODORE IVÁNITCH enters with a newspaper In his hand.
+
+THEODORE IVÁNITCH (to PORTER). What is it you want?
+
+PORTER. I'm from Bourdey's. I brought a dress and a note, and was told
+to wait.
+
+THEODORE IVÁNITCH. Ah, from Bourdey's! (To Tánya.) Who came in just
+now?
+
+TÁNYA. It was Sergéy Ivánitch Sahátof and the Doctor. They stood
+talking here a bit. It was all about spiritalism.
+
+THEODORE IVÁNITCH (correcting her). Spiritualism.
+
+TÁNYA. Yes, that's just what I said--spiritalism. Have you heard how
+well it went off last time, Theodore Ivánitch? (Laughs). There was
+knocks, and things flew about!
+
+THEODORE IVÁNITCH. And how do you know?
+
+TÁNYA. Miss Elizabeth told me.
+
+     [JACOB runs in with a tumbler of tea on a tray.
+
+JACOB (to the PORTER). Good morning!
+
+PORTER (disconsolately). Good morning!
+
+     [JACOB knocks at VASÍLY LEONÍDITCH'S door.
+
+     [GREGORY enters.
+
+GREGORY. Give it here.
+
+JACOB. You didn't bring back all yesterday's tumblers, nor the tray
+Vasíly Leoníditch had. And it's me that have to answer for them!
+
+GREGORY. The tray is full of cigars.
+
+JACOB. Well, put them somewhere else. It's me who's answerable for it.
+
+GREGORY. I'll bring it back! I'll bring it back!
+
+JACOB. Yes, so you say, but it is not where it ought to be. The other
+day, just as the tea had to be served, it was not to be found.
+
+GREGORY. I'll bring it back, I tell you. What a fuss!
+
+JACOB. It's easy for you to talk. Here am I serving tea for the third
+time, and now there's the lunch to get ready. One does nothing but
+rush about the livelong day. Is there any one in the house who has
+more to do than me? Yet they are never satisfied with me.
+
+GREGORY. Dear me! Who could wish for any one more satisfactory? You're
+such a fine fellow!
+
+TÁNYA. Nobody is good enough for you! You alone....
+
+GREGORY (to TÁNYA). No one asked your opinion!
+
+     [Exit.
+
+JACOB. Ah, well, I don't mind. Tatyána Márkovna, did the mistress say
+anything about yesterday?
+
+TÁNYA. About the lamp, you mean?
+
+JACOB. And how it managed to drop out of my hands, the Lord only
+knows! Just as I began rubbing it, and was going to take hold of it in
+another place, out it slips and goes all to pieces. It's just my luck!
+It's easy for that Gregory Miháylitch to talk--a single man like him!
+But when one has a family, one has to consider things: they have to be
+fed. I don't mind work.... So she didn't say anything? The Lord be
+thanked!... Oh, Theodore Ivánitch, have you one spoon or two?
+
+THEODORE IVÁNITCH. One. Only one!
+
+     [Reads newspaper.
+
+     [Exit JACOB.
+
+     [Bell rings. Enter GREGORY carrying a tray and the DOORKEEPER.
+
+DOORKEEPER (to GREGORY). Tell the master some peasants have come from
+the village.
+
+GREGORY (pointing to THEODORE IVÁNITCH). Tell the major-domo here,
+it's his business. I have no time.
+
+     [Exit.
+
+TÁNYA. Where are these peasants from?
+
+DOORKEEPER. From Koursk, I think.
+
+TÁNYA. (shrieks with delight). It's them.... It's Simon's father come
+about the land! I'll go and meet them!
+
+     [Runs off.
+
+DOORKEEPER. Well, then what shall I say to them? Shall they come in
+here? They say they've come about the land--the master knows, they
+say.
+
+THEODORE IVÁNITCH. Yes, they want to purchase some land. All right!
+But he has a visitor now, so you had better tell them to wait.
+
+DOORKEEPER. Where shall they wait?
+
+THEODORE IVÁNITCH. Let them wait outside. I'll send for them when the
+time comes.
+
+     [Exit DOORKEEPER.
+
+     [Enter TÁNYA, followed by three PEASANTS.
+
+TÁNYA. To the right. In here! In here!
+
+THEODORE IVÁNITCH. I did not want them brought in here!
+
+GREGORY. Forward minx!
+
+TÁNYA. Oh, Theodore Ivánitch, it won't matter, they'll stand in this
+corner.
+
+THEODORE IVÁNITCH. They'll dirty the floor.
+
+TÁNYA. They've scraped their shoes, and I'll wipe the floor up
+afterwards. (To PEASANTS.) Here, stand just here.
+
+     [PEASANTS come forward, carrying presents tied in cotton
+      handkerchiefs: cake, eggs and embroidered towels. They look
+      around for an icón before which to cross themselves; not finding
+      one, they cross themselves, looking at the staircase.
+
+GREGORY (to THEODORE IVÁNITCH). There now, Theodore Ivánitch, they say
+Pironnet's boots are an elegant shape. But those there are ever so
+much better.
+
+     [Pointing to the third PEASANT'S bast shoes.
+
+THEODORE IVÁNITCH. Why will you always be ridiculing people?
+
+     [Exit GREGORY.
+
+THEODORE IVÁNITCH (rises and goes up to the PEASANTS). So you are from
+Koursk? And have come to arrange about buying some land?
+
+FIRST PEASANT. Just so. We might say, it is for the completion of the
+purchase of the land we have come. How could we announce ourselves to
+the master?
+
+THEODORE IVÁNITCH. Yes, yes, I know. You wait a bit and I'll go and
+inform him.
+
+     [Exit.
+
+     [The PEASANTS look around; they are embarrassed where to put their
+      presents.
+
+FIRST PEASANT. There now, couldn't we have what d'you call it?
+Something to present these here things on? To do it in a genteel way,
+like,--a little dish or something.
+
+TÁNYA. All right, directly; put them down here for the present.
+
+     [Puts bundles on settle.
+
+FIRST PEASANT. There now,--that respectable gentleman that was here
+just now,--what might be his station?
+
+TÁNYA. He's the master's valet.
+
+FIRST PEASANT. I see. So he's also in service. And you, now, are you a
+servant too?
+
+TÁNYA. I am lady's-maid. Do you know, I also come from Démen! I know
+you, and you, but I don't know him.
+
+     [Pointing to THIRD PEASANT.
+
+THIRD PEASANT. Them two you know, but me you don't know?
+
+TÁNYA. You are Efím Antónitch.
+
+FIRST PEASANT. That's just it!
+
+TÁNYA. And you are Simon's father, Zachary Trifánitch.
+
+SECOND PEASANT. Right!
+
+THIRD PEASANT. And let me tell you, I'm Mitry Vlásitch Tchilikin. Now
+do you know?
+
+TÁNYA. Now I shall know you too!
+
+SECOND PEASANT. And who may you be?
+
+TÁNYA. I am Aksínya's, the soldier's wife's, orphan.
+
+FIRST AND THIRD PEASANTS (with surprise). Never!
+
+SECOND PEASANT. The proverb says true: "Buy a penny pig, put it in the
+rye, And you'll have a wonderful fat porker by-and-by."
+
+FIRST PEASANT. That's just it! She's got the resemblance of a duchess!
+
+THIRD PEASANT. That be so truly. Oh Lord!
+
+VASÍLY LEONÍDITCH (off the scene, rings, and then shouts). Gregory!
+Gregory!
+
+FIRST PEASANT. Now who's that, for example, disturbing himself in such
+a way, if I may say so?
+
+TÁNYA. That's the young master.
+
+THIRD PEASANT. Oh Lord! Didn't I say we'd better wait outside until
+the time comes?
+
+     [Silence.
+
+SECOND PEASANT. Is it you, Simon wants to marry?
+
+TÁNYA. Why, has he been writing?
+
+     [Hides her face in her apron.
+
+SECOND PEASANT. It's evident he's written! But it's a bad business
+he's imagined here. I see the lad's got spoilt!
+
+TÁNYA (quickly). No, he's not at all spoilt! Shall I send him to you?
+
+SECOND PEASANT. Why send him? All in good time. Where's the hurry?
+
+VASÍLY LEONÍDITCH (desperately, behind scene). Gregory! Where the
+devil are you?...
+
+     [Enters from his room in shirt-sleeves, adjusting his pince-nez.
+
+VASÍLY LEONÍDITCH. Is every one dead?
+
+TÁNYA. He's not here, sir.... I'll send him to you at once.
+
+     [Moves towards the back door.
+
+VASÍLY LEONÍDITCH. I could hear you talking, you know. How have these
+scarecrows sprung up here? Eh? What?
+
+TÁNYA. They're peasants from the Koursk village, sir.
+
+     [PEASANTS bow.
+
+VASÍLY LEONÍDITCH. And who is this? Oh yes, from Bourdier.
+
+     [VASÍLY LEONÍDITCH pays no attention to the PEASANTS' bow. TÁNYA
+      meets GREGORY at the doorway and remains on the scene.
+
+VASÍLY LEONÍDITCH (to GREGORY). I told you the other boots.... I can't
+wear these!
+
+GREGORY. Well, the others are also there.
+
+VASÍLY LEONÍDITCH. But where is there?
+
+GREGORY. Just in the same place!
+
+VASÍLY LEONÍDITCH. They're not!
+
+GREGORY. Well, come and see.
+
+     [Exeunt GREGORY and VASÍLY LEONÍDITCH.
+
+THIRD PEASANT. Say, now, might we not in the meantime just go and
+wait, say, in some lodging-house or somewhere?
+
+TÁNYA. No, no, wait a little. I'll go and bring you some plates to put
+the presents on.
+
+     [Exit.
+
+     [Enter SAHÁTOF and LEONÍD FYÓDORITCH, followed by THEODORE IVÁNITCH.
+
+     [The PEASANTS take up the presents, and pose themselves.
+
+LEONÍD FYÓDORITCH (to PEASANTS). Presently, presently! Wait a bit!
+(Points to PORTER.) Who is this?
+
+PORTER. From Bourdey's.
+
+LEONÍD FYÓDORITCH. Ah, from Bourdier.
+
+SAHÁTOF (smiling). Well, I don't deny it: still you understand that,
+never having seen it, we, the uninitiated, have some difficulty in
+believing.
+
+LEONÍD FYÓDORITCH. You say you find it difficult to believe! We do not
+ask for faith; all we demand of you is to investigate! How can I help
+believing in this ring? Yet this ring came from there!
+
+SAHÁTOF. From there? What do you mean? From where?
+
+LEONÍD FYÓDORITCH. From the other world. Yes!
+
+SAHÁTOF (smiling). That's very interesting--very interesting!
+
+LEONÍD FYÓDORITCH. Well, supposing we admit that I'm a man carried
+away by an idea, as you think, and that I am deluding myself. Well,
+but what of Alexéy Vladímiritch Krougosvétlof--he is not just an
+ordinary man, but a distinguished professor, and yet he admits it to
+be a fact. And not he alone. What of Crookes? What of Wallace?
+
+SAHÁTOF. But I don't deny anything. I only say it is very interesting.
+It would be interesting to know how Krougosvétlof explains it!
+
+LEONÍD FYÓDORITCH. He has a theory of his own. Could you come
+to-night?--he is sure to be here. First we shall have Grossman--you
+know, the famous thought-reader?
+
+SAHÁTOF. Yes, I have heard of him but have never happened to meet him.
+
+LEONÍD FYÓDORITCH. Then you must come! We shall first have Grossman,
+then Kaptchítch, and our mediumistic séance.... (To THEODORE
+IVÁNITCH.) Has the man returned from Kaptchítch?
+
+THEODORE IVÁNITCH. Not yet, sir.
+
+SAHÁTOF. Then how am I to know?
+
+LEONÍD FYÓDORITCH. Never mind, come in any case! If Kaptchítch can't
+come we shall find our own medium. Márya Ignátievna is a medium--not
+such a good one as Kaptchítch, but still....
+
+     [TÁNYA enters with plates for the presents, and stands listening.
+
+SAHÁTOF (smiling). Oh, yes, yes. But here is one puzzling point:--how
+is it that the mediums are always of the, so-called, educated class,
+such as Kaptchítch and Márya Ignátievna? If there were such a special
+force, would it not be met with also among the common people--the
+peasants?
+
+LEONÍD FYÓDORITCH. Oh yes, and it is! That is very common. Even here
+in our own house we have a peasant whom we discovered to be a medium.
+A few days ago we called him in--a sofa had to be moved, during a
+séance--and we forgot all about him. In all probability he fell
+asleep. And, fancy, after our séance was over and Kaptchítch had come
+to again, we suddenly noticed mediumistic phenomena in another part of
+the room, near the peasant: the table gave a jerk and moved!
+
+TÁNYA (aside). That was when I was getting out from under it!
+
+LEONÍD FYÓDORITCH. It is quite evident he also is a medium. Especially
+as he is very like Home in appearance. You remember Home--a
+fair-haired naïf sort of fellow?
+
+SAHÁTOF (shrugging his shoulders). Dear me, this is very interesting,
+you know. I think you should try him.
+
+LEONÍD FYÓDORITCH. So we will! And he is not alone; there are
+thousands of mediums, only we do not know them. Why, only a short time
+ago a bedridden old woman moved a brick wall!
+
+SAHÁTOF. Moved a brick ... a brick wall?
+
+LEONÍD FYÓDORITCH. Yes, yes. She was lying in bed, and did not even
+know she was a medium. She just leant her arm against the wall, and
+the wall moved!
+
+SAHÁTOF. And did not cave in?
+
+LEONÍD FYÓDORITCH. And did not cave in.
+
+SAHÁTOF. Very strange! Well, then, I'll come this evening.
+
+LEONÍD FYÓDORITCH. Pray, do. We shall have a séance in any case.
+
+     [SAHATOF puts on his outdoor things; LEONÍD FYÓDORITCH sees him
+      to the door.
+
+PORTER (to TÁNYA). Do tell your mistress! Am I to spend the night
+here?
+
+TÁNYA. Wait a little; she's going to drive out with the young lady, so
+she'll soon be coming downstairs.
+
+     [Exit.
+
+LEONÍD FYÓDORITCH (comes up to the PEASANTS, who bow and offer him
+their presents). That's not necessary!
+
+FIRST PEASANT (smiling). Oh, but this-here is our first duty, it is!
+It's also the Commune's orders that we should do it!
+
+SECOND PEASANT. That's always been the proper way.
+
+THIRD PEASANT. Say no more about it! 'Cause as we are much
+satisfied.... As our parents, let's say, served, let's say, your
+parents, so we would like the same with all our hearts ... and not
+just anyhow!
+
+     [Bows.
+
+LEONÍD FYÓDORITCH. But what is it about? What do you want?
+
+FIRST PEASANT. It's to your honor we've come....
+
+     [Enter PETRÍSTCHEF briskly, in fur-lined overcoat.
+
+PETRÍSTCHEF. Is Vasíly Leoníditch awake yet?
+
+     [Seeing LEONÍD FYÓDORITCH, bows, moving only his head.
+
+LEONÍD FYÓDORITCH. You have come to see my son?
+
+PETRÍSTCHEF. I? Yes, just to see Vovo for a moment.
+
+LEONÍD FYÓDORITCH. Step in, step in.
+
+     [PETRÍSTCHEF takes off his overcoat and walks in briskly. Exit.
+
+LEONÍD FYÓDORITCH (to PEASANTS). Well, what is it you want?
+
+SECOND PEASANT. Please accept our presents!
+
+FIRST PEASANT (smiling). That's to say, the peasants' offerings.
+
+THIRD PEASANT. Say no more about it; what's the good? We wish you the
+same as if you were our own father! Say no more about it!
+
+LEONÍD FYÓDORITCH. All right. Here, Theodore, take these.
+
+THEODORE IVÁNITCH (to PEASANTS). Give them here.
+
+     [Takes the presents.
+
+LEONÍD FYÓDORITCH. Well, what is the business?
+
+FIRST PEASANT. We've come to your honor....
+
+LEONÍD FYÓDORITCH. I see you have; but what do you want?
+
+FIRST PEASANT. It's about making a move towards completing the sale of
+the land. It comes to this....
+
+LEONÍD FYÓDORITCH. Do you mean to buy the land?
+
+FIRST PEASANT. That's just it. It comes to this.... I mean the buying
+of the property of the land. The Commune has given us, let's say, the
+power of atturning, to enter, let's say, as is lawful, through the
+Government bank, with a stamp for the lawful amount.
+
+LEONÍD FYÓDORITCH. You mean that you want to buy the land through the
+land-bank.
+
+FIRST PEASANT. That's just it. Just as you offered it to us last year.
+It comes to this, then, the whole sum in full for the buying of the
+property of the land is 32,864 roubles.
+
+LEONÍD FYÓDORITCH. That's all right, but how about paying up?
+
+FIRST PEASANT. As to the payment, the Commune offers just as it was
+said last year--to pay in 'stalments, and your receipt of the ready
+money by lawful regulations, 4000 roubles in full. [2]
+
+SECOND PEASANT. Take 4000 now, and wait for the rest of the money.
+
+THIRD PEASANT (unwrapping a parcel of money). And about this be quite
+easy. We should pawn our own selves rather than do such a thing just
+anyhow say, but in this way, let's say, as it ought to be done.
+
+LEONÍD FYÓDORITCH. But did I not write and tell you that I should not
+agree to it unless you brought the whole sum?
+
+FIRST PEASANT. That's just it. It would be more agreeable, but it is
+not in our possibilities, I mean.
+
+LEONÍD FYÓDORITCH. Well then, the thing can't be done!
+
+FIRST PEASANT. The Commune, for example, relied its hopes on that,
+that you made the offer last year to sell it in easy 'stalments....
+
+LEONÍD FYÓDORITCH. That was last year. I would have agreed to it then,
+but now I can't.
+
+SECOND PEASANT. But how's that? We've been depending on your promise--
+we've got the papers ready and have collected the money!
+
+THIRD PEASANT. Be merciful, master! We're short of land; we'll say
+nothing about cattle, but even a hen, let's say, we've no room to
+keep. (Bows.) Don't wrong us, master!
+
+     [Bows.
+
+LEONÍD FYÓDORITCH. Of course it's quite true, that I agreed last year
+to let you have the land for payment by instalments, but now
+circumstances are such that it would be inconvenient.
+
+SECOND PEASANT. Without this land we cannot live!
+
+FIRST PEASANT. That's just it. Without land our lives must grow weaker
+and come to a decline.
+
+THIRD PEASANT (bowing). Master, we have so little land, let's not talk
+about the cattle, but even a chicken, let's say, we've no room for.
+Master, be merciful, accept the money, master!
+
+LEONÍD FYÓDORITCH (examining the document). I quite understand, and
+should like to help you. Wait a little; I will give you an answer in
+half-an-hour.... Theodore, say I am engaged and am not to be
+disturbed.
+
+THEODORE IVÁNITCH. Yes, sir.
+
+     [Exit LEONÍD FYODORITCH.
+
+     [The PEASANTS look dejected.
+
+SECOND PEASANT. Here's a go! "Give me the whole sum," he says. And
+where are we to get it from?
+
+FIRST PEASANT. If he had not given us hopes, for example. As it is we
+felt quite insured it would be as was said last year.
+
+THIRD PEASANT. Oh, Lord! and I had begun unwrapping the money. (Begins
+wrapping up the bundle of bank-notes again.) What are we to do now?
+
+THEODORE IVÁNITCH. What is your business, then?
+
+FIRST PEASANT. Our business, respected sir, depends in this. Last year
+he made us the offer of our buying the land in 'stalments. The Commune
+entered upon these terms and gave us the powers of atturning, and now
+d'you see he makes the offering that we should pay the whole in full!
+And as it turns out, the business is no ways convenient for us.
+
+THEODORE IVÁNITCH. What is the whole sum?
+
+FIRST PEASANT. The whole sum in readiness is 4000 roubles, you see.
+
+THEODORE IVÁNITCH. Well, what of that? Make an effort and collect
+more.
+
+FIRST PEASANT. Such as it is, it was collected with much effort. We
+have, so to say, in this sense, not got ammunition enough.
+
+SECOND PEASANT. You can't get blood out of a stone.
+
+THIRD PEASANT. We'd be glad with all our hearts, but we have swept
+even this together, as you might say, with a broom.
+
+     [VASÍLY LEONÍDITCH and PETRÍSTCHEF appear in the doorway both
+      smoking cigarettes.
+
+VASÍLY LEONÍDITCH. I have told you already I'll do my best, so, of
+course, I will do all that is possible! Eh, what?
+
+PETRÍSTCHEF. You must just understand that if you do not get it, the
+devil only knows what a mess we shall be in!
+
+VASÍLY LEONÍDITCH. But I've already said I'll do my best, and so I
+will. Eh, what?
+
+PETRÍSTCHEF. Nothing. I only say, get some at any cost; I will wait.
+
+     [Exit into VASÍLY LEONÍDITCH'S room, closing door.
+
+VASÍLY LEONÍDITCH (waving his arm). It's a deuce of a go!
+
+     [The PEASANTS bow.
+
+VASÍLY LEONÍDITCH (looking at PORTER, to THEODORE IVÁNITCH). Why don't
+you attend to this fellow from Bourdier? He hasn't come to take
+lodgings with us, has he? Just look, he is asleep! Eh, what?
+
+THEODORE IVÁNITCH. The note he brought has been sent in, and he has
+been told to wait until Anna Pávlovna comes down.
+
+VASÍLY LEONÍDITCH (looks at PEASANTS and notices the money). And what
+is this? Money? For whom? Is it for us? (To THEODORE IVÁNITCH.) Who
+are they?
+
+THEODORE IVÁNITCH. They are peasants from Koursk. They are buying
+land.
+
+VASÍLY LEONÍDITCH. Has it been sold them?
+
+THEODORE IVÁNITCH. No, they have not yet come to any agreement. They
+are too stingy?
+
+VASÍLY LEONÍDITCH. Eh? Well, we must try and persuade them. (To the
+PEASANTS.) Here, I say, are you buying land? Eh?
+
+FIRST PEASANT. That's just it. We have made an offering as how we
+should like to acquire the possession of the land.
+
+VASÍLY LEONÍDITCH. Then you should not be so stingy, you know. Just
+let me tell you how necessary land is to peasants! Eh, what? It's very
+necessary, isn't it?
+
+FIRST PEASANT. That's just it. The land appears as the very first and
+foremost necessity to a peasant. That's just it.
+
+VASÍLY LEONÍDITCH. Then why be so stingy? Just you think what land is!
+Why, one can sow wheat on it in rows! I tell you, you could get eighty
+bushels of wheat, at a rouble and a half a bushel--that would be 120
+roubles. Eh, what? Or else mint! I tell you, you could collar 400
+roubles off an acre by sowing mint!
+
+FIRST PEASANT. That's just it. All sorts of products one could put
+into action if one had the right understanding.
+
+VASÍLY LEONÍDITCH. Mint! Decidedly mint! I have learnt about it, you
+know. It's all printed in books. I can show them you. Eh, what?
+
+FIRST PEASANT. That's just it, all concerns are clearer to you through
+your books. That's learnedness, of course.
+
+VASÍLY LEONÍDITCH. Then pay up and don't be stingy! (To THEODORE
+IVÁNITCH.) Where's papa?
+
+THEODORE IVÁNITCH. He gave orders not to be disturbed just now.
+
+VASÍLY LEONÍDITCH. Oh, I suppose he's consulting a spirit whether to
+sell the land or not? Eh, what?
+
+THEODORE IVÁNITCH. I can't say. All I know is that be went away
+undecided about it.
+
+VASÍLY LEONÍDITCH. What d'you think, Theodore Ivánitch, is he flush of
+cash? Eh, what?
+
+THEODORE IVÁNITCH. I don't know. I hardly think so. But what does it
+matter to you? You drew a good sum not more than a week ago.
+
+VASÍLY LEONÍDITCH. But didn't I pay for those dogs? And now, you know,
+there's our new Society, and Petrístchef has been chosen, and I had
+borrowed money from Petrístchef and must pay the subscription both for
+him and for myself. Eh, what?
+
+THEODORE IVÁNITCH. And what is this new Society? A Cycling Club?
+
+VASÍLY LEONÍDITCH. No. Just let me tell you. It is quite a new
+Society. It is a very serious Society, you know. And who do you think
+is President? Eh, what?
+
+THEODORE IVÁNITCH. What's the object of this new Society?
+
+VASÍLY LEONÍDITCH. It is a "Society to Promote the Breeding of
+Pure-Bred Russian Hounds." Eh, what? And I'll tell you, they're
+having the first meeting and a lunch, to-day. And I've no money. I'll
+go to him and have a try!
+
+     [Exit through study door.
+
+FIRST PEASANT (to THEODORE IVÁNITCH). And who might he be, respected
+sir?
+
+THEODORE IVÁNITCH (smiles). The young master.
+
+THIRD PEASANT. The heir, so to say. Oh, Lord! (Puts away the money.)
+I'd better hide it meanwhile.
+
+FIRST PEASANT. And we were told he was in military service, in the
+cav'rely, for example.
+
+THEODORE IVÁNITCH. No, as an only son he is exempt from military
+service.
+
+THIRD PEASANT. Left for to keep his parents, so to say! That's right!
+
+SECOND PEASANT (shaking his head). He's the right sort. He'll feed
+them finely!
+
+THIRD PEASANT. Oh, Lord!
+
+     [Enter VASÍLY LEONÍDITCH, followed by LEONÍD FYÓDORITCH.
+
+VASÍLY LEONÍDITCH. That's always the way. It's really surprising!
+First I'm asked why I have no occupation, and now when I have found a
+field and am occupied, when a Society with serious and noble aims has
+been founded, I can't even have 300 roubles to go on with!...
+
+LEONÍD FYÓDORITCH. I tell you I can't do it, and I can't! I haven't
+got it.
+
+VASÍLY LEONÍDITCH. Why, you have just sold some land.
+
+LEONÍD FYÓDORITCH. In the first place I have not sold it! And above
+all, do leave me in peace! Weren't you told I was engaged?
+
+     [Exit, slamming door.
+
+THEODORE IVÁNITCH. I told you this was not the right moment.
+
+VASÍLY LEONÍDITCH. Well, I say! Here's a position to be in! I'll go
+and see mamma--that's my only hope. He's going crazy over his
+spiritualism and forgets everything else.
+
+     [Goes upstairs.
+
+     [THEODORE IVÁNITCH takes newspaper and is just going to sit down,
+      when BETSY and MÁRYA KONSTANTÍNOVNA, followed by GREGORY, come
+      down the stairs.
+
+BETSY. Is the carriage ready?
+
+GREGORY. Just coming to the door.
+
+BETSY (to MÁRYA KONSTANTÍNOVNA). Come along, come along, I know it is
+he.
+
+MÁRYA KONSTANTÍNOVNA. Which he?
+
+BETSY. You know very well whom I mean--Petrístchef, of course.
+
+MÁRYA KONSTANTÍNOVNA. But where is he?
+
+BETSY. Sitting in Vovo's room. You'll see!
+
+MÁRYA KONSTANTÍNOVNA. And suppose it is not he?
+
+     [The PEASANTS and PORTER bow.
+
+BETSY (to PORTER). You brought a dress from Bourdier's?
+
+PORTER. Yes, Miss. May I go?
+
+BETSY. Well, I don't know. Ask my mother.
+
+PORTER. I don't know whose it is, Miss; I was ordered to bring it here
+and receive the money.
+
+BETSY. Well, then, wait.
+
+MÁRYA KONSTANTÍNOVNA. Is it still that costume for the charade?
+
+BETSY. Yes, a charming costume. But mamma won't take it or pay for it.
+
+MÁRYA KONSTANTÍNOVNA. But why not?
+
+BETSY. You'd better ask mamma. She doesn't grudge Vovo 500 roubles for
+his dogs, but 100 is too much for a dress. I can't act dressed like a
+scarecrow. (Pointing to PEASANTS.) And who are these?
+
+GREGORY. Peasants who have come to buy some land or other.
+
+BETSY. And I thought they were the beaters. Are you not beaters?
+
+FIRST PEASANT. No, no, lady. We have come to see Leoníd Fyódoritch
+about the signing into our possession of the title-deeds to some land.
+
+BETSY. Then how is it? Vovo was expecting some beaters who were to
+come to-day. Are you sure you are not the beaters? (The PEASANTS are
+silent.) How stupid they are! (Goes to VASÍLY LEONÍDITCH'S door.)
+Vovo?
+
+     [Laughs.
+
+MÁRYA KONSTANTÍNOVNA. But we met him just now upstairs!
+
+BETSY. Why need you remember that? Vovo, are you there?
+
+     [PETRÍSTCHEF enters.
+
+PETRÍSTCHEF. Vovo is not here, but I am prepared to fulfil on his
+behalf anything that may be required. How do you do? How do you do,
+Márya Konstantínovna?
+
+     [Shakes hands long and violently with BETSY, and then with MÁRYA
+      KONSTANTÍNOVNA.
+
+SECOND PEASANT. See, it's as if he were pumping water!
+
+BETSY. You can't replace him,--still you're better than nobody.
+(Laughs.) What are these affairs of yours with Vovo?
+
+PETRÍSTCHEF. What affairs? Our affairs are fie-nancial that is, our
+business is fie! It's also nancial, and besides it is financial.
+
+BETSY. What does nancial mean?
+
+PETRÍSTCHEF. What a question! It means nothing, that's just the point.
+
+BETSY. No, no, you have missed fire.
+
+     [Laughs.
+
+PETRÍSTCHEF. One can't always hit the mark, you know. It's something
+like a lottery. Blanks and blanks again, and at last you win!
+
+     [THEODORE IVÁNITCH goes into the study.
+
+BETSY. Well, this was blank then; but tell me, were you at the
+Mergásofs' last night?
+
+PETRÍSTCHEF. Not exactly at the Mère Gásof's, but rather at the Père
+Gásof's, or better still, at the Fils Gásof's.
+
+BETSY. You can't do without puns. It's an illness. And were the
+Gypsies there? [3]
+
+     [Laughs.
+
+PETRÍSTCHEF (sings). "On their aprons silken threads, little birds
+with golden heads!"....
+
+BETSY. Happy mortals! And we were yawning at Fofo's.
+
+PETRÍSTCHEF (continues to sing). "And she promised and she swore, she
+would ope' her ... her ... her...." how does it go on, Márya
+Konstantínovna?
+
+MÁRYA KONSTANTÍNOVNA. "Closet door."
+
+PETRÍSTCHEF. How? What? How, Márya Konstantínovna?
+
+BETSY. Cessez, vous devenez impossible! [4]
+
+PETRÍSTCHEF. J'ai cessé, j'ai bébé, j'ai dédé....[5]
+
+BETSY. I see the only way to rid ourselves of your wit is to make you
+sing! Let us go into Vovo's room, his guitar is there. Come, Márya
+Konstantínovna, come!
+
+     [Exeunt BETSY, MÁRYA KONSTANTÍNOVNA, and PETRÍSTCHEF.
+
+FIRST PEASANT. Who be they?
+
+GREGORY. One is our young lady, the other is a girl who teaches her
+music.
+
+FIRST PEASANT. Administrates learning, so to say. And ain't she smart?
+A reg'lar picture!
+
+SECOND PEASANT. Why don't they marry her? She is old enough, I should
+say.
+
+GREGORY. Do you think it's the same as among you peasants,--marry at
+fifteen?
+
+FIRST PEASANT. And that man, for example, is he also in the musitional
+line?
+
+GREGORY (mimicking him). "Musitional," indeed! You don't understand
+anything!
+
+FIRST PEASANT. That's just so. And stupidity, one might say, is our
+ignorance.
+
+THIRD PEASANT. Oh, Lord!
+
+     [Gypsy songs and guitar accompaniment are heard from VASÍLY
+      LEONÍDITCH'S room.
+
+     [Enter SIMON, followed by TÁNYA, who watches the meeting between
+      father and son.
+
+GREGORY (to SIMON). What do you want?
+
+SIMON. I have been to Mr. Kaptchítch.
+
+GREGORY. Well, and what's the answer?
+
+SIMON. He sent word he couldn't possibly come to-night.
+
+GREGORY. All right, I'll let them know.
+
+     [Exit.
+
+SIMON (to his father). How d'you do, father! My respects to Daddy Efím
+and Daddy Mítry! How are all at home?
+
+SECOND PEASANT. Very well, Simon.
+
+FIRST PEASANT. How d'you do, lad?
+
+THIRD PEASANT. How d'you do, sonny?
+
+SIMON (smiles). Well, come along, father, and have some tea.
+
+SECOND PEASANT. Wait till we've finished our business. Don't you see
+we are not ready yet?
+
+SIMON. Well, I'll wait for you by the porch.
+
+     [Wishes to go away.
+
+TÁNYA (running after him). I say, why didn't you tell him anything?
+
+SIMON. How could I before all those people? Give me time, I'll tell
+him over our tea.
+
+     [Exit.
+
+     [THEODORE IVÁNITCH enters and sits down by the window.
+
+FIRST PEASANT. Respected sir, how's our business proceeding?
+
+THEODORE IVÁNITCH. Wait a bit, he'll be out presently, he's just
+finishing.
+
+TÁNYA (to THEODORE IVÁNITCH). And how do you know, Theodore Ivánitch,
+he is finishing?
+
+THEODORE IVÁNITCH. I know that when he has finished questioning, he
+reads the question and answer aloud.
+
+TÁNYA. Can one really talk with spirits by means of a saucer?
+
+THEODORE IVÁNITCH. It seems so.
+
+TÁNYA. But supposing they tell him to sign, will he sign?
+
+THEODORE IVÁNITCH. Of course he will.
+
+TÁNYA. But they do not speak with words?
+
+THEODORE IVÁNITCH. Oh, yes. By means of the alphabet. He notices at
+which letter the saucer stops.
+
+TÁNYA. Yes, but at a si-ance?....
+
+     [Enter LEONÍD FYÓDORITCH.
+
+LEONÍD FYÓDORITCH. Well, friends, I can't do it! I should be very glad
+to, but it is quite impossible. If it were for ready money it would be
+a different matter.
+
+FIRST PEASANT. That's just so. What more could any one desire? But the
+people are so inpennycuous--it is quite impossible!
+
+LEONÍD FYÓDORITCH. Well, I can't do it, I really can't. Here is your
+document; I can't sign it.
+
+THIRD PEASANT. Show some pity, master; be merciful!
+
+SECOND PEASANT. How can you act so? It is doing us a wrong.
+
+LEONÍD FYÓDORITCH. Nothing wrong about it, friends. I offered it you
+in summer, but then you did not agree; and now I can't agree to it.
+
+THIRD PEASANT. Master, be merciful! How are we to get along? We have
+so little land. We'll say nothing about the cattle; a hen, let's say,
+there's no room to let a hen run about.
+
+     [LEONÍD FYÓDORITCH goes up to the door and stops. Enter,
+      descending the staircase, ANNA PÁVLOVNA and DOCTOR, followed by
+      VASÍLY LEONÍDITCH, who is in a merry and playful mood and is
+      putting some bank-notes into his purse.
+
+ANNA PÁVLOVNA (tightly laced, and wearing a bonnet). Then I am to take
+it?
+
+DOCTOR. If the symptoms recur you must certainly take it, but above
+all, you must behave better. How can you expect thick syrup to pass
+through a thin little hair tube, especially when we squeeze the tube?
+It's impossible; and so it is with the biliary duct. It's simple
+enough.
+
+ANNA PÁVLOVNA. All right, all right!
+
+DOCTOR. Yes. "All right, all right," and you go on in the same old
+way. It won't do, madam--it won't do. Well, good-bye!
+
+ANNA PÁVLOVNA. No, not good-bye, only au revoir! For I still expect
+you to-night. I shall not be able to make up my mind without you.
+
+DOCTOR. All right, if I have time I'll pop in.
+
+     [Exit.
+
+ANNA PÁVLOVNA (noticing the PEASANTS). What's this? What? What people
+are these?
+
+     [PEASANTS bow.
+
+THEODORE IVÁNITCH. These are peasants from Koursk, come to see Leoníd
+Fyódoritch about the sale of some land.
+
+ANNA PÁVLOVNA. I see they are peasants, but who let them in?
+
+THEODORE IVÁNITCH. Leoníd Fyódoritch gave the order. He has just been
+speaking to them about the sale of the land.
+
+ANNA PÁVLOVNA. What sale? There is no need to sell any. But above all,
+how can one let in people from the street into the house? One can't
+let people in from the street! One can't let people into the house who
+have spent the night heaven knows where!... (Getting more and more
+excited.) I daresay every fold of their clothes is full of microbes--
+of scarlet-fever microbes, of smallpox microbes, of diphtheria
+microbes! Why, they are from Koursk Government, where there is an
+epidemic of diphtheria ... Doctor! Doctor! Call the doctor back!
+
+     [LEONÍD FYÓDORITCH goes into his room and shuts the door. GREGORY
+      goes to recall the DOCTOR.
+
+VASÍLY LEONÍDITCH (smokes at the PEASANTS). Never mind, mamma; if you
+like I'll fumigate them so that all the microbes will go to pot! Eh,
+what?
+
+     [ANNA PÁVLOVNA remains severely silent, awaiting the DOCTOR'S
+      return.
+
+VASÍLY LEONÍDITCH (to PEASANTS). And do you fatten pigs? There's a
+first-rate business!
+
+FIRST PEASANT. That's just so. We do go in for the pig-fattening line
+now and then.
+
+VASÍLY LEONÍDITCH. This kind?...
+
+     [Grunts like a pig.
+
+ANNA PÁVLOVNA. Vovo, Vovo, leave off!
+
+VASÍLY LEONÍDITCH. Isn't it like? Eh, what?
+
+FIRST PEASANT. That's just so. It's very resemblant.
+
+ANNA PÁVLOVNA. Vovo, leave off, I tell you!
+
+SECOND PEASANT. What's it all about?
+
+THIRD PEASANT. I said, we'd better go to some lodging meanwhile!
+
+     [Enter DOCTOR and GREGORY.
+
+DOCTOR. What's the matter? What's happened?
+
+ANNA PÁVLOVNA. Why, you're always saying I must not get excited. Now,
+how is it possible to keep calm? I do not see my own sister for two
+months, and am careful about any doubtful visitor--and here are people
+from Koursk, straight from Koursk, where there is an epidemic of
+diphtheria, right in my house!
+
+DOCTOR. These good fellows you mean, I suppose?
+
+ANNA PÁVLOVNA. Of course. Straight from a diphtheric place!
+
+DOCTOR. Well, of course, if they come from an infected place it is
+rash; but still there is no reason to excite yourself so much about
+it.
+
+ANNA PÁVLOVNA. But don't you yourself advise carefulness?
+
+DOCTOR. Of course, of course. Still, why excite yourself?
+
+ANNA PÁVLOVNA. How can I help it? Now we shall have to have the house
+completely disinfected.
+
+DOCTOR. Oh, no! Why completely? That would cost 300 roubles or more.
+I'll arrange it cheaply and well for you. Take, to a large bottle of
+water....
+
+ANNA PÁVLOVNA. Boiled?
+
+DOCTOR. It's all the same. Boiled would be better. To one bottle of
+water take a tablespoon of salicylic acid, and have everything they
+have come in contact with washed with the solution. As to the fellows
+themselves, they must be off, of course. That's all. Then you're quite
+safe. And it would do no harm to sprinkle some of the same solution
+through a spray--two or three tumblers--you'll see how well it will
+act. No danger whatever.
+
+ANNA PÁVLOVNA. Tánya! Where is Tánya?
+
+     [Enter TÁNYA.
+
+TÁNYA. Did you call, M'm?
+
+ANNA PÁVLOVNA. You know that big bottle in my dressing-room?
+
+TÁNYA. Out of which we sprinkled the laundress yesterday?
+
+ANNA PÁVLOVNA. Well, of course! What other bottle could I mean? Well,
+then, take that bottle and first wash with soap the place where they
+have been standing, and then with....
+
+TÁNYA. Yes, M'm; I know how.
+
+ANNA PÁVLOVNA. And then take the spray.... However, I had better do
+that myself when I get back.
+
+DOCTOR. Well, then, do so, and don't be afraid! Well, au revoir till
+this evening.
+
+     [Exit.
+
+ANNA PÁVLOVNA. And they must be off! Not a trace of them must remain!
+Get out, get out! Go--what are you looking at?
+
+FIRST PEASANT. That's just so. It's because of our stupidity, as we
+were instructed....
+
+GREGORY (pushes the PEASANTS out). There, there; be off!
+
+SECOND PEASANT. Let me have my handkerchief back!
+
+     [The handkerchief in which the presents were wrapped.
+
+THIRD PEASANT. Oh, Lord, oh, Lord! didn't I say--some lodging-house
+meanwhile!
+
+     [GREGORY pushes him out. Exeunt PEASANTS.
+
+PORTER (who has repeatedly tried to say something).--Will there be any
+answer?
+
+ANNA PÁVLOVNA. Ah, from Bourdier? (Excitedly.) None! None! You can
+take it back. I told her I never ordered such a costume, and I will
+not allow my daughter to wear it!
+
+PORTER. I know nothing about it. I was sent....
+
+ANNA PÁVLOVNA. Go, go, take it back! I will call myself about it!
+
+VASÍLY LEONÍDITCH (solemnly). Sir Messenger from Bourdier, depart!
+
+PORTER. I might have been told that long ago. I have sat here nearly
+five hours!
+
+VASÍLY LEONÍDITCH. Ambassador from Bourdier, begone!
+
+ANNA PÁVLOVNA. Cease, please!
+
+     [Exit PORTER.
+
+ANNA PÁVLOVNA. Betsy! Where is she? I always have to wait for her.
+
+VASÍLY LEONÍDITCH (shouting at the top of his voice). Betsy!
+PETRÍSTCHEF! Come quick, quick, quick! Eh? What?
+
+     [Enter PETRÍSTCHEF, BETSY, and MÁRYA KONSTANTÍNOVNA.
+
+ANNA PÁVLOVNA. You always keep one waiting!
+
+BETSY. On the contrary, I was waiting for you!
+
+     [PETRÍSTCHEF bows with his head only, then kisses ANNA PÁVLOVNA'S
+      hand.
+
+ANNA PÁVLOVNA. How d'you do! (To BETSY.) You always have an answer
+ready!
+
+BETSY. If you are upset, mamma, I had better not go.
+
+ANNA PÁVLOVNA. Are we going or not?
+
+BETSY. Well, let us go; it can't be helped.
+
+ANNA PÁVLOVNA. Did you see the man from Bourdier?
+
+BETSY. Yes, and I was very glad. I ordered the costume, and am going
+to wear it when it is paid for.
+
+ANNA PÁVLOVNA. I am not going to pay for a costume that is indecent!
+
+BETSY. Why has it become indecent? First it was decent, and now you
+have a fit of prudery.
+
+ANNA PÁVLOVNA. Not prudery at all! If the bodice were completely
+altered, then it would do.
+
+BETSY. Mamma, that is quite impossible.
+
+ANNA PÁVLOVNA. Well, get dressed.
+
+     [They sit down. GREGORY puts on their over-shoes for them.
+
+VASÍLY LEONÍDITCH. Márya Konstantínovna, do you notice a vacuum in the
+hall?
+
+MÁRYA KONSTANTÍNOVNA. What is it?
+
+     [Laughs in anticipation.
+
+VASÍLY LEONÍDITCH. Bourdier's man has gone! Eh, what? Good, eh?
+
+     [Laughs loudly.
+
+ANNA PÁVLOVNA. Well, let us go. (Goes out of the door, but returns at
+once.) Tánya!
+
+TÁNYA. Yes, M'm?
+
+ANNA PÁVLOVNA. Don't let Frisk catch cold while I am away. If she
+wants to be let out, put on her little yellow cloak. She is not quite
+well to-day.
+
+TÁNYA. Yes, M'm.
+
+     [Exeunt ANNA PÁVLOVNA, BETSY, and GREGORY.
+
+PETRÍSTCHEF. Well, have you got it?
+
+VASÍLY LEONÍDITCH. Not without trouble, I can tell you! First I rushed
+at the gov'nor; he began to bellow and turned me out. Off to the
+mater--I got it out of her. It's here! (Slaps his breast pocket.) If
+once I make up my mind, there's no getting away from me. I have a
+deadly grip! Eh, what? And d'you know, my wolf-hounds are coming
+to-day.
+
+     [PETRÍSTCHEF and VASÍLY LEONÍDITCH put on their outdoor things
+      and go out. TÁNYA follows.
+
+THEODORE IVÁNITCH (alone). Yes, nothing but unpleasantness. How is it
+they can't live in peace? But one must say the new generation are not
+--the thing. And as to the women's dominion!... Why, Leoníd Fyódoritch
+just now was going to put in a word, but seeing what a frenzy she was
+in--slammed the door behind him. He is a wonderfully kind-hearted man.
+Yes, wonderfully kind. What's this? Here's Tánya bringing them back
+again!
+
+TÁNYA. Come in, come in, grand-dads, never mind!
+
+     [Enter TÁNYA and the PEASANTS.
+
+THEODORE IVÁNITCH. Why have you brought them back?
+
+TÁNYA. Well, Theodore Ivánitch, we must do something about their
+business. I shall have to wash the place anyhow.
+
+THEODORE IVÁNITCH. But the business will not come off, I see that
+already.
+
+FIRST PEASANT. How could we best put our affair into action, respected
+sir? Your reverence might take a little trouble over it, and we should
+give you full thankings from the Commune for your trouble.
+
+THIRD PEASANT. Do try, honey! We can't live! We have so little land.
+Talk of cattle--why, we have no room to keep a hen!
+
+     [They bow.
+
+THEODORE IVÁNITCH. I am sorry for you, friends, but I can't think of
+any way to help you. I understand your case very well, but he has
+refused. So what can one do? Besides, the lady is also against it.
+Well, give me your papers--I'll try and see what I can do, but I
+hardly hope to succeed.
+
+     [Exit.
+
+     [TÁNYA and the three PEASANTS sigh.
+
+TÁNYA. But tell me, grand-dads, what is it that is wanted?
+
+FIRST PEASANT. Why, only that he should put his signature to our
+document.
+
+TÁNYA. That the master should sign? Is that all?
+
+FIRST PEASANT. Yes, only lay his signature on the deed and take the
+money, and there would be an end of the matter.
+
+THIRD PEASANT. He only has to write and sign, as the peasants, let's
+say, desire, so, let's say, I also desire. That's the whole affair--if
+he'd only take it and sign it, it's all done.
+
+TÁNYA (considering). He need only sign the paper and it's done?
+
+FIRST PEASANT. That's just so. The whole matter is in dependence on
+that, and nothing else. Let him sign, and we ask no more.
+
+TÁNYA. Just wait and see what Theodore Ivánitch will say. If he cannot
+persuade the master, I'll try something.
+
+FIRST PEASANT. Get round him, will you?
+
+TÁNYA. I'll try.
+
+THIRD PEASANT. Ay, the lass is going to bestir herself. Only get the
+thing settled, and the Commune will bind itself to keep you all your
+life. See there, now!
+
+FIRST PEASANT. If the affair can be put into action, truly we might
+put her in a gold frame.
+
+SECOND PEASANT. That goes without saying!
+
+TÁNYA. I can't promise for certain, but as the saying is: "An attempt
+is no sin, if you try...."
+
+FIRST PEASANT. "You may win." That's just so.
+
+     [Enter THEODORE IVÁNITCH.
+
+THEODORE IVÁNITCH. No, friends, it's no go! He has not done it, and he
+won't do it. Here, take your document. You may go.
+
+FIRST PEASANT (gives TÁNYA the paper). Then it's on you we pin all our
+reliance, for example.
+
+TÁNYA. Yes, yes! You go into the street, and I'll run out to you in a
+minute and have a word with you.
+
+     [Exeunt PEASANTS.
+
+TÁNYA. Theodore Ivánitch, dear Theodore Ivánitch, ask the master to
+come out and speak to me for a moment. I have something to say to him.
+
+THEODORE IVÁNITCH. What next?
+
+TÁNYA. I must, Theodore Ivánitch. Ask him, do; there's nothing wrong
+about it, on my sacred word.
+
+THEODORE IVÁNITCH. But what do you want with him?
+
+TÁNYA. That's a little secret. I will tell you later on, only ask him.
+
+THEODORE IVÁNITCH (smiling). I can't think what you are up to! All
+right, I'll go and ask him.
+
+     [Exit.
+
+TÁNYA. I'll do it! Didn't he say himself that there is that power in
+Simon? And I know how to manage. No one found me out that time, and
+now I'll teach Simon what to do. If it doesn't succeed it's no great
+matter. After all it's not a sin.
+
+     [Enter LEONÍD FYÓDORITCH, followed by THEODORE IVÁNITCH.
+
+LEONÍD FYÓDORITCH (smiling). Is this the petitioner? Well, what is
+your business?
+
+TÁNYA. It's a little secret, Leoníd Fyódoritch; let me tell it you
+alone.
+
+LEONÍD FYÓDORITCH. What is it? Theodore, leave us for a minute.
+
+     [Exit THEODORE IVÁNITCH.
+
+TÁNYA. As I have grown up and lived in your house, Leoníd Fyódoritch,
+and as I am very grateful to you for everything, I shall open my heart
+to you as to a father. Simon, who is living in your house, wants to
+marry me.
+
+LEONÍD FYÓDORITCH. So that's it!
+
+TÁNYA. I open my heart to you as to a father! I have no one to advise
+me, being an orphan.
+
+LEONÍD FYÓDORITCH. Well, and why not? He seems a nice lad.
+
+TÁNYA. Yes, that's true. He would be all right; there is only one
+thing I have my doubts about. It's something about him that I have
+noticed and can't make out ... perhaps it is something bad.
+
+LEONÍD FYÓDORITCH. What is it? Does he drink?
+
+TÁNYA. God forbid! But since I know that there is such a thing as
+spiritalism....
+
+LEONÍD FYÓDORITCH. Ah, you know that?
+
+TÁNYA. Of course! I understand it very well. Some, of course, through
+ignorance, don't understand it.
+
+LEONÍD FYÓDORITCH. Well, what then?
+
+TÁNYA. I am very much afraid for Simon. It does happen to him.
+
+LEONÍD FYÓDORITCH. What happens to him?
+
+TÁNYA. Something of a kind like spiritalism. You ask any of the
+servants. As soon as he gets drowsy at the table, the table begins to
+tremble, and creak like that: tuke, ... tuke! All the servants have
+heard it.
+
+LEONÍD FYÓDORITCH. Why, it's the very thing I was saying to Sergéy
+Ivánitch this morning! Yes?...
+
+TÁNYA. Or else ... when was it?... Oh, yes, last Wednesday. We sat
+down to dinner, and the spoon just jumps into his hand of itself!
+
+LEONÍD FYÓDORITCH. Ah, that is interesting! Jumps into his hand? When
+he was drowsing?
+
+TÁNYA. That I didn't notice. I think he was, though.
+
+LEONÍD FYÓDORITCH. Yes?...
+
+TÁNYA. And that's what I'm afraid of, and what I wanted to ask you
+about. May not some harm come of it? To live one's life together, and
+him having such a thing in him!
+
+LEONÍD FYÓDORITCH (smiling). No, you need not be afraid, there is
+nothing bad in that. It only proves him to be a medium--simply a
+medium. I knew him to be a medium before this.
+
+TÁNYA. So that's what it is! And I was afraid!
+
+LEONÍD FYÓDORITCH. No, there's nothing to be afraid of. (Aside.)
+That's capital! Kaptchítch can't come, so we will test him
+to-night.... (To TÁNYA.) No, my dear, don't be afraid, he will be a
+good husband and ... that is only a kind of special power, and every
+one has it, only in some it is weaker and in others stronger.
+
+TÁNYA. Thank you, sir. Now I shan't think any more about it; but I was
+so frightened.... What a thing it is, our want of education!
+
+LEONÍD FYÓDORITCH. No, no, don't be frightened.... Theodore!
+
+     [Enter THEODORE IVÁNITCH.
+
+LEONÍD FYÓDORITCH. I am going out now. Get everything ready for
+to-night's séance.
+
+THEODORE IVÁNITCH. But Mr. Kaptchítch is not coming.
+
+LEONÍD FYÓDORITCH. That does not matter. (Puts on overcoat.) We shall
+have a trial séance with our own medium.
+
+     [Exit. THEODORE IVÁNITCH goes out with him.
+
+TÁNYA (alone). He believes it! He believes it! (Shrieks and jumps with
+joy.) He really believes it! Isn't it wonderful! (Shrieks.) Now I'll
+do it, if only Simon has pluck for it!
+
+     [THEODORE IVÁNITCH returns.
+
+THEODORE IVÁNITCH. Well, have you told him your secret?
+
+TÁNYA. I'll tell you, too, only later on.... But I have a favor to ask
+of you, too, Theodore Ivánitch.
+
+THEODORE IVÁNITCH. Yes? What is it?
+
+TÁNYA (shyly). You have been a second father to me, and I will open my
+heart before you as before God.
+
+THEODORE IVÁNITCH. Don't beat about the bush, but come straight to the
+point.
+
+TÁNYA. The point is ... well, the point is, that Simon wants to marry
+me.
+
+THEODORE IVÁNITCH. Is that it? I thought I noticed....
+
+TÁNYA. Well, why should I hide it? I am an orphan, and you know
+yourself how matters are in these town establishments. Every one comes
+bothering; there's that Gregory Miháylitch, for instance, he gives me
+no peace. And also that other one ... you know. They think I have no
+soul, and am only here for their amusement.
+
+THEODORE IVÁNITCH. Good girl, that's right! Well, what then?
+
+TÁNYA. Well, Simon wrote to his father; and he, his father, sees me
+to-day, and says: "He's spoilt"--he means his son. Theodore Ivánitch
+(bows), take the place of a father to me, speak to the old man,--to
+Simon's father! I could take them into the kitchen, and you might come
+in and speak to the old man!
+
+THEODORE IVÁNITCH (smiling). Then I am to turn match-maker--am I?
+Well, I can do that.
+
+TÁNYA. Theodore Ivánitch, dearest, be a father to me, and I'll pray
+for you all my life long.
+
+THEODORE IVÁNITCH. All right, all right, I'll come later on. Haven't I
+promised?
+
+     [Takes up newspaper.
+
+TÁNYA. You are a second father to me!
+
+THEODORE IVÁNITCH. All right, all right.
+
+TÁNYA. Then I'll rely on you.
+
+     [Exit.
+
+THEODORE IVÁNITCH (alone, shaking his head). A good affectionate girl.
+To think that so many like her perish! Get but once into trouble and
+she'll go from hand to hand until she sinks into the mire, and can
+never be found again! There was that dear little Nataly. She, too, was
+a good girl, reared and cared for by a mother. (Takes up paper.) Well,
+let's see what tricks Ferdinand is up to in Bulgaria.
+
+CURTAIN
+
+
+
+
+ACT II
+
+Evening of the same day. The scene represents the interior of the
+servants' kitchen. The PEASANTS have taken off their outer garments
+and sit drinking tea at the table, and perspiring. THEODORE IVÁNITCH
+is smoking a cigar at the other side of the stage. The discharged COOK
+is lying on the brick oven, and is unseen during the early part of the
+scene.
+
+THEODORE IVÁNITCH. My advice is, don't hinder him! If it's his wish
+and hers, in Heaven's name, let him do it. She is a good, honest girl.
+Never mind her being a bit dressy; she can't help that, living in
+town: she is a good girl all the same.
+
+SECOND PEASANT. Well, of course, if it is his wish, let him! He'll
+have to live with her, not me. But she's certainly uncommon spruce.
+How's one to take her into one's hut? Why, she'll not let her
+mother-in-law so much as pat her on the head.
+
+THEODORE IVÁNITCH. That does not depend on the spruceness, but on
+character. If her nature is good, she's sure to be docile and
+respectful.
+
+SECOND PEASANT. Ah, well, we'll have her if the lad's bent on having
+her. After all, it's a bad job to live with one as one don't care for.
+I'll consult my missus, and then may Heaven bless them!
+
+THEODORE IVÁNITCH. Then let's shake hands on it!
+
+SECOND PEASANT. Well, it seems it will have to come off.
+
+FIRST PEASANT. Eh, Zachary! fortune's a-smiling on you! You've come to
+accomplish a piece of business, and just see what a duchess of a
+daughter-in-law you've obtained. All that's left to be done is to have
+a drink on it, and then it will be all in order.
+
+THEODORE IVÁNITCH. That's not at all necessary.
+
+     [An awkward silence.
+
+THEODORE IVÁNITCH. I know something of your way of life, too, you
+know. I am even thinking of purchasing a bit of land, building a
+cottage, and working on the land myself somewhere; maybe in your
+neighborhood.
+
+SECOND PEASANT. A very good thing, too.
+
+FIRST PEASANT. That's just it. When one has got the money one can get
+all kinds of pleasure in the country.
+
+THIRD PEASANT. Say no more about it! Country life let's say, is freer
+in every way, not like the town!
+
+THEODORE IVÁNITCH. There now, would you let me join your Commune if I
+settled among you?
+
+SECOND PEASANT. Why not? If you stand drink for the Elders, they'll
+accept you soon enough!
+
+FIRST PEASANT. And if you open a public-house, for example, or an inn,
+why, you'd have such a life you'd never need to die! You might live
+like a king, and no mistake.
+
+THEODORE IVÁNITCH. Well, we'll see. I should certainly like to have a
+few quiet years in my old age. Though my life here is good enough, and
+I should be sorry to leave. Leoníd Fyódoritch is an exceedingly
+kind-hearted man.
+
+FIRST PEASANT. That's just it. But how about our business? Is it
+possible that he is going to leave it without any termination?
+
+THEODORE IVÁNITCH. He'd do it willingly.
+
+SECOND PEASANT. It seems he's afraid of his wife.
+
+THEODORE IVÁNITCH. It's not that he's afraid, but they don't hit
+things off together.
+
+THIRD PEASANT. But you should try, father! How are we to live else?
+We've so little land....
+
+THEODORE IVÁNITCH. We'll see what comes of Tánya's attempt. She's
+taken the business into her hands now!
+
+THIRD PEASANT (takes a sip of tea). Father, be merciful. We've so
+little land. A hen, let's say, we've no room for a hen, let alone the
+cattle.
+
+THEODORE IVÁNITCH. If the business depended on me.... (To SECOND
+PEASANT.) Well, friend, so we've done our bit of match-making! It's
+agreed then about Tánya?
+
+SECOND PEASANT. I've given my word, and I'll not go back on it without
+a good reason. If only our business succeeds!
+
+     [Enter SERVANTS' COOK, who looks up at the oven, makes a sign,
+      and then begins to speak animatedly to THEODORE IVÁNITCH.
+
+SERVANTS' COOK. Just now Simon was called upstairs from the front
+kitchen! The master and that other bald-headed one who calls up
+spirits with him, ordered him to sit down and take the place of
+Kaptchítch!
+
+THEODORE IVÁNITCH. You don't say so!
+
+SERVANTS' COOK. Yes, Jacob told Tánya.
+
+THEODORE IVÁNITCH. Extraordinary!
+
+     [Enter COACHMAN.
+
+THEODORE IVÁNITCH. What do you want?
+
+COACHMAN (to THEODORE IVÁNITCH). You may just tell them I never agreed
+to live with a lot of dogs! Let any one who likes do it, but I will
+never agree to live among dogs!
+
+THEODORE IVÁNITCH. What dogs?
+
+COACHMAN. Three dogs have been sent into our room by Vasíly
+Leoníditch! They've messed it all over. They're whining, and if one
+comes near them they bite--the devils! They'd tear you to pieces if
+you didn't mind. I've a good mind to take a club and smash their legs
+for them!
+
+THEODORE IVÁNITCH. But when did they come?
+
+COACHMAN. Why, to-day, from the Dog Show; the devil knows what kind
+they are, but they're an expensive sort. Are we or the dogs to live in
+the coachmen's quarters? You just go and ask!
+
+THEODORE IVÁNITCH. Yes, that will never do. I'll go and ask about it.
+
+COACHMAN. They'd better be brought here to Loukérya.
+
+SERVANTS' COOK (angrily). People have to eat here, and you'd like to
+lock dogs in here! As it is....
+
+COACHMAN. And I've got the liveries, and the sledge-covers and the
+harness there, and they expect things kept clean! Perhaps the porter's
+lodge might do.
+
+THEODORE IVÁNITCH. I must ask Vasíly Leoníditch.
+
+COACHMAN (angrily). He'd better hang the brutes round his neck and lug
+them about with him! But no fear: he'd rather ride on horseback
+himself. It's he as spoilt. Beauty without rhyme or reason. That was a
+horse!... Oh, dear! what a life!
+
+     [Exit, slamming door.
+
+THEODORE IVÁNITCH. That's not right! Certainly not right! (To
+PEASANTS.) Well, then, it's time we were saying good-bye, friends.
+
+PEASANTS. Good-bye!
+
+     [Exit THEODORE IVÁNITCH.
+
+     [As soon as he is gone a sound of groaning is heard from the top
+      of the oven.
+
+SECOND PEASANT. He's sleek, that one; looks like a general.
+
+SERVANTS' COOK. Rather! Why he has a room all to himself; he gets his
+washing, his tea and sugar, and food from the master's table.
+
+DISCHARGED COOK (on the oven). Why shouldn't the old beggar live well?
+He's lined his pockets all right!
+
+SECOND PEASANT. Who's that up there, on the oven?
+
+SERVANTS' COOK. Oh, it's only a man.
+
+     [Silence.
+
+FIRST PEASANT. Well, and you, too, as I noticed a while since when you
+were supping, have capital food to eat.
+
+SERVANTS' COOK. We can't complain. She's not mean about the food. We
+have wheat bread every Sunday, and fish when a holiday happens to be a
+fast-day, too, and those who like may eat meat.
+
+SECOND PEASANT. And does any one tuck into flesh on fast-days?
+
+SERVANTS' COOK. Oh, they nearly all do! Only the old coachman--not the
+one who was here just now but the old one--and Simon, and I and the
+housekeeper, fast--all the others eat meat.
+
+SECOND PEASANT. And the master himself?
+
+SERVANTS' COOK. Catch him! Why, I bet he's forgotten there is such a
+thing as fasting!
+
+THIRD PEASANT. Oh, Lord!
+
+FIRST PEASANT. That's the gentlefolks' way: they have got it all out
+of their books. 'Cos of their intelex!
+
+THIRD PEASANT. Shouldn't wonder if they feed on wheat bread every day!
+
+SERVANTS' COOK. Wheat bread, indeed! Much they think of wheat bread!
+You should see what food they eat. No end of different things!
+
+FIRST PEASANT. In course gentlefolks' food is of an airial kind.
+
+SERVANTS' COOK. Airial, of course, but all the same they're good at
+stuffing themselves, they are!
+
+FIRST PEASANT. Have healthy appekites, so to say.
+
+SERVANTS' COOK. 'Cos they always rinse it down! All with sweet wines,
+and spirits, and fizzy liquors. They have a different one to suit
+every kind of food. They eat and rinse it down, and eat and rinse it
+down, they do.
+
+FIRST PEASANT. And so the food's floated down in proportion, so to
+say.
+
+SERVANTS' COOK. Ah, yes, they are good at stuffing! It's awful! You
+see, it's not just sitting down, eating, then saying grace and going
+away--they're always at it!
+
+SECOND PEASANT. Like pigs with their feet in the trough!
+
+     [Peasants laugh.
+
+SERVANTS' COOK. As soon as, by God's grace, they have opened their
+eyes, the samovár is brought in--tea, coffee, chocolate. Hardly is the
+second samovár emptied, a third has to be set. Then lunch, then
+dinner, then again coffee. They've hardly left off, then comes tea,
+and all sorts of tit-bits and sweetmeats--there's never an end to it!
+They even lie in bed and eat!
+
+THIRD PEASANT. There now; that's good.
+
+     [Laughs.
+
+FIRST AND SECOND PEASANTS. What are you about?
+
+THIRD PEASANT. If I could only live a single day like that!
+
+SECOND PEASANT. But when do they do their work?
+
+SERVANTS' COOK. Work indeed! What is their work? Cards and piano--
+that's all their work. The young lady used to sit down to the piano as
+soon as she opened her eyes, and off she'd go! And that other one who
+lives here, the teacher, stands and waits. "When will the piano be
+free?" When one has finished, off rattles the other, and sometimes
+they'd put two pianos near one another and four of 'em would bust out
+at once. Bust out in such a manner, you could hear 'em down here!
+
+THIRD PEASANT. Oh, Lord!
+
+SERVANTS' COOK. Well, and that's all the work they do! Piano or cards!
+As soon as they have met together--cards, wine, smoking, and so on,
+all night long. And as soon as they are up: eating again!
+
+     [Enter SIMON.
+
+SIMON. Hope you're enjoying your tea!
+
+FIRST PEASANT. Come and join us.
+
+SIMON. (comes up to the table). Thank you kindly.
+
+     [First PEASANT pours out a cup of tea for him.
+
+SECOND PEASANT. Where have you been?
+
+SIMON. Upstairs.
+
+SECOND PEASANT. Well, and what was being done there?
+
+SIMON. Why, I couldn't make it out at all! I don't know how to explain
+it.
+
+SECOND PEASANT. But what was it?
+
+SIMON. I can't explain it. They have been trying some kind of strength
+in me. I can't make it out. Tánya says, "Do it, and we'll get the land
+for our peasants; he'll sell it them."
+
+SECOND PEASANT. But how is she going to manage it?
+
+SIMON. I can't make it out, and she won't say. She says, "Do as I tell
+you," and that's all.
+
+SECOND PEASANT. But what is it you have to do?
+
+SIMON. Nothing just now. They made me sit down, put out the lights and
+told me to sleep. And Tánya had hidden herself there. They didn't see
+her, but I did.
+
+SECOND PEASANT. Why? What for?
+
+SIMON. The Lord only knows--I can't make it out.
+
+FIRST PEASANT. Naturally, it is for the distraction of time.
+
+SECOND PEASANT. Well, it's clear you and I can make nothing of it. You
+had better tell me whether you have taken all your wages yet.
+
+SIMON. No, I've not drawn any. I have twenty-eight roubles to the
+good, I think.
+
+SECOND PEASANT. That's all right! Well, if God grants that we get the
+land, I'll take you home, Simon.
+
+SIMON. With all my heart!
+
+SECOND PEASANT. You've got spoilt, I should say. You'll not want to
+plough?
+
+SIMON. Plough? Only give me the chance! Plough or mow,--I'm game.
+Those are things one doesn't forget.
+
+FIRST PEASANT. But it don't seem very desirous after town life, for
+example? Eh!
+
+SIMON. It's good enough for me. One can live in the country, too.
+
+FIRST PEASANT. And Daddy Mítry here is already on the look-out for
+your place; he's hankering after a life of luckshury!
+
+SIMON. Eh, Daddy Mítry, you'd soon get sick of it. It seems easy
+enough when one looks at it, but there's a lot of running about that
+takes it out of one.
+
+SERVANTS' COOK. You should see one of their balls, Daddy Mítry, then
+you would be surprised!
+
+THIRD PEASANT. Why, do they eat all the time?
+
+SERVANTS' COOK. My eye! You should have seen what we had here awhile
+ago. Theodore Ivánitch took me upstairs and I peeped in. The ladies--
+awful! Dressed up! Dressed up, bless my heart, and all bare down to
+here, and their arms bare.
+
+THIRD PEASANT. Oh, Lord!
+
+SECOND PEASANT. Faugh! How beastly!
+
+FIRST PEASANT. I take it the climate allows of that sort of thing!
+
+SERVANTS' COOK. Well, daddy, so I peeped in. Dear me, what it was
+like! All of 'em in their natural skins! Would you believe it: old
+women--our mistress, only think, she's a grandmother, and even she'd
+gone and bared her shoulders.
+
+THIRD PEASANT. Oh, Lord!
+
+SERVANTS' COOK. And what next? The music strikes up, and each man of
+'em went up to his own, catches hold of her, and off they go twirling
+round and round!
+
+SECOND PEASANT. The old women, too?
+
+SERVANTS' COOK. Yes, the old ones, too.
+
+SIMON. No, the old ones sit still.
+
+SERVANTS' COOK. Get along,--I've seen it myself!
+
+SIMON. No, they don't.
+
+DISCHARGED COOK (in a hoarse voice, looking down from the oven).
+That's the Polka-Mazurka. You fools don't understand what dancing is.
+The way they dance....
+
+SERVANTS' COOK. Shut up, you dancer! And keep quiet--there's some one
+coming.
+
+     [Enter GREGORY; old COOK hides hurriedly.
+
+GREGORY (to SERVANTS' COOK). Bring some sour cabbage.
+
+SERVANTS' COOK. I am only just up from the cellar, and now I must go
+down again! Who is it for?
+
+GREGORY. For the young ladies. Be quick, and send it up with Simon. I
+can't wait!
+
+SERVANTS' COOK. There now, they tuck into sweetmeats till they are
+full up, and then they crave for sour cabbage!
+
+FIRST PEASANT. That's to make a clearance.
+
+SERVANTS' COOK. Of course, and as soon as there is room inside, they
+begin again!
+
+     [Takes basin, and exit.
+
+GREGORY (at PEASANTS). Look at them, how they've established
+themselves down here! Mind, if the mistress finds it out she'll give
+it you hot, like she did this morning!
+
+     [Exit, laughing.
+
+FIRST PEASANT. That's just it, she did raise a storm that time--awful!
+
+SECOND PEASANT. That time it looked as if the master was going to step
+in, but seeing that the missus was about to blow the very roof off the
+house, he slams the door. Have your own way, thinks he.
+
+THIRD PEASANT (waving his arm). It's the same everywhere. My old
+woman, let's say, she kicks up such a rumpus sometimes--it's just
+awful! Then I just get out of the hut. Let her go to Jericho! She'll
+give you one with the poker if you don't mind. Oh, Lord!
+
+     [JACOB enters hurriedly with a prescription.
+
+JACOB. Here, Simon, you run to the chemist's and get these powders for
+the mistress!
+
+SIMON. But master told me not to go out.
+
+JACOB. You've plenty of time; your business won't begin till after
+their tea. Hope you are enjoying your tea!
+
+FIRST PEASANT. Thanks, come and join us.
+
+     [Exit SIMON.
+
+JACOB. I haven't time. However, I'll just have one cup for company's
+sake.
+
+FIRST PEASANT. And we've just been having a conversation as to how
+your mistress carried on so haughty this morning.
+
+JACOB. Oh, she's a reg'lar fury! So hot-tempered, that she gets quite
+beside herself. Sometimes she even bursts out crying.
+
+FIRST PEASANT. Now, there's a thing I wanted to ask you about. What,
+for example, be these mikerots she was illuding to erewhile? "They've
+infested the house with mikerots, with mikerots," she says. What is
+one to make of these same mikerots?
+
+JACOB. Mikerogues, you mean! Well, it seems there is such a kind of
+bugs; all illnesses come from them, they say. So she says there are
+some of 'em on you. After you were gone, they washed and washed and
+sprinkled the place where you had stood. There's a kind of physic as
+kills these same bugs, they say. Second Peasant. Then where have we
+got these bugs on us?
+
+JACOB (drinking his tea). Why, they say they're so small that one
+can't see 'em even through a glass.
+
+SECOND PEASANT. Then how does she know I've got 'em on me? Perhaps
+there's more of that muck on her than on me!
+
+JACOB. There now, you go and ask her!
+
+SECOND PEASANT. I believe it's humbug.
+
+JACOB. Of course it's bosh. The doctors must invent something, or else
+what are they paid for? There's one comes to us every day. Comes,--
+talks a bit,--and pockets ten roubles!
+
+SECOND PEASANT. Nonsense!
+
+JACOB. Why, there's one as takes a hundred!
+
+FIRST PEASANT. A hundred? Humbug!
+
+JACOB. A hundred. Humbug, you say? Why, if he has to go out of town,
+he'll not do it for less than a thousand! "Give a thousand," he says,
+"or else you may kick the bucket for what I care!"
+
+THIRD PEASANT. Oh, Lord!
+
+SECOND PEASANT. Then does he know some charm?
+
+JACOB. I suppose he must. I served at a General's outside Moscow once:
+a cross, terrible proud old fellow he was--just awful. Well, this
+General's daughter fell ill. They send for that doctor at once. "A
+thousand roubles, then I'll come." Well, they agreed, and he came.
+Then they did something or other he didn't like, and he bawled out at
+the General and says, "Is this the way you show your respect for me?
+Then I'll not attend her!" And, oh, my! The old General forgot all his
+pride, and starts wheedling him in every way not to chuck up the job!
+
+FIRST PEASANT. And he got the thousand?
+
+JACOB. Of course!
+
+SECOND PEASANT. That's easy got money. What wouldn't a peasant do with
+such a sum!
+
+THIRD PEASANT. And I think it's all bosh. That time my foot was
+festering I had it doctored ever so long. I spent nigh on five roubles
+on it,--then I gave up doctoring, and it got all right!
+
+     [DISCHARGED COOK on the oven coughs.
+
+JACOB. Ah, the old crony is here again!
+
+FIRST PEASANT. Who might that man be?
+
+JACOB. He used to be our master's cook. He comes to see Loukérya.
+
+FIRST PEASANT. Kitchen-master, as one might say. Then, does he live
+here?
+
+JACOB. No, they won't allow that. He's here one day, there another. If
+he's got a copper he goes to a dosshouse; but when he has drunk all,
+he comes here.
+
+SECOND PEASANT. How did he come to this?
+
+JACOB. Simply grew weak. And what a man he used to be--like a
+gentleman! Went about with a gold watch; got forty roubles a month
+wages. And now look at him! He'd have starved to death long ago if it
+hadn't been for Loukérya.
+
+     [Enter SERVANTS' COOK with the sour cabbage.
+
+JACOB (to SERVANTS' COOK). I see you've got Paul Petróvitch here
+again?
+
+SERVANTS' COOK. And where's he to go to? Is he to go and freeze?
+
+THIRD PEASANT. What liquor does.... Liquor, let's say....
+
+     [Clicks his tongue sympathetically.
+
+SECOND PEASANT. Of course. A firm man's firm as a rock; a weak man's
+weaker than water.
+
+DISCHARGED COOK (gets off the oven with trembling hands and legs).
+Loukérya, I say, give us a drop!
+
+SERVANTS' COOK. What are you up to? I'll give you such a drop!...
+
+DISCHARGED COOK. Have you no conscience? I'm dying! Brothers, a
+copper....
+
+SERVANTS' COOK. Get back on the oven, I tell you!
+
+DISCHARGED COOK. Half a glass only, cook, for Heaven's sake! I say, do
+you understand? I ask you in the name of Heaven, now!
+
+SERVANTS' COOK. Come along, here's some tea for you.
+
+DISCHARGED COOK. Tea; what is tea? Weak, sloppy stuff. A little vódka
+--just one little drop.... Loukérya!
+
+THIRD PEASANT. Poor old soul, what agony it is!
+
+SECOND PEASANT. You'd better give him some.
+
+SERVANTS' COOK (gets out a bottle and fills a wine-glass). Here you
+are; you'll get no more.
+
+DISCHARGED COOK (clutches hold of it and drinks, trembling all over).
+Loukérya, Cook! I am drinking, and you must understand....
+
+SERVANTS' COOK. Now, then, stop your chatter! Get on to the oven, and
+let not a breath of you be heard!
+
+     [The old COOK meekly begins to climb up, muttering something to
+      himself.
+
+SECOND PEASANT. What it is, when a man gives way to his weakness!
+
+FIRST PEASANT. That's just it--human weakness.
+
+THIRD PEASANT. That goes without saying.
+
+     [The DISCHARGED COOK settles down, muttering all the time.
+
+     [Silence.
+
+SECOND PEASANT. I want to ask you something: that girl of Aksínya's as
+comes from our village and is living here. How is she? What is she
+like? How is she living--I mean, does she live honest?
+
+JACOB. She's a nice girl; one can say nothing but good of her.
+
+SERVANTS' COOK. I'll tell you straight, daddy; I know this here
+establishment out and out, and if you mean to have Tánya for your
+son's wife--be quick about it, before she comes to grief, or else
+she'll not escape!
+
+JACOB. Yes, that's true. A while ago we had a girl here, Nataly. She
+was a good girl too. And she was lost without rhyme or reason. No
+better than that chap!
+
+     [Pointing to the old COOK.
+
+SERVANTS' COOK. There's enough to dam a mill-pool, with the likes of
+us, as perish! 'Cos why, every one is tempted by the easy life and the
+good food. And see there,--as soon as one has tasted the good food she
+goes and slips. And once she's slipped, they don't want her, but get a
+fresh one in her place. So it was with dear little Nataly; she also
+slipped, and they turned her out. She had a child and fell ill, and
+died in the hospital last spring. And what a girl she used to be!
+
+THIRD PEASANT. Oh, Lord! People are weak; they ought to be pitied.
+
+DISCHARGED COOK. Those devils pity? No fear! (He hangs his legs down
+from the oven.) I have stood roasting myself by the kitchen range for
+thirty years, and now that I am not wanted, I may go and die like a
+dog.... Pity indeed!...
+
+FIRST PEASANT. That's just it. It's the old circumstances.
+
+SECOND PEASANT. While they drank and they fed, you were "curly head."
+When they'd finished the prog, 'twas "Get out, mangy dog!"
+
+THIRD PEASANT. Oh Lord!
+
+DISCHARGED COOK. Much you know. What is "Sautey a la Bongmont"? What
+is "Bavassary"? Oh, the things I could make! Think of it! The Emperor
+tasted my work, and now the devils want me no longer. But I am not
+going to stand it!
+
+SERVANTS' COOK. Now, then, stop that noise, mind.... Get up right into
+the corner, so that no one can see you, or else Theodore Ivánitch or
+some one may come in, and both you and me'll be turned out!
+
+     [Silence.
+
+JACOB. And do you know my part of the country? I'm from Voznesénsky.
+
+SECOND PEASANT. Not know it? Why, it's no more'n ten miles from our
+village; not that across the ford! Do you cultivate any land there?
+
+JACOB. My brother does, and I send my wages. Though I live here, I am
+dying for a sight of home.
+
+FIRST PEASANT. That's just it.
+
+SECOND PEASANT. Then Anísim is your brother?
+
+JACOB. Own brother. He lives at the farther end of the village.
+
+SECOND PEASANT. Of course, I know; his is the third house.
+
+     [Enter TÁNYA, running.
+
+TÁNYA. Jacob, what are you doing, amusing yourself here? She is
+calling you!
+
+JACOB. I'm coming; but what's up?
+
+TÁNYA. Frisk is barking; it's hungry. And she's scolding you. "How
+cruel he is," she says. "He's no feeling," she says. "It's long past
+Frisk's dinner-time, and he has not brought her food!"
+
+     [Laughs.
+
+JACOB (rises to go). Oh, she's cross? What's going to happen now, I
+wonder?
+
+SERVANTS' COOK. Here, take the cabbage with you.
+
+JACOB. All right, give it here.
+
+     [Takes basin, and exit.
+
+FIRST PEASANT. Who is going to dine now?
+
+TÁNYA. Why, the dog! It's her dog. (Sits down and takes up the
+tea-pot.) Is there any more tea? I've brought some.
+
+     [Puts fresh tea into the tea-pot.
+
+FIRST PEASANT. Dinner for a dog?
+
+TÁNYA. Yes, of course! They prepare a special cutlet for her; it must
+not be too fat. And I do the washing--the dog's washing, I mean.
+
+THIRD PEASANT. Oh Lord!
+
+TÁNYA. It's like that gentleman who had a funeral for his dog.
+
+SECOND PEASANT. What's that?
+
+TÁNYA. Why, some one told me he had a dog--I mean the gentleman had a
+dog. And it died. It was winter, and he went in his sledge to bury
+that dog. Well, he buried it, and on the way home he sits and cries--
+the gentleman does. Well, there was such a bitter frost that the
+coachman's nose keeps running, and he has to keep wiping it. Let me
+fill your cup! (Fills it.) So he keeps wiping his nose, and the
+gentleman sees it, and says, "What are you crying about?" And the
+coachman, he says, "Why, sir, how can I help it; is there another dog
+like him?"
+
+     [Laughs.
+
+SECOND PEASANT. And I daresay he thinks to himself, "If your own self
+was to kick the bucket I'd not cry."
+
+     [Laughs.
+
+DISCHARGED COOK (from up on the oven). That is true; that's right!
+
+TÁNYA. Well, the gentleman, he gets home and goes straight to his
+lady: "What a good-hearted man our coachman is; he was crying all the
+way home about poor Dash. Have him called.... Here, drink this glass
+of vódka," he says, "and here's a rouble as a reward for you." That's
+just like her saying Jacob has no feelings for her dog!
+
+     [The PEASANTS laugh.
+
+FIRST PEASANT. That's the style!
+
+SECOND PEASANT. That was a go!
+
+THIRD PEASANT. Aye, lassie, but you've set us a-laughing!
+
+TÁNYA (pouring out more tea). Have some more! Yes, it only seems that
+our life is pleasant; but sometimes it is very disgusting,--clearing
+up all their messes! Faugh! It's better in the country. (PEASANTS turn
+their cups upside-down, as a polite sign that they have had enough.
+TÁNYA pours out more tea.) Have some more, Efím Antónitch. I'll fill
+your cup, Mítry Vlásitch.
+
+THIRD PEASANT. All right, fill it, fill it.
+
+FIRST PEASANT. Well, dear, and what progression is our business
+making?
+
+TÁNYA. It's getting on....
+
+FIRST PEASANT. Simon told us....
+
+TÁNYA. (quickly). Did he?
+
+SECOND PEASANT. But he could not make us understand.
+
+TÁNYA. I can't tell you now, but I'm doing my best--all I can! And
+I've got your paper here! (Shows the paper hidden under the bib of her
+apron.) If only one thing succeeds ... (Shrieks.) Oh, how nice it
+would be!
+
+SECOND PEASANT. Don't lose that paper, mind. It has cost money.
+
+TÁNYA. Never fear. You only want him to sign it? Is that all?
+
+THIRD PEASANT. Why, what else? Let's say he's signed it, and it's
+done! (Turns his cup upside-down.) I've had enough.
+
+TÁNYA (aside). He'll sign it; you'll see he will.... Have some more.
+
+     [Pours out tea.
+
+FIRST PEASANT. If only you get this business about the sale of the
+land settled, the Commune would pay your marriage expenses.
+
+     [Refuses the tea.
+
+TÁNYA (pouring out tea). Do have another cup.
+
+THIRD PEASANT. You get it done, and we'll arrange your marriage, and I
+myself, let's say, will dance at the wedding. Though I've never danced
+in all my born days, I'll dance then!
+
+TÁNYA (laughing). All right, I'll be in hopes of it.
+
+     [Silence.
+
+SECOND PEASANT (examines TÁNYA). That's all very well, but you're not
+fit for peasant work.
+
+TÁNYA. Who? I? Why, don't you think me strong enough? You should see
+me lacing up my mistress. There's many a peasant couldn't tug as hard.
+
+SECOND PEASANT. Where do you tug her to?
+
+TÁNYA. Well, there's a thing made with bone, like--something like a
+stiff jacket, only up to here! Well, and I pull the strings just as
+when you saddle a horse--when you ... what d'ye call it? You know,
+when you spit on your hands!
+
+SECOND PEASANT. Tighten the girths, you mean.
+
+TÁNYA. Yes, yes, that's it. And you know I mustn't shove against her
+with my knee.
+
+     [Laughs.
+
+SECOND PEASANT. Why do you pull her in?
+
+TÁNYA. For a reason!
+
+SECOND PEASANT. Why, is she doing penance?
+
+TÁNYA. No, it's for beauty's sake!
+
+FIRST PEASANT. That's to say, you pull in her paunch for appearance'
+sake.
+
+TÁNYA. Sometimes I lace her up so that her eyes are ready to start
+from her head, and she says, "Tighter," till my hands tingle. And you
+say I'm not strong!
+
+     [PEASANTS laugh and shake their heads.
+
+TÁNYA. But here, I've been jabbering.
+
+     [Runs away, laughing.
+
+THIRD PEASANT. Ah, the lassie has made us laugh!
+
+FIRST PEASANT. She's a tidy one!
+
+SECOND PEASANT. She's not bad.
+
+     [Enter SAHÁTOF and VASÍLY LEONÍDITCH. SAHÁTOF holds a teaspoon in
+      his hand.
+
+VASÍLY LEONÍDITCH. Not exactly a dinner, but a déjeuner dinatoire. And
+first-rate it was, I tell you. Ham of sucking-pig, delicious! Roulier
+feeds one splendidly! I've only just returned. (Sees PEASANTS.) Ah,
+the peasants are here again!
+
+SAHÁTOF. Yes, yes, that's all very well, but we came here to hide this
+article. Where shall we hide it?
+
+VASÍLY LEONÍDITCH. Excuse me a moment. (To SERVANTS' COOK.) Where are
+the dogs?
+
+SERVANTS' COOK. In the coachman's quarters. You can't keep dogs in the
+servants' kitchen!
+
+VASÍLY LEONÍDITCH. Ah, in the coachman's quarters? All right.
+
+SAHÁTOF. I am waiting.
+
+VASÍLY LEONÍDITCH. Excuse me, please. Eh, what? Hide it? I'll tell you
+what. Let's put it into one of the peasants' pockets. That one. I say,
+where's your pocket? Eh, what?
+
+THIRD PEASANT. What for d'ye want my pocket? You're a good 'un! My
+pocket! There's money in my pocket!
+
+VASÍLY LEONÍDITCH. Where's your bag, then?
+
+THIRD PEASANT. What for?
+
+SERVANTS' COOK. What d'you mean? That's the young master!
+
+VASÍLY LEONÍDITCH (laughs. To SAHÁTOF). D'you know why he's so
+frightened? Shall I tell you? He's got a heap of money. Eh, what?
+
+SAHÁTOF. Yes, yes, I see. Well, you talk to them a bit, and I'll put
+it into that bag without being observed, so that they should not
+notice and could not point it out to him. Talk to them.
+
+VASÍLY LEONÍDITCH. All right! (To PEASANTS.) Well then, old fellows,
+how about the land? Are you buying it? Eh, what?
+
+FIRST PEASANT. We have made an offering, so to say, with our whole
+heart. But there,--the business don't come into action nohow.
+
+VASÍLY LEONÍDITCH. You should not be so stingy! Land is an important
+matter! I told you about planting mint. Or else tobacco would also do.
+
+FIRST PEASANT. That's just it. Every kind of producks.
+
+THIRD PEASANT. And you help us, master. Ask your father. Or else how
+are we to live? There's so little land. A fowl, let's say, there's not
+enough room for a fowl to run about.
+
+SAHÁTOF (having put the spoon into a bag belonging to the THIRD
+PEASANT). C'est fait. Ready. Come along.
+
+     [Exit.
+
+VASÍLY LEONÍDITCH. So don't be stingy! Eh? Well, good-bye.
+
+     [Exit.
+
+THIRD PEASANT. Didn't I say, come to some lodging-house? Well,
+supposing we'd had to give three-pence each, then at least we'd have
+been in peace. As to here, the Lord be merciful! "Give us the money,"
+he says. What's that for?
+
+SECOND PEASANT. He's drunk, I daresay.
+
+     [PEASANTS turn their cups upside-down, rise, and cross themselves.
+
+FIRST PEASANT. And d'you mind what a saying he threw out? Sowing mint!
+One must know how to understand them, that one must!
+
+SECOND PEASANT. Sow mint indeed! He'd better bend his own back at that
+work, and then it's not mint he'll hanker after, no fear! Well, many
+thanks!... And now, good woman, would you tell us where we could lie
+down to sleep?
+
+SERVANTS' COOK. One of you can lie on the oven, and the others on
+these benches.
+
+THIRD PEASANT. Christ save you!
+
+     [Prays, crossing himself.
+
+FIRST PEASANT. If only by God's help we get our business settled!
+(Lies down.) Then to-morrow, after dinner, we'd be off by the train,
+and on Tuesday we'd be home again.
+
+SECOND PEASANT. Are you going to put out the light?
+
+SERVANTS' COOK. Put it out? Oh, no! They'll keep running down here,
+first for one thing then another.... You lie down, I'll lower it.
+
+SECOND PEASANT. How is one to live, having so little land? Why, this
+year, I have had to buy corn since Christmas. And the oat-straw is all
+used up. I'd like to get hold of ten acres, and then I could take
+Simon back.
+
+THIRD PEASANT. You're a man with a family. You'd get the land
+cultivated without trouble. If only the business comes off.
+
+SECOND PEASANT. We must pray to the Holy Virgin, maybe she'll help us
+out. (Silence, broken by sighs. Then footsteps and voices are heard
+outside. The door opens. Enter GROSSMAN hurriedly, with his eyes
+bandaged, holding SAHÁTOF'S hand, and followed by the PROFESSOR and
+the DOCTOR, the FAT LADY and LEONÍD FYÓDORITCH, BETSY and PETRÍSTCHEF,
+VASÍLY LEONÍDITCH and MÁRYA KONSTANTÍNOVNA, ANNA PÁVLOVNA and the
+BARONESS, THEODORE IVÁNITCH and TÁNYA.)
+
+     [PEASANTS jump up. GROSSMAN comes forward stepping quickly, then
+      stops.
+
+FAT LADY. You need not trouble yourselves; I have undertaken the task
+of observing, and am strictly fulfilling my duty! Mr. Sahátof, are you
+not leading him?
+
+SAHÁTOF. Of course not!
+
+FAT LADY. You must not lead him, but neither must you resist! (To
+LEONÍD FYÓDORITCH.) I know these experiments. I have tried them
+myself. Sometimes I used to feel a certain effluence, and as soon as I
+felt it....
+
+LEONÍD FYÓDORITCH. May I beg of you to keep perfect silence?
+
+FAT LADY. Oh, I understand so well! I have experienced it myself. As
+soon as my attention was diverted I could no longer....
+
+LEONÍD FYÓDORITCH. Sh...!
+
+     [GROSSMAN goes about, searches near the FIRST and SECOND
+      PEASANTS, then approaches the THIRD, and stumbles over a bench.
+
+BARONESS. Mais dites-moi, on le paye?[6]
+
+ANNA PÁVLOVNA. Je ne saurais vous dire.
+
+BARONESS. Mais c'est un monsieur?
+
+ANNA PÁVLOVNA. Oh, oui!
+
+BARONESS. Ça tient du miraculeux. N'est ce pas? Comment est-ce qu'il
+trouve?
+
+ANNA PÁVLOVNA. Je ne saurais vous dire. Mon mari vous l'expliquera.
+(Noticing PEASANTS, turns round, and sees the SERVANTS' COOK.) Pardon
+... what is this?
+
+     [BARONESS goes up to the group.
+
+ANNA PÁVLOVNA. (to SERVANTS' COOK). Who let the peasants in?
+
+SERVANTS' COOK. Jacob brought them in.
+
+ANNA PÁVLOVNA. Who gave Jacob the order?
+
+SERVANTS' COOK. I can't say. Theodore Ivánitch has seen them.
+
+ANNA PÁVLOVNA. Leoníd!
+
+     [LEONÍD FYÓDORITCH does not hear, being absorbed in the search,
+      and says, Sh....
+
+ANNA PÁVLOVNA. Theodore Ivánitch! What is the meaning of this? Did you
+not see me disinfecting the whole hall, and now the whole kitchen is
+infected, all the rye bread, the milk....
+
+THEODORE IVÁNITCH. I thought there would not be any danger if they
+came here. The men have come on business. They have far to go, and are
+from our village.
+
+ANNA PÁVLOVNA. That's the worst of it! They are from the Koursk
+village, where people are dying of diphtheria like flies! But the
+chief thing is, I ordered them out of the house!... Did I, or did I
+not? (Approaches the others that have gathered round the PEASANTS.) Be
+careful! Don't touch them--they are all infected with diphtheria!
+
+     [No one heeds her, and she steps aside in a dignified manner and
+      stands quietly waiting.
+
+PETRÍSTCHEF (sniffs loudly). I don't know if it is diphtheria, but
+there is some kind of infection in the air. Don't you notice it?
+
+BETSY. Stop your nonsense! Vovo, which bag is it in?
+
+VASÍLY LEONÍDITCH. That one, that one. He is getting near, very near!
+
+PETRÍSTCHEF. Is it spirits divine, or spirits of wine?
+
+BETSY. Now your cigarette comes in handy for once. Smoke closer,
+closer to me.
+
+     [PETRÍSTCHEF leans over her and smokes at her.
+
+VASÍLY LEONÍDITCH. He's getting near, I tell you. Eh, what?
+
+GROSSMAN (searches excitedly round the THIRD PEASANT). It is here; I
+feel it is!
+
+FAT LADY. Do you feel an effluence?
+
+     [GROSSMAN stoops and finds the spoon in the bag.
+
+ALL. Bravo!
+
+     [General enthusiasm.
+
+VASÍLY LEONÍDITCH. Ah! So that's where our spoon was. (To PEASANTS.)
+Then that's the sort you are!
+
+THIRD PEASANT. What sort? I didn't take your spoon! What are you
+making out? I didn't take it, and my soul knows nothing about it. I
+didn't take it--there! Let him do what he likes. I knew he came here
+for no good. "Where's your bag?" says he. I didn't take it, the Lord
+is my witness! (Crosses himself.) I didn't take it!
+
+     [The young people group round the PEASANT, laughing.
+
+LEONÍD FYÓDORITCH (angrily to his son). Always playing the fool! (To
+the THIRD PEASANT.) Never mind, friend! We know you did not take it;
+it was only an experiment.
+
+GROSSMAN (removes bandage from his eyes, and pretends to be coming
+to). Can I have a little water?
+
+     [All fuss round him.
+
+VASÍLY LEONÍDITCH. Let's go straight from here into the coachman's
+room. I've got a bitch there--épâtante![7]
+
+BETSY. What a horrid word! Couldn't you say dog?
+
+VASÍLY LEONÍDITCH. No. I can't say--Betsy is a man, épâtante. I should
+have to say young woman; it's a parallel case. Eh, what? Márya
+Konstantínovna, isn't it true? Good, eh?
+
+     [Laughs loudly.
+
+MÁRYA KONSTANTÍNOVNA. Well, let us go.
+
+     [Exeunt MÁRYA KONSTANTÍNOVNA, BETSY, PETRÍSTCHEF, and VASÍLY
+      LEONÍDITCH.
+
+FAT LADY (to GROSSMAN). Well? how are you? Have you rested? (GROSSMAN
+does not answer. To SAHÁTOF.) And you, Mr. Sahátof, did you feel the
+effluence?
+
+SAHÁTOF. I felt nothing. Yes, it was very fine--very fine. Quite a
+success!
+
+BARONESS.--Admirable! Ça ne le fait pas souffrir? [8]
+
+LEONÍD FYÓDORITCH. Pas le moins du monde.
+
+PROFESSOR (to GROSSMAN). May I trouble you? (Hands him a thermometer.)
+At the beginning of the experiment it was 37 decimal 2 degrees. [9]
+(To DOCTOR.) That's right, I think? Would you mind feeling his pulse?
+Some loss is inevitable.
+
+DOCTOR (to GROSSMAN). Now then, sir, let's have your hand; we'll see,
+we'll see.
+
+     [Takes out his watch and feels GROSSMAN'S pulse.
+
+FAT LADY (to GROSSMAN). One moment! The condition you were in could
+not be called sleep?
+
+GROSSMAN (wearily). It was hypnosis.
+
+SAHÁTOF. In that case, are we to understand that you hypnotised
+yourself?
+
+GROSSMAN. And why not? An hypnotic state may ensue not only in
+consequence of association--the sound of the tom-tom, for instance, in
+Charcot's method--but by merely entering an hypnogenetic zone.
+
+SAHÁTOF. Granting that, it would still be desirable to define what
+hypnotism is, more exactly?
+
+PROFESSOR. Hypnotism is a phenomenon resulting from the transmutation
+of one energy into another.
+
+GROSSMAN. Charcot does not so define it.
+
+SAHÁTOF. A moment, just a moment! That is your definition, but
+Liébault told me himself....
+
+DOCTOR (lets go of GROSSMAN'S pulse). Ah, that's all right; well, now,
+the temperature?
+
+FAT LADY (interrupting). No, allow me! I agree with the Professor. And
+here's the very best proof. After my illness, when I lay insensible, a
+desire to speak came over me. In general I am of a silent disposition,
+but then I was overcome by this desire to speak, and I spoke and
+spoke, and I was told that I spoke in such a way that every one was
+astonished! (To SAHÁTOF.) But I think I interrupted you?
+
+SAHÁTOF (with dignity). Not at all. Pray continue.
+
+DOCTOR. Pulse 82, and the temperature has risen three-tenths of a
+degree.
+
+PROFESSOR. There you are! That's a proof! That's just as it should be.
+(Takes out pocket-book and writes.) 82, yes? And 37 and 5. When the
+hypnotic state is induced, it invariably produces a heightened action
+of the heart.
+
+DOCTOR. I can, as a medical man, bear witness that your prognosis was
+justified by the event.
+
+PROFESSOR (to SAHÁTOF). You were saying?...
+
+SAHÁTOF. I wished to say that Liébault told me himself that the
+hypnotic is only one particular psychical state, increasing
+susceptibility to suggestion.
+
+PROFESSOR. That is so, but still the law of equivalents is the chief
+thing.
+
+GROSSMAN. Moreover, Liébault is far from being an authority, while
+Charcot has studied the subject from all sides, and has proved that
+hypnotism produced by a blow, a trauma....
+
+     [All talking together--
+
+     SAHÁTOF. Yes, but I don't reject Charcot's labor. I know him
+     also, I am only repeating what Liébault told me...
+
+     GROSSMAN (excitedly). There are 3000 patients together in the
+     Salpêtrière, and I have gone through the whole course.
+
+     PROFESSOR. Excuse me, gentlemen, but that is not the point.
+
+FAT LADY (interrupting). One moment, I will explain it to you in two
+words. When my husband was ill, all the doctors gave him up....
+
+LEONÍD FYÓDORITCH. However, we had better go upstairs again. Baroness,
+this way!
+
+     [Exeunt GROSSMAN, SAHÁTOF, PROFESSOR, DOCTOR, the FAT LADY, and
+      BARONESS, talking loudly and interrupting each other.
+
+ANNA PÁVLOVNA (catching hold of LEONÍD FYÓDORITCH'S arm). How often
+have I asked you not to interfere in household matters! You think of
+nothing but your nonsense, and the whole house is on my shoulders. You
+will infect us all!
+
+LEONÍD FYÓDORITCH. What? How? I don't understand what you mean.
+
+ANNA PÁVLOVNA. How? Why, people ill of diphtheria sleep in the
+kitchen, which is in constant communication with the whole house.
+
+LEONÍD FYÓDORITCH. Yes, but I....
+
+ANNA PÁVLOVNA. What, I?
+
+LEONÍD FYÓDORITCH. I know nothing about it.
+
+ANNA PÁVLOVNA. It's your duty to know, if you are the head of the
+family. Such things must not be done.
+
+LEONÍD FYÓDORITCH. But I never thought.... I thought....
+
+ANNA PÁVLOVNA. It is sickening to listen to you!
+
+     [LEONÍD FYÓDORITCH remains silent.
+
+ANNA PÁVLOVNA (to THEODORE IVÁNITCH). Turn them out at once! They are
+to leave my kitchen immediately! It is terrible! No one listens to me;
+they do it out of spite.... I turn them out from there, and they bring
+them in here! And with my illness.... (Gets more and more excited, and
+at last begins to cry.) Doctor! Doctor! Peter Petróvitch!... He's gone
+too!...
+
+     [Exit, sobbing, followed by LEONÍD FYÓDORITCH.
+
+     [All stand silent for a long time.
+
+THIRD PEASANT. Botheration take them all! If one don't mind, the
+police will be after one here. And I have never been to law in all my
+born days. Let's go to some lodging-house, lads!
+
+THEODORE IVÁNITCH. (to TÁNYA). What are we to do?
+
+TÁNYA. Never mind, Theodore Ivánitch, let them sleep with the
+coachman.
+
+THEODORE IVÁNITCH. How can we do that? The coachman was complaining as
+it is, that his place is full of dogs.
+
+TÁNYA. Well, then, the porter's lodge.
+
+THEODORE IVÁNITCH. And supposing it's found out?
+
+TÁNYA. It won't be found out! Don't trouble about that, Theodore
+Ivánitch. How can one turn them out now, at night? They'll not find
+anywhere to go to.
+
+THEODORE IVÁNITCH. Well, do as you please. Only they must go away from
+here.
+
+     [Exit.
+
+     [PEASANTS take their bags.
+
+DISCHARGED COOK. Oh those damned fiends! It's all their fat! Fiends!
+
+SERVANTS' COOK. You be quiet there. Thank goodness they didn't see
+you!
+
+TÁNYA. Well then, daddy, come along to the porter's lodge.
+
+FIRST PEASANT. Well, but how about our business? How, for example,
+about the applience of his hand to the signature? May we be in hopes?
+
+TÁNYA. We'll see in an hour's time.
+
+SECOND PEASANT. You'll do the trick?
+
+TÁNYA (laughs). Yes, God willing!
+
+CURTAIN
+
+
+
+
+ACT III
+
+Evening of the same day. The small drawing-room in LEONÍD FYÓDORITCH'S
+house, where the séances are always held. LEONÍD FYÓDORITCH and the
+PROFESSOR.
+
+LEONÍD FYÓDORITCH. Well then, shall we risk a séance with our new
+medium?
+
+PROFESSOR. Yes, certainly. He is a powerful medium, there is no doubt
+about it. And it is especially desirable that the séance should take
+place to-day with the same people. Grossman will certainly respond to
+the influence of the mediumistic energy, and then the connection and
+identity of the different phenomena will be still more evident. You
+will see then that, if the medium is as strong as he was just now,
+Grossman will vibrate.
+
+LEONÍD FYÓDORITCH. Then I will send for Simon and ask those who wish
+to attend to come in.
+
+PROFESSOR. Yes, all right! I will just jot down a few notes.
+
+     [Takes out his note-book and writes.
+
+     [Enter SAHÁTOF.
+
+SAHÁTOF. They have just settled down to whist in Anna Pávlovna's
+drawing-room, and as I am not wanted there--and as I am interested in
+your séance--I have put in an appearance here. But will there be a
+séance?
+
+LEONÍD FYÓDORITCH. Yes, certainly!
+
+SAHÁTOF. In spite of the absence of Mr. Kaptchítch's mediumistic
+powers?
+
+LEONÍD FYÓDORITCH. Vous avez la main heureuse. [10] Fancy, that very
+peasant whom I mentioned to you this morning turns out to be an
+undoubted medium.
+
+SAHÁTOF. Dear me! Yes, that is peculiarly interesting!
+
+LEONÍD FYÓDORITCH. Yes, we tried a few preliminary experiments with
+him just after dinner.
+
+SAHÁTOF. So you've had time already to experiment, and to convince
+yourself....
+
+LEONÍD FYÓDORITCH. Yes, perfectly! And he turns out to be an
+exceptionally powerful medium.
+
+SAHÁTOF (incredulously). Dear me!
+
+LEONÍD FYÓDORITCH. It turns out that it has long been noticed in the
+servants' hall. When he sits down to table, the spoon springs into his
+hand of its own accord! (To the PROFESSOR.) Had you heard about it?
+
+PROFESSOR. No, I had not heard that detail.
+
+SAHÁTOF (to the PROFESSOR). But still, you admit the possibility of
+such phenomena?
+
+PROFESSOR. What phenomena?
+
+SAHÁTOF. Well, spiritualistic, mediumistic, and supernatural phenomena
+in general.
+
+PROFESSOR. The question is, what do we consider supernatural? When,
+not a living man but a piece of stone attracted a nail to itself, how
+did the phenomena strike the first observers? As something natural? Or
+supernatural?
+
+SAHÁTOF. Well, of course; but phenomena such as the magnet attracting
+iron always repeat themselves.
+
+PROFESSOR. It is just the same in this case. The phenomenon repeats
+itself and we experiment with it. And not only that, but we apply to
+the phenomena we are investigating the laws common to other phenomena.
+These phenomena seem supernatural only because their causes are
+attributed to the medium himself. But that is where the mistake lies.
+The phenomena are not caused by the medium, but by psychic energy
+acting through a medium, and that is a very different thing. The whole
+matter lies in the law of equivalents.
+
+SAHÁTOF. Yes, certainly, but....
+
+     [Enter TÁNYA, who hides behind the hangings.
+
+LEONÍD FYÓDORITCH. Only remember that we cannot reckon on any results
+with certainty, with this medium any more than with Home or
+Kaptchítch. We may not succeed, but on the other hand we may even have
+perfect materialisation.
+
+SAHÁTOF. Materialisation even? What do you mean by materialisation?
+
+LEONÍD FYÓDORITCH. Why, I mean that some one who is dead--say, your
+father or your grandfather--may appear, take you by the hand, or give
+you something; or else some one may suddenly rise into the air, as
+happened to Alexéy Vladímiritch last time.
+
+PROFESSOR. Of course, of course. But the chief thing is the
+explanation of the phenomena, and the application to them of general
+laws.
+
+     [Enter the FAT LADY.
+
+FAT LADY. Anna Pávlovna has allowed me to join you.
+
+LEONÍD FYÓDORITCH. Very pleased.
+
+FAT LADY. Oh, how tired Grossman seems! He could scarcely hold his
+cup. Did you notice (to the PROFESSOR) how pale he turned at the
+moment he approached the hiding-place? I noticed it at once, and was
+the first to mention it to Anna Pávlovna.
+
+PROFESSOR. Undoubtedly,--loss of vital energy.
+
+FAT LADY. Yes, it's just as I say, one should not abuse that sort of
+thing. You know, a hypnotist once suggested to a friend of mine, Véra
+Kónshin (oh, you know her, of course)--well, he suggested that she
+should leave off smoking,--and her back began to ache!
+
+PROFESSOR (trying to have his say). The temperature and the pulse
+clearly indicate....
+
+FAT LADY. One moment! Allow me! Well, I said to her: it's better to
+smoke than to suffer so with one's nerves. Of course, smoking is
+injurious; I should like to give it up myself, but, do what I will, I
+can't! Once I managed not to smoke for a fortnight, but could hold out
+no longer.
+
+PROFESSOR (again trying to speak). Clearly proves....
+
+FAT LADY. Yes, no! Allow me, just one word! You say, "loss of
+strength." And I was also going to say that, when I travelled with
+post-horses ... the roads used to be dreadful in those days--you
+don't remember--but I have noticed that all our nervousness comes from
+railways! I, for instance, can't sleep while travelling; I cannot fall
+asleep to save my life!
+
+PROFESSOR (makes another attempt, which the FAT LADY baffles). The
+loss of strength....
+
+SAHÁTOF (smiling). Yes; oh yes!
+
+     [LEONÍD FYÓDORITCH rings.
+
+FAT LADY. I am awake one night, and another, and a third, and still I
+can't sleep!
+
+     [Enter GREGORY.
+
+LEONÍD FYÓDORITCH. Please tell Theodore to get everything ready for
+the séance, and send Simon here--Simon, the butler's assistant,--do
+you hear?
+
+GREGORY. Yes, sir.
+
+     [Exit.
+
+PROFESSOR (to SAHÁTOF). The observation of the temperature and the
+pulse have shown loss of vital energy. The same will happen in
+consequence of the mediumistic phenomena. The law of the conservation
+of energy....
+
+FAT LADY. Oh yes, yes; I was just going to say that I am very glad
+that a simple peasant turns out to be a medium. That's very good. I
+always did say that the Slavophils....
+
+LEONÍD FYÓDORITCH. Let's go into the drawing-room in the meantime.
+
+FAT LADY. Allow me, just one word! The Slavophils are right; but I
+always told my husband that one ought never to exaggerate anything!
+"The golden mean," you know. What is the use of maintaining that the
+common people are all perfect, when I have myself seen....
+
+LEONÍD FYÓDORITCH. Won't you come into the drawing-room?
+
+FAT LADY. A boy--that high--who drank! I gave him a scolding at once.
+And he was grateful to me afterwards. They are children, and, as I
+always say, children need both love and severity!
+
+     [Exeunt all, all talking together.
+
+     [TÁNYA enters from behind the hangings.
+
+TÁNYA. Oh, if it would only succeed!
+
+     [Begins fastening some threads.
+
+     [Enter BETSY hurriedly.
+
+BETSY. Isn't papa here? (Looks inquiringly at TÁNYA.) What are you
+doing here?
+
+TÁNYA. Oh, Miss Elizabeth, I have only just come; I only wished ...
+only came in....
+
+     [Embarrassed.
+
+BETSY. But they are going to have a séance here directly (Notices
+TÁNYA drawing in the threads, looks at her, and suddenly bursts out
+laughing.) Tánya! Why, it's you who do it all? Now don't deny it. And
+last time it was you too? Yes, it was, it was!
+
+TÁNYA. Miss Elizabeth, dearest!
+
+BETSY (delighted). Oh, that is a joke! Well, I never. But why do you
+do it?
+
+TÁNYA. Oh miss, dear miss, don't betray me!
+
+BETSY. Not for the world! I'm awfully glad. Only tell me how you
+manage it?
+
+TÁNYA. Well, I just hide, and then, when it's all dark, I come out and
+do it. That's how.
+
+BETSY (pointing to threads). And what is this for? You needn't tell
+me. I see; you draw....
+
+TÁNYA. Miss Elizabeth, darling! I will confess it, but only to you. I
+used to do it just for fun, but now I mean business.
+
+BETSY. What? How? What business?
+
+TÁNYA. Well, you see, those peasants that came this morning, you saw
+them. They want to buy some land, and your father won't sell it; well,
+and Theodore Ivánitch, he says it's the spirits as forbid him. So I
+have had a thought as....
+
+BETSY. Oh, I see! Well, you are a clever girl! Do it, do it.... But
+how will you manage it?
+
+TÁNYA. Well, I thought, when they put out the lights, I'll at once
+begin knocking and shying things about, touching their heads with the
+threads, and at last I'll take the paper about the land and throw it
+on the table. I've got it here.
+
+BETSY. Well, and then?
+
+TÁNYA. Why, don't you see? They will be astonished. The peasants had
+the paper, and now it's here. I will teach....
+
+BETSY. Why, of course! Simon is the medium to-day!
+
+TÁNYA. Well, I'll teach him.... (Laughs so that she can't continue.)
+I'll tell him to squeeze with his hands any one he can get hold of! Of
+course, not your father--he'd never dare do that--but any one else;
+he'll squeeze till it's signed.
+
+BETSY (laughing). But that's not the way it is done. Mediums never do
+anything themselves.
+
+TÁNYA. Oh, never mind. It's all one; I daresay it'll turn out all
+right.
+
+     [Enter THEODORE IVÁNITCH.
+
+     [Exit BETSY, making signs to TÁNYA.
+
+THEODORE IVÁNITCH. Why are you here?
+
+TÁNYA. It's you I want, Theodore Ivánitch, dear....
+
+THEODORE IVÁNITCH. Well, what is it?
+
+TÁNYA. About that affair of mine as I spoke of.
+
+THEODORE IVÁNITCH (laughs). I've made the match; yes, I've made the
+match. The matter is settled; we have shaken hands on it, only not had
+a drink on it.
+
+TÁNYA (with a shriek). Never! So it's all right?
+
+THEODORE IVÁNITCH. Don't I tell you so? He says, "I shall consult the
+missus, and then, God willing...."
+
+TÁNYA. Is that what he said? (Shrieks.) Dear Theodore Ivánitch, I'll
+pray for you all the days of my life!
+
+THEODORE IVÁNITCH. All right! All right! Now is not the time. I've
+been ordered to arrange the room for the séance.
+
+TÁNYA. Let me help you. How's it to be arranged?
+
+THEODORE IVÁNITCH. How? Why, the table in the middle of the room--
+chairs--the guitar--the accordion. The lamp is not wanted, only
+candles.
+
+TÁNYA (helps THEODORE IVÁNITCH to place the things). Is that right?
+The guitar here, and here the inkstand. (Places it.) So?
+
+THEODORE IVÁNITCH. Can it be true that they'll make Simon sit here?
+
+TÁNYA. I suppose so; they've done it once.
+
+THEODORE IVÁNITCH. Wonderful! (Puts on his pince-nez.) But is he
+clean?
+
+TÁNYA. How should I know?
+
+THEODORE IVÁNITCH. Then, I'll tell you what....
+
+TÁNYA. Yes, Theodore Ivánitch?
+
+THEODORE IVÁNITCH. Go and take a nail-brush and some Pears' soap; you
+may take mine ... and go and cut his claws and scrub his hands as
+clean as possible.
+
+TÁNYA. He can do it himself.
+
+THEODORE IVÁNITCH. Well then, tell him to. And tell him to put on a
+clean shirt as well.
+
+TÁNYA. All right, Theodore Ivánitch.
+
+     [Exit.
+
+THEODORE IVÁNITCH (sits down in an easy-chair). They're educated and
+learned--Alexéy Vladímiritch now, he's a professor--and yet sometimes
+one can't help doubting very much. The people's rude superstitions are
+being abolished: hobgoblins, sorcerers, witches.... But if one
+considers it, is not this equally superstitious? How is it possible
+that the souls of the dead should come and talk, and play the guitar?
+No! Some one is fooling them, or they are fooling themselves. And as
+to this business with Simon--it's simply incomprehensible. (Looks at
+an album.) Here's their spiritualistic album. How is it possible to
+photograph a spirit? But here is the likeness of a Turk and Leoníd
+Fyódoritch sitting by.... Extraordinary human weakness!
+
+     [Enter LEONÍD FYÓDORITCH.
+
+LEONÍD FYÓDORITCH. Is it all ready?
+
+THEODORE IVÁNITCH (rising leisurely). Quite ready. (Smiles.) Only I
+don't know about your new medium. I hope he won't disgrace you, Leoníd
+Fyódoritch.
+
+LEONÍD FYÓDORITCH. No, I and Alexéy Vladímiritch have tested him. He
+is a wonderfully powerful medium!
+
+THEODORE IVÁNITCH. Well, I don't know. But is he clean enough? I don't
+suppose you have thought of ordering him to wash his hands? It might
+be rather inconvenient.
+
+LEONÍD FYÓDORITCH. His hands? Oh yes! They're not clean, you think?
+
+THEODORE IVÁNITCH. What can you expect? He's a peasant, and there will
+be ladies present, and Márya Vasílevna.
+
+LEONÍD FYÓDORITCH. It will be all right.
+
+THEODORE IVÁNITCH. And then I have something to report to you.
+Timothy, the coachman, complains that he can't keep things clean
+because of the dogs.
+
+LEONÍD FYÓDORITCH (arranging the things on the table absentmindedly).
+What dogs?
+
+THEODORE IVÁNITCH. The three hounds that came for Vasíly Leoníditch
+to-day.
+
+LEONÍD FYÓDORITCH (vexed). Tell Anna Pávlovna! She can do as she likes
+about it. I have no time.
+
+THEODORE IVÁNITCH. But you know her weakness....
+
+LEONÍD FYÓDORITCH. 'Tis just as she likes, let her do as she pleases.
+As for him,--one never gets anything but unpleasantness from him.
+Besides, I am busy.
+
+     [Enter SIMON, smiling; he has a sleeveless peasant's coat on.
+
+SIMON. I was ordered to come.
+
+LEONÍD FYÓDORITCH. Yes, it's all right. Let me see your hands. That
+will do, that will do very well! Well, then, my good fellow, you must
+do just as you did before,--sit down, and give way to your mood. But
+don't think at all.
+
+SIMON. Why should I think? The more one thinks, the worse it is.
+
+LEONÍD FYÓDORITCH. Just so, just so, exactly! The less conscious one
+is, the greater is the power. Don't think, but give in to your mood.
+If you wish to sleep, sleep; if you wish to walk, walk. Do you
+understand?
+
+SIMON. How could one help understanding? It's simple enough.
+
+LEONÍD FYÓDORITCH. But above all, don't be frightened. Because you
+might be surprised yourself. You must understand that just as we live
+here, so a whole world of invisible spirits live here also.
+
+THEODORE IVÁNITCH (improving on what LEONÍD FYÓDORITCH has said).
+Invisible feelings, do you understand?
+
+SIMON (laughs). How can one help understanding! It's very plain as you
+put it.
+
+LEONÍD FYÓDORITCH. You may rise up in the air, or something of the
+kind, but don't be frightened.
+
+SIMON. Why should I be frightened? That won't matter at all.
+
+LEONÍD FYÓDORITCH. Well then, I'll go and call them all.... Is
+everything ready?
+
+THEODORE IVÁNITCH. I think so.
+
+LEONÍD FYÓDORITCH. But the slates?
+
+THEODORE IVÁNITCH. They are downstairs. I'll bring them.
+
+     [Exit.
+
+LEONÍD FYÓDORITCH. All right then. So don't be afraid, but be at your
+ease.
+
+SIMON. Had I not better take off my coat? One would be more easy like.
+
+LEONÍD FYÓDORITCH. Your coat? Oh no. Don't take that off.
+
+     [Exit.
+
+SIMON. She tells me to do the same again, and she will again shy
+things about. How isn't she afraid?
+
+     [Enter TÁNYA in her stockings and in a dress of the color of the
+      wall-paper. SIMON laughs.
+
+TÁNYA. Shsh!... They'll hear! There, stick these matches on your
+fingers as before. (Sticks them on.) Well, do you remember everything?
+
+SIMON (bending his fingers in, one by one). First of all, wet the
+matches and wave my hands about, that's one. Then make my teeth
+chatter, like this ... that's two. But I've forgotten the third thing.
+
+TÁNYA. And it's the third as is the chief thing. Don't forget as soon
+as the paper falls on the table--I shall ring the little bell--then
+you do like this.... Spread your arms out far and catch hold of some
+one, whoever it is as sits nearest, and catch hold of him. And then
+squeeze! (Laughs.) Whether it's a gentleman or a lady, it's all one,
+you just squeeze 'em, and don't let 'em go,--as if it were in your
+sleep, and chatter with your teeth, or else howl like this. (Howls
+sotto-voce.) And when I begin to play on the guitar, then stretch
+yourself as if you were waking up, you know.... Will you remember
+everything?
+
+SIMON. Yes, I'll remember, but it is too funny.
+
+TÁNYA. But mind you don't laugh. Still, it won't matter much if you do
+laugh; they'd think it was in your sleep. Only take care you don't
+really fall asleep when they put out the lights.
+
+SIMON. No fear, I'll pinch my ears.
+
+TÁNYA. Well, then, Sim, darling, only mind do as I tell you, and don't
+get frightened. He'll sign the paper, see if he don't! They're coming!
+
+     [Gets under the sofa.
+
+     [Enter GROSSMAN and the PROFESSOR, LEONÍD FYÓDORITCH and the FAT
+      LADY, the DOCTOR, SAHÁTOF and ANNA PÁVLOVNA. SIMON stands near
+      the door.
+
+LEONÍD FYÓDORITCH. Please come in, all you doubters! Though we have a
+new and accidentally discovered medium, I expect very important
+phenomena to-night.
+
+SAHÁTOF. That's very, very interesting.
+
+FAT LADY (pointing to SIMON). Mais il est très bien! [11]
+
+ANNA PÁVLOVNA. Yes, as a butler's assistant, but hardly....
+
+SAHÁTOF. Wives never have any faith in their husbands' work. You don't
+believe in anything of this kind?
+
+ANNA PÁVLOVNA. Of course not. Kaptchítch, it is true, has something
+exceptional about him, but Heaven knows what all this is about!
+
+FAT LADY. No, Anna Pávlovna, permit me, you can't decide it in such a
+way. Before I was married, I once had a remarkable dream. Dreams, you
+know, are often such that you don't know where they begin and where
+they end; it was just such a dream that I....
+
+     [Enter VASÍLY LEONÍDITCH and PETRÍSTCHEF.
+
+FAT LADY. And much was revealed to me by that dream. Nowadays the
+young people (points to PETRÍSTCHEF and VASÍLY LEONÍDITCH) deny
+everything.
+
+VASÍLY LEONÍDITCH. But look here, you know--now I, for instance, never
+deny anything! Eh, what?
+
+     [BETSY and MÁRYA KONSTANTÍNOVNA enter, and begin talking to
+      PETRÍSTCHEF.
+
+FAT LADY. And how can one deny the supernatural? They say it is
+unreasonable. But what if one's reason is stupid; what then? There
+now, on Garden Street, you know ... why, well, it appeared every
+evening! My husband's brother--what do you call him? Not beau-frère--
+what's the other name for it?--I never can remember the names of these
+different relationships--well, he went there three nights running, and
+still he saw nothing; so I said to him....
+
+LEONÍD FYÓDORITCH. Well, who is going to stay here?
+
+FAT LADY. I! I!
+
+SAHÁTOF. I.
+
+ANNA PÁVLOVNA (to DOCTOR). Do you mean to say you are going to stay?
+
+DOCTOR. Yes; I must see, if only once, what it is that Alexéy
+Vladímiritch has discovered in it. How can we deny anything without
+proof?
+
+ANNA PÁVLOVNA. Then I am to take it to-night for certain?
+
+DOCTOR. Take what?... Oh, the powder. Yes, it would perhaps be better.
+Yes, yes, take it.... However, I shall come upstairs again.
+
+ANNA PÁVLOVNA. Yes, please do. (Loud.) When it is over, mesdames et
+messieurs, I shall expect you to come to me upstairs to rest from your
+emotions, and then we will finish our rubber.
+
+FAT LADY. Oh, certainly.
+
+SAHÁTOF. Yes, thanks!
+
+     [Exit ANNA PÁVLOVNA.
+
+BETSY (to PETRÍSTCHEF). You must stay, I tell you. I promise you
+something extraordinary. Will you bet?
+
+MÁRYA KONSTANTÍNOVNA. But you don't believe in it?
+
+BETSY. To-day I do.
+
+MÁRYA KONSTANTÍNOVNA (to PETRÍSTCHEF). And do you believe?
+
+PETRÍSTCHEF. "I can't believe, I cannot trust a heart for falsehood
+framed." Still, if Elizabeth Leonídovna commands....
+
+VASÍLY LEONÍDITCH. Let us stay, Márya Konstantínovna. Eh, what? I
+shall invent something épâtant.
+
+MÁRYA KONSTANTÍNOVNA. No, you mustn't make me laugh. You know I can't
+restrain myself.
+
+VASÍLY LEONÍDITCH (loud). I remain!
+
+LEONÍD FYÓDORITCH (severely). But I beg those who remain not to joke
+about it. It is a serious matter.
+
+PETRÍSTCHEF. Do you hear? Well then, let's stay. Vovo, sit here, and
+don't be too shy.
+
+BETSY. Yes, it's all very well for you to laugh; but just wait till
+you see what will happen.
+
+VASÍLY LEONÍDITCH. Oh, but supposing it's true? Won't it be a go! Eh,
+what?
+
+PETRÍSTCHEF (trembles). Oh, I'm afraid, I'm afraid! Márya
+Konstantínovna, I'm afraid! My tootsies tremble.
+
+BETSY (laughing). Not so loud.
+
+     [All sit down.
+
+LEONÍD FYÓDORITCH. Take your seats, take your seats. Simon, sit down!
+
+SIMON. Yes, sir.
+
+     [Sits down on the edge of the chair.
+
+LEONÍD FYÓDORITCH. Sit properly.
+
+PROFESSOR. Sit straight in the middle of the chair, and quite at your
+ease.
+
+     [Arranges SIMON on his chair.
+
+     [BETSY, MÁRYA KONSTANTÍNOVNA and VASÍLY LEONÍDITCH laugh.
+
+LEONÍD FYÓDORITCH (raising his voice). I beg those who are going to
+remain here not to behave frivolously, but to regard this matter
+seriously, or bad results might follow. Do you hear, Vovo! If you
+can't be quiet, go away!
+
+VASÍLY LEONÍDITCH. Quiet, quiet!
+
+     [Hides behind FAT LADY.
+
+LEONÍD FYÓDORITCH. Alexéy Vladímiritch, will you mesmerise him?
+
+PROFESSOR. No; why should I do it when Antón Borísitch is here? He has
+had far more practice and has more power in that department than I ...
+Antón Borísitch!
+
+GROSSMAN. Ladies and gentlemen, I am not, strictly speaking, a
+spiritualist. I have only studied hypnotism. It is true I have studied
+hypnotism in all its known manifestations; but what is called
+spiritualism, is entirely unknown to me. When a subject is thrown into
+a trance, I may expect the hypnotic phenomena known to me: lethargy,
+abulia, anaesthesia, analgesia, catalepsy, and every kind of
+susceptibility to suggestion. Here it is not these but other phenomena
+we expect to observe. Therefore it would be well to know of what kind
+are the phenomena we expect to witness, and what is their scientific
+significance.
+
+SAHÁTOF. I thoroughly agree with Mr. Grossman. Such an explanation
+would be very interesting.
+
+LEONÍD FYÓDORITCH. I think Alexéy Vladímiritch will not refuse to give
+us a short explanation.
+
+PROFESSOR. Why not? I can give an explanation if it is desired. (To
+the DOCTOR.) Will you kindly note his temperature and pulse? My
+explanation must, of necessity, be cursory and brief.
+
+LEONÍD FYÓDORITCH. Yes, please; briefly, quite briefly.
+
+DOCTOR. All right. (Takes out thermometer.) Now then, my lad....
+
+     [Places the thermometer.
+
+SIMON. Yes, sir!
+
+PROFESSOR (rising and addressing the FAT LADY--then reseating
+himself). Ladies and gentlemen! The phenomenon we are investigating
+to-night is regarded, on the one hand, as something new; and, on the
+other, as something transcending the limits of natural conditions.
+Neither view is correct. This phenomenon is not new but is as old as
+the world; and it is not supernatural but is subject to the eternal
+laws that govern all that exists. This phenomenon has been usually
+defined as "intercourse with the spirit world." That definition is
+inexact. Under such a definition the spirit world is contrasted with
+the material world. But this is erroneous; there is no such contrast!
+Both worlds are so closely connected that it is impossible to draw a
+line of demarcation, separating the one from the other. We say matter
+is composed of molecules....
+
+PETRÍSTCHEF. Prosy matter!
+
+     [Whispering and laughter.
+
+PROFESSOR (pauses, then continues). Molecules are composed of atoms,
+but the atoms, having no extension, are in reality nothing but the
+points of application of forces. Strictly speaking, not of forces but
+of energy, that same energy which is as much a unity and just as
+indestructible as matter. But matter, though one, has many different
+aspects, and the same is true of energy. Till recently only four forms
+of energy, convertible into one another, have been known to us:
+energies known as the dynamic, the thermal, the electric, and the
+chemic. But these four aspects of energy are far from exhausting all
+the varieties of its manifestation. The forms in which energy may
+manifest itself are very diverse, and it is one of these new and as
+yet but little known phases of energy, that we are investigating
+to-night. I refer to mediumistic energy.
+
+     [Renewed whispering and laughter among the young people.
+
+PROFESSOR (stops and casts a severe look round). Mediumistic energy
+has been known to mankind for ages: prophecy, presentiments, visions
+and so on, are nothing but manifestations of mediumistic energy. The
+manifestations produced by it have, I say, been known to mankind for
+ages. But the energy itself has not been recognised as such till quite
+recently--not till that medium, the vibrations of which cause the
+manifestations of mediumistic energy, was recognised. In the same way
+that the phenomena of light were inexplicable until the existence of
+an imponderable substance--an ether--was recognised, so mediumistic
+phenomena seemed mysterious until the now fully established fact was
+recognised, that between the particles of ether there exists another
+still more rarefied imponderable substance not subject to the law of
+the three dimensions....
+
+     [Renewed laughter, whispers, and giggling.
+
+PROFESSOR (again looks round severely). And just as mathematical
+calculations have irrefutably proved the existence of imponderable
+ether which gives rise to the phenomena of light and electricity, so
+the successive investigations of the ingenious Hermann, of Schmidt,
+and of Joseph Schmatzhofen, have confirmed beyond a doubt the
+existence of a substance which fills the universe and may be called
+spiritual ether.
+
+FAT LADY. Ah, now I understand. I am so grateful....
+
+LEONÍD FYÓDORITCH. Yes, but Alexéy Vladímiritch, could you not ...
+condense it a little?
+
+PROFESSOR (not heeding the remark). And so, as I have just had the
+honor of mentioning to you, a succession of strictly scientific
+experiments have made plain to us the laws of mediumistic phenomena.
+These experiments have proved that, when certain individuals are
+plunged into a hypnotic state (a state differing from ordinary sleep
+only by the fact that man's physiological activity is not lowered by
+the hypnotic influence but, on the contrary, is always heightened--as
+we have recently witnessed), when, I say, any individual is plunged
+into such a state, this always produces certain perturbations in the
+spiritual ether--perturbations quite similar to those produced by
+plunging a solid body into liquid matter. These perturbations are what
+we call mediumistic phenomena....
+
+     [Laughter and whispers.
+
+SAHÁTOF. That is quite comprehensible and correct; but if, as you are
+kind enough to inform us, the plunging of the medium into a trance
+produces perturbations of the spiritual ether, allow me to ask why (as
+is usually supposed to be the case in spiritualistic séances) these
+perturbations result in an activity on the part of the souls of dead
+people?
+
+PROFESSOR. It is because the molecules of this spiritual ether are
+nothing but the souls of the living, the dead, and the unborn, and any
+vibration of the spiritual ether must inevitably cause a certain
+vibration of its atoms. These atoms are nothing but human souls, which
+enter into communication with one another by means of these movements.
+
+FAT LADY (to SAHÁTOF). What is it that puzzles you? It is so
+simple.... Thank you so, so much!
+
+LEONÍD FYÓDORITCH. I think everything has now been explained, and that
+we may commence.
+
+DOCTOR. The fellow is in a perfectly normal condition: temperature 37
+decimal 2, pulse 74.
+
+PROFESSOR (takes out his pocket-book and notes this down). What I have
+just had the honor of explaining will be confirmed by the fact, which
+we shall presently have an opportunity of observing, that after the
+medium has been thrown into a trance his temperature and pulse will
+inevitably rise, just as occurs in cases of hypnotism.
+
+LEONÍD FYÓDORITCH. Yes, yes. But excuse me a moment. I should like to
+reply to Sergéy Ivánitch's question: How do we know we are in
+communication with the souls of the dead? We know it because the
+spirit that appears, plainly tells us--as simply as I am speaking to
+you--who he is, and why he has come, and whether all is well with him!
+At our last séance a Spaniard, Don Castillos, came to us, and he told
+us everything. He told us who he was, and when he died, and that he
+was suffering for having taken part in the Inquisition. He even told
+us what was happening to him at the very time that he was speaking to
+us, namely, that at the very time he was talking to us he had to be
+born again on earth, and, therefore, could not continue his
+conversation with us.... But you'll see for yourselves....
+
+FAT LADY (interrupting). Oh, how interesting! Perhaps the Spaniard was
+born in one of our houses and is a baby now!
+
+LEONÍD FYÓDORITCH. Quite possibly.
+
+PROFESSOR. I think it is time we began.
+
+LEONÍD FYÓDORITCH. I was only going to say....
+
+PROFESSOR. It is getting late.
+
+LEONÍD FYÓDORITCH. Very well. Then we will commence. Antón Borísitch,
+be so good as to hypnotize the medium.
+
+GROSSMAN. What method would you like me to use? There are several
+methods. There is Braid's system, there is the Egyptian symbol, and
+there is Charcot's system.
+
+LEONÍD FYÓDORITCH (to the PROFESSOR). I think it is quite immaterial.
+
+PROFESSOR. Quite.
+
+GROSSMAN. Then I will make use of my own method, which I showed in
+Odessa.
+
+LEONÍD FYÓDORITCH. If you please!
+
+     [GROSSMAN waves his arms above SIMON. SIMON closes his eyes and
+      stretches himself.
+
+GROSSMAN (looking closely at him). He is falling asleep! He is asleep!
+A remarkably rapid occurrence of hypnosis. The subject has evidently
+already reached a state of anaesthesia. He is remarkable,--an
+unusually impressionable subject, and might be subjected to
+interesting experiments!... (Sits down, rises, sits down again.) Now
+one might run a needle into his arm. If you like....
+
+PROFESSOR (to LEONÍD FYÓDORITCH). Do you notice how the medium's
+trance acts on Grossman? He is beginning to vibrate.
+
+LEONÍD FYÓDORITCH. Yes, yes ... can the lights be extinguished now?
+
+SAHÁTOF. But why is darkness necessary?
+
+PROFESSOR. Darkness? Because it is a condition of the manifestation of
+mediumistic energy, just as a given temperature is a condition
+necessary for certain manifestations of chemical or dynamic energy.
+
+LEONÍD FYÓDORITCH. But not always. Manifestations have been observed
+by me, and by many others, both by candlelight and daylight.
+
+PROFESSOR (interrupting). May the lights be put out?
+
+LEONÍD FYÓDORITCH. Yes, certainly. (Puts out candles.) Ladies and
+gentlemen! attention, if you please.
+
+     [TÁNYA gets from under the sofa and takes hold of a thread tied
+      to a chandelier.
+
+PETRÍSTCHEF. I like that Spaniard! Just in the midst of a
+conversation--off he goes head downwards ... as the French say: piquer
+une tête. [12]
+
+BETSY. You just wait a bit, and see what will happen!
+
+PETRÍSTCHEF. I have only one fear, and that is that Vovo may be moved
+by the spirit to grunt like a pig!
+
+VASÍLY LEONÍDITCH. Would you like me to? I will....
+
+LEONÍD FYÓDORITCH. Gentlemen! Silence, if you please!
+
+     [Silence. SIMON licks the matches on his fingers and rubs his
+      knuckles with them. Leoníd Fyódoritch. A light! Do you see the
+      light?
+
+SAHÁTOF. A light? Yes, yes, I see; but allow me....
+
+FAT LADY. Where? Where? Oh, dear, I did not see it! Ah, there it is.
+Oh!...
+
+PROFESSOR (whispers to LEONÍD FYÓDORITCH, and points to GROSSMAN, who
+is moving). Do you notice how he vibrates? It is the dual influence.
+
+     [The light appears again.
+
+LEONÍD FYÓDORITCH (to the PROFESSOR). It must be he--you know!
+
+SAHÁTOF. Who?
+
+LEONÍD FYÓDORITCH. A Greek, Nicholas. It is his light. Don't you think
+so, Alexéy Vladímiritch?
+
+SAHÁTOF. Who is this Greek, Nicholas?
+
+PROFESSOR. A certain Greek, who was a monk at Constantinople under
+Constantine and who has been visiting us lately.
+
+FAT LADY. Where is he? Where is he? I don't see him.
+
+LEONÍD FYÓDORITCH. He is not yet visible ... Alexéy Vladímiritch, he
+is particularly well disposed towards you. You question him.
+
+PROFESSOR (in a peculiar voice). Nicholas! Is that you?
+
+     [TÁNYA raps twice on the wall.
+
+LEONÍD FYÓDORITCH (joyfully). It is he! It is he!
+
+FAT LADY. Oh, dear! Oh! I shall go away!
+
+SAHÁTOF. Why do you suppose it is he?
+
+LEONÍD FYÓDORITCH. Why, the two knocks. It is an affirmative answer;
+else all would have been silence.
+
+     [Silence. Suppressed giggling in the young people's corner.
+      TÁNYA throws a lampshade, pencil and penwiper upon the table.
+
+LEONÍD FYÓDORITCH (whispers). Do you notice, gentlemen, here is a
+lamp-shade, and something else--a pencil!... Alexéy Vladímiritch, it
+is a pencil!
+
+PROFESSOR. All right, all right! I am watching both him and Grossman!
+
+     [GROSSMAN rises and feels the things that have fallen on the table.
+
+SAHÁTOF. Excuse me, excuse me! I should like to see whether it is not
+the medium who is doing it all himself?
+
+LEONÍD FYÓDORITCH. Do you think so? Well, sit by him and hold his
+hands. But you may be sure he is asleep.
+
+SAHÁTOF (approaches, TÁNYA lets a thread touch his head. He is
+frightened, and stoops). Ye ... ye ... yes! Strange, very strange!
+
+     [Takes hold of SIMON'S elbow. SIMON howls.
+
+PROFESSOR (to LEONÍD FYÓDORITCH). Do you notice the effect of
+Grossman's presence? It is a new phenomenon--I must note it....
+
+     [Runs out to note it down, and returns again.
+
+LEONÍD FYÓDORITCH. Yes.... But we cannot leave Nicholas without an
+answer. We must begin....
+
+GROSSMAN (rises, approaches Simon and raises and lowers his arm). It
+would be interesting to produce contraction! The subject is in
+profound hypnosis.
+
+PROFESSOR (to LEONÍD FYÓDORITCH). Do you see? Do you see?
+
+GROSSMAN. If you like....
+
+DOCTOR. Now then, my dear sir, leave the management to Alexéy
+Vladímiritch; the affair is turning out serious.
+
+PROFESSOR. Leave him alone, he (referring to GROSSMAN) is talking in
+his sleep!
+
+FAT LADY. How glad I now am that I resolved to be present! It is
+frightening, but all the same I am glad, for I always said to my
+husband....
+
+LEONÍD FYÓDORITCH. Silence, if you please.
+
+     [TÁNYA draws a thread over the FAT LADY'S head.
+
+FAT LADY. Aie!
+
+LEONÍD FYÓDORITCH. What? What is it?
+
+FAT LADY. He took hold of my hair!
+
+LEONÍD FYÓDORITCH (whispers). Never mind, don't be afraid, give him
+your hand. His hand will be cold, but I like it.
+
+FAT LADY (hides her hands). Not for the world!
+
+SAHÁTOF. Yes, it is strange, very strange!
+
+LEONÍD FYÓDORITCH. He is here and is seeking for intercourse. Who
+wishes to put a question to him?
+
+SAHÁTOF. I should like to put a question, if I may.
+
+PROFESSOR. Please do.
+
+SAHÁTOF. Do I believe or not?
+
+     [TÁNYA knocks twice.
+
+PROFESSOR. The answer is affirmative.
+
+SAHÁTOF. Allow me to ask again. Have I a ten rouble note in my pocket?
+
+     [TÁNYA knocks several times and passes a thread over SAHÁTOF'S head.
+
+SAHÁTOF. Ah!
+
+     [Seizes the thread and breaks it.
+
+PROFESSOR. I should ask those present not to ask indefinite or trivial
+questions. It is unpleasant to him!
+
+SAHÁTOF. No, but allow me! Here I have a thread in my hand!
+
+LEONÍD FYÓDORITCH. A thread? Hold it fast; that happens often, and not
+only threads but sometimes even silk cords--very ancient ones!
+
+SAHÁTOF. No--but where did this thread come from?
+
+     [TÁNYA throws a cushion at him.
+
+SAHÁTOF. Wait a bit; wait! Something soft has hit me on the head.
+Light a candle--there is something....
+
+PROFESSOR. We beg of you not to interrupt the manifestations.
+
+FAT LADY. For goodness' sake, don't interrupt! I should also like to
+ask something. May I?
+
+LEONÍD FYÓDORITCH. Yes, if you like.
+
+FAT LADY. I should like to ask about my digestion. May I? I want to
+know what to take: aconite or belladonna?
+
+     [Silence, whispers among the young people; suddenly VASÍLY
+      LEONÍDITCH begins to cry like a baby: "ou-a, ou-a!" (Laughter.)
+      Holding their mouths and noses, the girls and PETRÍSTCHEF run
+      away bursting with laughter.
+
+FAT LADY. Ah, that must be the monk who's been born again!
+
+LEONÍD FYÓDORITCH (beside himself with anger, whispers). One gets
+nothing but tomfoolery from you! If you don't know how to behave
+decently, go away!
+
+     [Exit VASÍLY LEONÍDITCH. Darkness and silence.
+
+FAT LADY. Oh, what a pity! Now one can't ask any more! He is born!
+
+LEONÍD FYÓDORITCH. Not at all. It is only Vovo's nonsense. But he is
+here. Ask him.
+
+PROFESSOR. That often happens. These jokes and ridicule are quite
+usual occurrences. I expect he is still here. But we may ask. Leoníd
+Fyódoritch, will you?
+
+LEONÍD FYÓDORITCH. No, you, if you please. This has upset me. So
+unpleasant! Such want of tact!...
+
+PROFESSOR. Very well.... Nicholas, are you here?
+
+     [TÁNYA raps twice and rings. SIMON roars, spreads his arms out,
+      seizes SAHÁTOF and the PROFESSOR--squeezing them.
+
+PROFESSOR. What an unexpected phenomenon! The medium himself reacted
+upon! This never happened before! Leoníd Fyódoritch, will you watch?
+It is difficult for me to do so. He squeezes me so! Mind you observe
+GROSSMAN! This needs the very greatest attention!
+
+     [TÁNYA throws the PEASANTS' paper on the table.
+
+LEONÍD FYÓDORITCH. Something has fallen upon the table.
+
+PROFESSOR. See what it is!
+
+LEONÍD FYÓDORITCH. Paper! A folded paper!
+
+     [TÁNYA throws a travelling inkstand on the table.
+
+LEONÍD FYÓDORITCH. An inkstand!
+
+     [TÁNYA throws a pen.
+
+LEONÍD FYÓDORITCH. A pen!
+
+     [SIMON roars and squeezes.
+
+PROFESSOR (crushed). Wait a bit, wait: a totally new manifestation!
+The action proceeding not from the mediumistic energy produced, but
+from the medium himself! However, open the inkstand, and put the pen
+on the table, and he will write!
+
+     [TÁNYA goes behind LEONÍD FYÓDORITCH and strikes him on the head
+      with the guitar.
+
+LEONÍD FYÓDORITCH. He has struck me on the head! (Examining table.)
+The pen is not writing yet and the paper remains folded.
+
+PROFESSOR. See what the paper is, and quickly; evidently the dual
+influence--his and Grossman's--has produced a perturbation!
+
+LEONÍD FYÓDORITCH (goes out and returns at once). Extraordinary! This
+paper is an agreement with some peasants that I refused to sign this
+morning and returned to the peasants. Probably he wants me to sign it?
+
+PROFESSOR. Of course! Of course! But ask him.
+
+LEONÍD FYÓDORITCH. Nicholas, do you wish....
+
+     [TÁNYA knocks twice.
+
+PROFESSOR. Do you hear? It is quite evident!
+
+     [LEONÍD FYÓDORITCH takes the paper and pen and goes out. TÁNYA
+      knocks, plays on the guitar and the accordion, and then creeps
+      under the sofa. LEONÍD FYÓDORITCH returns. SIMON stretches
+      himself and coughs.
+
+LEONÍD FYÓDORITCH. He is waking up. We can light the candles.
+
+PROFESSOR (hurriedly). Doctor, Doctor, please, his pulse and
+temperature! You will see that a rise of both will be apparent.
+
+LEONÍD FYÓDORITCH (lights the candles). Well, what do you gentlemen
+who were sceptical think of it now?
+
+DOCTOR (goes up to SIMON and places thermometer). Now then my lad.
+Well, have you had a nap? There, put that in there, and give me your
+hand.
+
+     [Looks at his watch.
+
+SAHÁTOF (shrugging his shoulders). I must admit that all that has
+occurred cannot have been done by the medium. But the thread?... I
+should like the thread explained.
+
+LEONÍD FYÓDORITCH. A thread! A thread! We have been witnessing
+manifestations more important than a thread.
+
+SAHÁTOF. I don't know. At all events, je réserve mon opinion.
+
+FAT LADY (to SAHÁTOF). Oh, no, how can you say: "je réserve mon
+opinion"? And the infant with the little wings? Didn't you see? At
+first I thought it was only an illusion, but afterwards it became
+clearer and clearer, like a live....
+
+SAHÁTOF. I can only speak of what I have seen. I did not see that--
+nothing of the kind.
+
+FAT LADY. You don't mean to say so? Why, it was quite plainly visible!
+And to the left there was a monk clothed in black bending over it....
+
+SAHÁTOF (moves away. Aside). What exaggeration!
+
+FAT LADY (addressing the DOCTOR). You must have seen it! It rose up
+from your side.
+
+     [DOCTOR goes on counting the pulse without heeding her.
+
+FAT LADY (to GROSSMAN). And that light, the light around it,
+especially around its little face! And the expression so mild and
+tender, something so heavenly!
+
+     [Smiles tenderly herself.
+
+GROSSMAN. I saw phosphorescent light, and objects changed their
+places, but I saw nothing more than that.
+
+FAT LADY. Don't tell me! You don't mean it! It is simply that you
+scientists of Charcot's school do not believe in a life beyond the
+grave! As for me, no one could now make me disbelieve in a future
+life--no one in the world!
+
+     [GROSSMAN moves away from her.
+
+FAT LADY. No, no, whatever you may say, this is one of the happiest
+moments of my life! When I heard Sarasate play, and now.... Yes! (No
+one listens to her. She goes up to SIMON.) Now tell me, my friend,
+what did you feel? Was it very trying?
+
+SIMON (laughs). Yes, ma'm, just so.
+
+FAT LADY. Still not unendurable?
+
+SIMON. Just so, ma'm. (To LEONÍD FYÓDORITCH.) Am I to go?
+
+LEONÍD FYÓDORITCH. Yes, you may go.
+
+DOCTOR (to the PROFESSOR). The pulse is the same, but the temperature
+is lower.
+
+PROFESSOR. Lower! (Considers awhile, then suddenly divines the
+conclusion.) It had to be so--it had to descend! The dual influence
+crossing had to produce some kind of reflex action. Yes, that's it!
+
+     [Exeunt, all talking at once--
+
+     LEONÍD FYÓDORITCH. I'm only sorry we had no complete
+     materialisation. But still.... Come, gentlemen, let us go to the
+     drawing-room?
+
+     FAT LADY. What specially struck me was when he flapped his wings,
+     and one saw how he rose!
+
+     GROSSMAN (to SAHÁTOF). If we had kept to hypnotism, we might have
+     produced a thorough state of epilepsy. The success might have
+     been complete!
+
+     SAHÁTOF. It is very interesting, but not entirely convincing. That
+     is all I can say.
+
+     [Enter THEODORE IVÁNITCH.
+
+LEONÍD FYÓDORITCH (with paper in his hand). Ah, Theodore, what a
+remarkable séance we have had! It turns out that the peasants must
+have the land on their own terms.
+
+THEODORE IVÁNITCH. Dear me!
+
+LEONÍD FYÓDORITCH. Yes, indeed. (Showing paper.) Fancy, this paper
+that I returned to them, suddenly appeared on the table! I have signed
+it.
+
+THEODORE IVÁNITCH. How did it get there?
+
+LEONÍD FYÓDORITCH. Well, it did get there!
+
+     [Exit. THEODORE IVÁNITCH follows him out.
+
+TÁNYA (gets from under the sofa and laughs). Oh, dear, oh dear! Well,
+I did get a fright when he got hold of the thread! (Shrieks.) Well,
+anyhow, it's all right--he has signed it!
+
+     [Enter GREGORY.
+
+GREGORY. So it was you that was fooling them?
+
+TÁNYA. What business is it of yours?
+
+GREGORY. And do you think the missis will be pleased with you for it?
+No, you bet; you're caught now! I'll tell them what tricks you're up
+to, if you don't let me have my way!
+
+TÁNYA. And you'll not get your way, and you'll not do me any harm!
+
+CURTAIN
+
+
+
+
+ACT IV
+
+The same scene as in Act I. The next day. Two liveried footmen,
+THEODORE IVÁNITCH and GREGORY.
+
+FIRST FOOTMAN (with grey whiskers). Yours is the third house to-day.
+Thank goodness that all the at-homes are in this direction. Yours used
+to be on Thursdays.
+
+THEODORE IVÁNITCH. Yes, we changed to Saturday so as to be on the same
+day as the Golóvkins and Grade von Grabes....
+
+SECOND FOOTMAN. The Stcherbákofs do the thing well. There's
+refreshments for the footmen every time they've a ball.
+
+     [The two PRINCESSES, mother and daughter, come down the stairs
+      accompanied by BETSY. The old PRINCESS looks in her note-book
+      and at her watch, and sits down on the settle. GREGORY puts on
+      her overshoes.
+
+YOUNG PRINCESS. Now, do come. Because, if you refuse, and Dodo
+refuses, the whole thing will be spoilt.
+
+BETSY. I don't know. I must certainly go to the Shoúbins. And then
+there is the rehearsal.
+
+YOUNG PRINCESS. You'll have plenty of time. Do, please. Ne nous fais
+pas faux bond.[13] Fédya and Koko will come.
+
+BETSY. J'en ai par-dessus la tête de votre Koko.[14]
+
+YOUNG PRINCESS. I thought I should see him here. Ordinairement il est
+d'une exactitude....[15]
+
+BETSY. He is sure to come.
+
+YOUNG PRINCESS. When I see you together, it always seems to me that he
+has either just proposed or is just going to propose.
+
+BETSY. Yes, I don't suppose it can be avoided. I shall have to go
+through with it. And it is so unpleasant!
+
+YOUNG PRINCESS. Poor Koko! He is head over ears in love.
+
+BETSY. Cessez, les gens![16]
+
+     [YOUNG PRINCESS sits down, talking in whispers. GREGORY puts on
+      her overshoes.
+
+YOUNG PRINCESS. Well then, good-bye till this evening.
+
+BETSY. I'll try to come.
+
+OLD PRINCESS. Then tell your papa that I don't believe in anything of
+the kind, but will come to see his new medium. Only he must let me
+know when. Good afternoon, ma toute belle.
+
+     [Kisses BETSY, and exit, followed by her daughter. BETSY goes
+      upstairs.
+
+GREGORY. I don't like putting on an old woman's overshoes for her; she
+can't stoop, can't see her shoe for her stomach, and keeps poking her
+foot in the wrong place. It's different with a young one; it's
+pleasant to take her foot in one's hand.
+
+SECOND FOOTMAN. Hear him! Making distinctions!
+
+FIRST FOOTMAN. It's not for us footmen to make such distinctions.
+
+GREGORY. Why shouldn't one make distinctions; are we not men? It's
+they think we don't understand! Just now they were deep in their talk,
+then they look at me, and at once it's "lay zhon!"
+
+SECOND FOOTMAN. And what's that?
+
+GREGORY. Oh, that means, "Don't talk, they understand!" It's the same
+at table. But I understand! You say, there's a difference? I say there
+is none.
+
+FIRST FOOTMAN. There is a great difference for those who understand.
+
+GREGORY. There is none at all. To-day I am a footman, and to-morrow I
+may be living no worse than they are. Has it never happened that
+they've married footmen? I'll go and have a smoke.
+
+     [Exit.
+
+SECOND FOOTMAN. That's a bold young man you've got.
+
+THEODORE IVÁNITCH. A worthless fellow, not fit for service. He used to
+be an office boy and has got spoilt. I advised them not to take him,
+but the mistress liked him. He looks well on the carriage when they
+drive out.
+
+FIRST FOOTMAN. I should like to send him to our Count; he'd put him in
+his place! Oh, he don't like those scatterbrains. "If you're a
+footman, be a footman and fulfil your calling." Such pride is not
+befitting.
+
+     [PETRÍSTCHEF comes running downstairs, and takes out a cigarette.
+
+PETRÍSTCHEF (deep in thought). Let's see, my second is the same as my
+first. Echo, a-co, co-coa. (Enter KOKO KLÍNGEN, wearing his
+pince-nez.) Ko-ko, co-coa. Cocoa tin, where do you spring from?
+
+KOKO KLÍNGEN. From the Stcherbákofs. You are always playing the
+fool....
+
+PETRÍSTCHEF. No, listen to my charade. My first is the same as my
+second, my third may be cracked, my whole is like your pate.
+
+KOKO KLÍNGEN. I give it up. I've no time.
+
+PETRÍSTCHEF. Where else are you going?
+
+KOKO KLÍNGEN. Where? Of course to the Ivins, to practice for the
+concert. Then to the Shoúbins, and then to the rehearsal. You'll be
+there too, won't you?
+
+PETRÍSTCHEF. Most certainly. At the re-her-Sall and also at the
+re-her-Sarah. Why, at first I was a savage, and now I am both a savage
+and a general.
+
+KOKO KLÍNGEN. How did yesterday's séance go off?
+
+PETRÍSTCHEF. Screamingly funny! There was a peasant, and above all, it
+was all in the dark. Vovo cried like an infant, the Professor defined,
+and Márya Vasílevna refined. Such a lark! You ought to have been
+there.
+
+KOKO KLÍNGEN. I'm afraid, mon cher. You have a way of getting off with
+a jest, but I always feel that if I say a word they'll construe it
+into a proposal. Et ça ne m'arrange pas du tout, du tout. Mais du
+tout, du tout! [17]
+
+PETRÍSTCHEF. Instead of a proposal, make a proposition, and receive a
+sentence! Well, I shall go in to Vovo's. If you'll call for me, we can
+go to the re-her-Sarah together.
+
+KOKO KLÍNGEN. I can't think how you can be friends with such a fool.
+He is so stupid--a regular blockhead!
+
+PETRÍSTCHEF. And I am fond of him. I love Vovo, but ... "with a love
+so strange, ne'er towards him the path untrod shall be"....
+
+     [Exit into Vovo's room.
+
+     [BETSY comes down with a LADY. KOKO bows significantly to BETSY.
+
+BETSY (shaking KOKO'S hand without turning towards him. To LADY). You
+are acquainted?
+
+LADY. No.
+
+BETSY. Baron Klíngen.... Why were you not here last night?
+
+KOKO KLÍNGEN. I could not come, I was engaged.
+
+BETSY. What a pity, it was so interesting! (Laughs.) You should have
+seen what manifestations we had! Well, how is our charade getting on?
+
+KOKO KLÍNGEN. Oh, the verses for mon second are ready. Nick composed
+the verses, and I the music.
+
+BETSY. What are they? What are they? Do tell me!
+
+KOKO KLÍNGEN. Wait a minute; how does it go?... Oh, the knight sings:
+
+          "Oh, naught so beautiful as nature:
+           The Nautilus sails by.
+           Oh, naughty lass, oh, naughty lass!
+           Oh, nought, oh, nought! Oh, fie!"
+
+LADY. I see, my second is "nought," and what is my first?
+
+KOKO KLÍNGEN. My first is Aero, the name of a girl savage.
+
+BETSY. Aero, you see, is a savage who wished to devour the object of
+her love. (Laughs.) She goes about lamenting, and sings--
+
+          "My appetite,"
+
+KOKO KLÍNGEN (interrupts)--
+
+          "How can I fight,"....
+
+BETSY (chimes in)--
+
+          "Some one to chew I long.
+           I seeking go ...."
+
+KOKO KLÍNGEN--
+
+          "But even so...."
+
+BETSY--
+
+          "No one to chew can find."
+
+KOKO KLÍNGEN--
+
+          "A raft sails by,"
+
+BETSY--
+
+          "It cometh nigh;
+           Two generals upon it...."
+
+KOKO KLÍNGEN--
+
+          "Two generals are we:
+           By fate's hard decree,
+           To this island we flee."
+
+And then, the refrain--
+
+          "By fate's hard decree,
+           To this island we flee."
+
+LADY. Charmant!
+
+BETSY. But just think how silly!
+
+KOKO KLÍNGEN. Yes, that's the charm of it!
+
+LADY. And who is to be Aero?
+
+BETSY. I am. And I have had a costume made, but mamma says it's "not
+decent." And it is not a bit less decent than a ball dress. (To
+THEODORE IVÁNITCH.) Is Bourdier's man here?
+
+THEODORE IVÁNITCH. Yes, he is waiting in the kitchen.
+
+LADY. Well, and how will you represent Aeronaut?
+
+BETSY. Oh, you'll see. I don't want to spoil the pleasure for you. Au
+revoir.
+
+LADY. Good-bye!
+
+     [They bow. Exit LADY.
+
+BETSY (to KOKO KLÍNGEN). Come up to mamma.
+
+     [BETSY and KOKO go upstairs. JACOB enters from servants'
+      quarters, carrying a tray with teacups, cakes, etc., and goes
+      panting across the stage.
+
+JACOB (to the FOOTMEN). How d'you do? How d'you do?
+
+     [FOOTMEN bow.
+
+JACOB (to THEODORE IVÁNITCH). Couldn't you tell Gregory to help a bit!
+I'm ready to drop....
+
+     [Exit up the stairs.
+
+FIRST FOOTMAN. That is a hard-working chap you've got there.
+
+THEODORE IVÁNITCH. Yes, a good fellow. But there now--he doesn't
+satisfy the mistress, she says his appearance is ungainly. And now
+they've gone and told tales about him for letting some peasants into
+the kitchen yesterday. It is a bad look-out: they may dismiss him. And
+he is a good fellow.
+
+SECOND FOOTMAN. What peasants were they?
+
+THEODORE IVÁNITCH. Peasants that had come from our Koursk village to
+buy some land. It was night, and they were our fellow-countrymen, one
+of them the father of the butler's assistant. Well, so they were asked
+into the kitchen. It so happened that there was thought-reading going
+on. Something was hidden in the kitchen, and all the gentlefolk came
+down, and the mistress saw the peasants. There was such a row! "How is
+this," she says; "these people may be infected, and they are let into
+the kitchen!".... She is terribly afraid of this infection.
+
+     [Enter GREGORY.
+
+THEODORE IVÁNITCH. Gregory, you go and help Jacob. I'll stay here. He
+can't manage alone.
+
+GREGORY. He's awkward, that's why he can't manage.
+
+     [Exit.
+
+FIRST FOOTMAN. And what is this new mania they have got? This
+infection!... So yours also is afraid of it?
+
+THEODORE IVÁNITCH. She fears it worse than fire! Our chief business,
+nowadays, is fumigating, washing, and sprinkling.
+
+FIRST FOOTMAN. I see. That's why there is such a stuffy smell here.
+(With animation.) I don't know what we're coming to with these
+infection notions. It's just detestable! They seem to have forgotten
+the Lord. There's our master's sister, Princess Mosolóva, her daughter
+was dying, and, will you believe it, neither father nor mother would
+come near her! So she died without their having taken leave of her.
+And the daughter cried, and called them to say good-bye--but they
+didn't go! The doctor had discovered some infection or other! And yet
+their own maid and a trained nurse were with her, and nothing happened
+to them; they're still alive!
+
+     [Enter VASÍLY LEONÍDITCH and PETRÍSTCHEF from VASÍLY LEONÍDITCH'S
+      room, smoking cigarettes.
+
+PETRÍSTCHEF. Come along then, only I must take Koko--Cocoanut, with
+me.
+
+VASÍLY LEONÍDITCH. Your Koko is a regular dolt; I can't bear him. A
+hare-brained fellow, a regular gad-about! Without any kind of
+occupation, eternally loafing around! Eh, what?
+
+PETRÍSTCHEF. Well, anyhow, wait a bit, I must say goodbye.
+
+VASÍLY LEONÍDITCH. All right. And I will go and look at my dogs in the
+coachman's room. I've got a dog there that's so savage, the coachman
+said, he nearly ate him.
+
+PETRÍSTCHEF. Who ate whom? Did the coachman really eat the dog?
+
+VASÍLY LEONÍDITCH. You are always at it!
+
+     [Puts on outdoor things and goes out.
+
+PETRÍSTCHEF (thoughtfully). Ma - kin - tosh, Co - co - tin.... Let's
+see.
+
+     [Goes upstairs.
+
+     [JACOB runs across the stage.
+
+THEODORE IVÁNITCH. What's the matter?
+
+JACOB. There is no more thin bread and butter. I said....
+
+     [Exit.
+
+SECOND FOOTMAN. And then our master's little son fell ill, and they
+sent him at once to an hotel with his nurse, and there he died without
+his mother.
+
+FIRST FOOTMAN. They don't seem to fear sin! I think you cannot escape
+from God anywhere.
+
+THEODORE IVÁNITCH. That's what I think.
+
+     [JACOB runs upstairs with bread and butter.
+
+FIRST FOOTMAN. One should consider too, that if we are to be afraid of
+everybody like that, we'd better shut ourselves up within four walls,
+as in a prison, and stick there!
+
+     [Enter TÁNYA; she bows to the FOOTMEN.
+
+TÁNYA. Good afternoon.
+
+     [FOOTMEN bow.
+
+TÁNYA. Theodore Ivánitch, I have a word to say to you.
+
+THEODORE IVÁNITCH. Well, what?
+
+TÁNYA. The peasants have come again, Theodore Ivánitch....
+
+THEODORE IVÁNITCH. Well? I gave the paper to Simon.
+
+TÁNYA. I have given them the paper. They were that grateful! I can't
+say how! Now they only ask you to take the money.
+
+THEODORE IVÁNITCH. But where are they?
+
+TÁNYA. Here, by the porch.
+
+THEODORE IVÁNITCH. All right, I'll tell the master.
+
+TÁNYA. I have another request to you, dear Theodore Ivánitch.
+
+THEODORE IVÁNITCH. What now?
+
+TÁNYA. Why, don't you see, Theodore Ivánitch, I can't remain here any
+longer. Ask them to let me go.
+
+     [Enter JACOB, running.
+
+THEODORE IVÁNITCH (to JACOB). What d'you want?
+
+JACOB. Another samovár, and oranges.
+
+THEODORE IVÁNITCH. Ask the housekeeper.
+
+     [Exit JACOB.
+
+THEODORE IVÁNITCH (to TÁNYA). How is that?
+
+TÁNYA. Why, don't you see, my position is such....
+
+JACOB (runs in). There are not enough oranges.
+
+THEODORE IVÁNITCH. Serve up as many as you've got. (Exit JACOB.) Now's
+not the time! Just see what a bustle we are in.
+
+TÁNYA. But you know yourself, Theodore Ivánitch, there is no end to
+this bustle; one might wait for ever--you know yourself--and my affair
+is for life.... Dear Theodore Ivánitch, you have done me a good turn,
+be a father to me now, choose the right moment and tell her, or else
+she'll get angry and won't let me have my passport.[18]
+
+THEODORE IVÁNITCH. Where's the hurry?
+
+TÁNYA. Why, Theodore Ivánitch, it's all settled now.... And I could go
+to my godmother's and get ready, and then after Easter we'd get
+married.[19] Do tell her, dear Theodore Ivánitch!
+
+THEODORE IVÁNITCH. Go away--this is not the place.
+
+     [An elderly GENTLEMAN comes downstairs, puts on overcoat, and
+      goes out, followed by the SECOND FOOTMAN.
+
+     [Exit TÁNYA. Enter JACOB.
+
+JACOB. Just fancy, Theodore Ivánitch, it's too bad! She wants to
+discharge me now! She says, "You break everything, and forget Frisk,
+and you let the peasants into the kitchen against my orders!" And you
+know very well that I knew nothing about it. Tatyána told me, "Take
+them into the kitchen"; how could I tell whose order it was?
+
+THEODORE IVÁNITCH. Did the mistress speak to you?
+
+JACOB. She's just spoken. Do speak up for me, Theodore Ivánitch! You
+see, my people in the country are only just getting on their feet, and
+suppose I lose my place, when shall I get another? Theodore Ivánitch,
+do, please!
+
+     [ANNA PÁVLOVNA comes down with the old COUNTESS, whom she is
+      seeing off. The COUNTESS has false teeth and hair. The FIRST
+      FOOTMAN helps the COUNTESS into her outdoor things.
+
+ANNA PÁVLOVNA. Oh, most certainly, of course! I am so deeply touched.
+
+COUNTESS. If it were not for my illness, I should come oftener to see
+you.
+
+ANNA PÁVLOVNA. You should really consult Peter Petróvitch. He is
+rough, but nobody can soothe one as he does. He is so clear, so
+simple.
+
+COUNTESS. Oh no, I shall keep to the one I am used to.
+
+ANNA PÁVLOVNA. Pray, take care of yourself.
+
+COUNTESS. Merci, mille fois merci.[20]
+
+     [GREGORY, dishevelled and excited, jumps out from the servants'
+      quarters. SIMON appears behind him in the doorway.
+
+SIMON. You'd better leave her alone!
+
+GREGORY. You rascal! I'll teach you how to fight, you scamp, you!
+
+ANNA PÁVLOVNA. What do you mean? Do you think you are in a
+public-house?
+
+GREGORY. This coarse peasant makes life impossible for me.
+
+ANNA PÁVLOVNA (provoked). You've lost your senses. Don't you see? (To
+COUNTESS.) Merci, mille fois merci. A mardi! [21]
+
+     [Exeunt COUNTESS and FIRST FOOTMAN.
+
+ANNA PÁVLOVNA (to GREGORY). What is the meaning of this?
+
+GREGORY. Though I do occupy the position of a footman, still I won't
+allow every peasant to hit me; I have my pride too.
+
+ANNA PÁVLOVNA. Why, what has happened?
+
+GREGORY. Why, this Simon of yours has got so brave, sitting with the
+gentlemen, that he wants to fight!
+
+ANNA PÁVLOVNA. Why? What for?
+
+GREGORY. Heaven only knows!
+
+ANNA PÁVLOVNA (to SIMON). What is the meaning of it?
+
+SIMON. Why does he bother her?
+
+ANNA PÁVLOVNA. What has happened?
+
+SIMON (smiles). Well, you see, he is always catching hold of Tánya,
+the lady's-maid, and she won't have it. Well, so I just moved him
+aside a bit, just so, with my hand.
+
+GREGORY. A nice little bit! He's almost caved my ribs in, and has torn
+my dress-coat, and he says, "The same power as came over me yesterday
+comes on me again," and he begins to squeeze me.
+
+ANNA PÁVLOVNA (to SIMON). How dare you fight in my house?
+
+THEODORE IVÁNITCH. May I explain it to you, ma'am? I must tell you
+Simon is not indifferent to Tánya, and is engaged to her. And Gregory
+--one must admit the truth--does not behave properly, nor honestly, to
+her. Well, so I suppose Simon got angry with him.
+
+GREGORY. Not at all! It is all his spite, because I have discovered
+their trickery.
+
+ANNA PÁVLOVNA. What trickery?
+
+GREGORY. Why, at the séance. All those things, last night,--it was not
+Simon but Tánya who did them! I saw her getting out from under the
+sofa with my own eyes.
+
+ANNA PÁVLOVNA. What is that? From under the sofa?
+
+GREGORY. I give you my word of honor. And it was she who threw the
+paper on the table. If it had not been for her the paper would not
+have been signed, nor the land sold to the peasants.
+
+ANNA PÁVLOVNA. And you saw it yourself?
+
+GREGORY. With my own eyes. Shall I call her? She'll not deny it.
+
+ANNA PÁVLOVNA. Yes, call her.
+
+     [Exit GREGORY.
+
+     [Noise behind the scenes. The voice of the DOORKEEPER, "No, no,
+      you cannot." DOORKEEPER is seen at the front door, the three
+      PEASANTS rush in past him, the SECOND PEASANT first; the THIRD
+      one stumbles, falls on his nose, and catches hold of it.
+
+DOORKEEPER. You must not go in!
+
+SECOND PEASANT. Where's the harm? We are not doing anything wrong. We
+only wish to pay the money!
+
+FIRST PEASANT. That's just it; as by laying on the signature the
+affair is come to a conclusion, we only wish to make payment with
+thanks.
+
+ANNA PÁVLOVNA. Wait a bit with your thanks. It was all done by fraud!
+It is not settled yet. Not sold yet.... Leoníd.... Call Leoníd
+Fyódoritch.
+
+     [Exit DOORKEEPER.
+
+     [LEONÍD FYÓDORITCH enters, but, seeing his wife and the PEASANTS,
+      wishes to retreat.
+
+ANNA PÁVLOVNA. No, no, come here, please! I told you the land must not
+be sold on credit, and everybody told you so, but you let yourself be
+deceived like the veriest blockhead.
+
+LEONÍD FYÓDORITCH. How? I don't understand who is deceiving?
+
+ANNA PÁVLOVNA. You ought to be ashamed of yourself! You have grey
+hair, and you let yourself be deceived and laughed at like a silly
+boy. You grudge your son some three hundred roubles which his social
+position demands, and let yourself be tricked of thousands--like a
+fool!
+
+LEONÍD FYÓDORITCH. Now come, Annette, try to be calm.
+
+FIRST PEASANT. We are only come about the acceptation of the sum, for
+example....
+
+THIRD PEASANT (taking out the money). Let us finish the matter, for
+Christ's sake!
+
+ANNA PÁVLOVNA. Wait, wait!
+
+     [Enter TÁNYA and GREGORY.
+
+ANNA PÁVLOVNA (angrily). You were in the small drawing-room during the
+séance last night?
+
+     [TÁNYA looks around at THEODORE IVÁNITCH, LEONÍD FYÓDORITCH, and
+      SIMON, and sighs.
+
+GREGORY. It's no use beating about the bush; I saw you myself....
+
+ANNA PÁVLOVNA. Tell me, were you there? I know all about it, so you'd
+better confess! I'll not do anything to you. I only want to expose him
+(pointing to LEONÍD FYÓDORITCH) your master.... Did you throw the
+paper on the table?
+
+TÁNYA. I don't know how to answer. Only one thing,--let me go home.
+
+     [Enter BETSY unobserved.
+
+ANNA PÁVLOVNA (to LEONÍD FYÓDORITCH). There, you see! You are being
+made a fool of.
+
+TÁNYA. Let me go home, Anna Pávlovna!
+
+ANNA PÁVLOVNA. No, my dear! You may have caused us a loss of thousands
+of roubles. Land has been sold that ought not to be sold!
+
+TÁNYA. Let me go, Anna Pávlovna!
+
+ANNA PÁVLOVNA. No; you'll have to answer for it! Such tricks won't do.
+We'll have you up before the Justice of the Peace!
+
+BETSY (comes forward). Let her go, mamma. Or, if you wish to have her
+tried, you must have me tried too! She and I did it together.
+
+ANNA PÁVLOVNA. Well, of course, if you have a hand in anything, what
+can one expect but the very worst results!
+
+     [Enter the PROFESSOR.
+
+PROFESSOR. How do you do, Anna Pávlovna? How do you do, Miss Betsy?
+Leoníd Fyódoritch, I have brought you a report of the Thirteenth
+Congress of Spiritualists at Chicago. An amazing speech by Schmidt!
+
+LEONÍD FYÓDORITCH. Oh, that is interesting!
+
+ANNA PÁVLOVNA. I will tell you something much more interesting! It
+turns out that both you and my husband were fooled by this girl! Betsy
+takes it on herself, but that is only to annoy me. It was an
+illiterate peasant girl who fooled you, and you believed it all.
+There were no mediumistic phenomena last night; it was she (pointing
+to TÁNYA) who did it!
+
+PROFESSOR (taking off his overcoat). What do you mean?
+
+ANNA PÁVLOVNA. I mean that it was she who, in the dark, played on the
+guitar and beat my husband on the head and performed all your idiotic
+tricks--and she has just confessed!
+
+PROFESSOR (smiling). What does that prove?
+
+ANNA PÁVLOVNA. It proves that your mediumism is--tomfoolery; that's
+what it proves!
+
+PROFESSOR. Because this young girl wished to deceive, we are to
+conclude that mediumism is "tomfoolery," as you are pleased to express
+it? (Smiles.) A curious conclusion! Very possibly this young girl may
+have wished to deceive: that often occurs. She may even have done
+something; but then, what she did--she did. But the manifestations of
+mediumistic energy still remain manifestations of mediumistic energy!
+It is even very probable that what this young girl did evoked (and so
+to say solicited) the manifestation of mediumistic energy,--giving it
+a definite form.
+
+ANNA PÁVLOVNA. Another lecture!
+
+PROFESSOR (sternly). You say, Anna Pávlovna, that this girl, and
+perhaps this dear young lady also, did something; but the light we all
+saw, and, in the first case the fall, and in the second the rise of
+temperature, and Grossman's excitement and vibration--were those
+things also done by this girl? And these are facts, Anna Pávlovna,
+facts! No! Anna Pávlovna, there are things which must be investigated
+and fully understood before they can be talked about, things too
+serious, too serious....
+
+LEONÍD FYÓDORITCH. And the child that Márya Vasílevna distinctly saw?
+Why, I saw it too.... That could not have been done by this girl.
+
+ANNA PÁVLOVNA. You think yourself wise, but you are--a fool.
+
+LEONÍD FYÓDORITCH. Well, I'm going.... Alexéy Vladímiritch, will you
+come?
+
+     [Exit into his study.
+
+PROFESSOR (shrugging his shoulders, follows). Oh, how far, how far, we
+still lag behind Western Europe!
+
+     [Enter JACOB.
+
+ANNA PÁVLOVNA (following LEONÍD FYÓDORITCH with her eyes). He has been
+tricked like a fool, and he sees nothing! (To JACOB.) What do you
+want?
+
+JACOB. How many persons am I to lay the table for?
+
+ANNA PÁVLOVNA. For how many?... Theodore Ivánitch! Let him give up the
+silver plate to you. Be off, at once! It is all his fault! This man
+will bring me to my grave. Last night he nearly starved the dog that
+had done him no harm! And, as if that were not enough, he lets the
+infected peasants into the kitchen, and now they are here again! It is
+all his fault! Be off at once! Discharge him, discharge him! (To
+SIMON.) And you, horrid peasant, if you dare to have rows in my house
+again, I'll teach you!
+
+SECOND PEASANT. All right, if he is a horrid peasant there's no good
+keeping him; you'd better discharge him too, and there's an end of it.
+
+ANNA PÁVLOVNA (while listening to him looks at THIRD PEASANT). Only
+look! Why, he has a rash on his nose--a rash! He is ill; he is a
+hotbed of infection!! Did I not give orders, yesterday, that they were
+not to be allowed into the house, and here they are again? Drive them
+out!
+
+THEODORE IVÁNITCH. Then are we not to accept their money?
+
+ANNA PÁVLOVNA. Their money? Oh yes, take their money; but they must be
+turned out at once, especially this one! He is quite rotten!
+
+THIRD PEASANT. That's not just, lady. God's my witness, it's not just!
+You'd better ask my old woman, let's say, whether I am rotten! I'm
+clear as crystal, let's say.
+
+ANNA PÁVLOVNA. He talks!... Off, off with him! It's all to spite
+me!... Oh, I can't bear it, I can't!... Send for the doctor!
+
+     [Runs away, sobbing. Exit also JACOB and GREGORY.
+
+TÁNYA (to BETSY). Miss Elizabeth, darling, what am I to do now?
+
+BETSY. Never mind, you go with them and I'll arrange it all.
+
+     [Exit.
+
+FIRST PEASANT. Well, your reverence, how about the reception of the
+sum now?
+
+SECOND PEASANT. Let us settle up, and go.
+
+THIRD PEASANT (fumbling with the packet of banknotes). Had I known,
+I'd not have come for the world. It's worse than a fever!
+
+THEODORE IVÁNITCH (to DOORKEEPER). Show them into my room. There's a
+counting-board there. I'll receive their money. Now go.
+
+DOORKEEPER. Come along.
+
+THEODORE IVÁNITCH. And it's Tánya you have to thank for it. But for
+her you'd not have had the land.
+
+FIRST PEASANT. That's just it. As she made the proposal, so she put it
+into effect.
+
+THIRD PEASANT. She's made men of us. Else what were we? We had so
+little land, no room to let a hen out, let's say, not to mention the
+cattle. Good-bye, dear! When you get to the village, come to us and
+eat honey.
+
+SECOND PEASANT. Let me get home and I'll start brewing the beer for
+the wedding! You will come?
+
+TÁNYA. Yes, I'll come, I'll come! (Shrieks.) Simon, this is fine,
+isn't it?
+
+     [Exeunt PEASANTS.
+
+THEODORE IVÁNITCH. Well, Tánya, when you have your house I'll come to
+visit you. Will you welcome me?
+
+TÁNYA. Dear Theodore Ivánitch, just the same as we would our own
+father!
+
+     [Embraces and kisses him.
+
+CURTAIN
+
+
+
+
+FOOTNOTES FOR FRUITS OF CULTURE
+
+1.   Economical balls at which the ladies are bound to appear in
+     dresses made of cotton materials.
+
+2.   The present value of the rouble is rather over fifty cents.
+
+3.   The Gypsy choirs are very popular in Moscow.
+
+4.   BETSY. Cease! You are becoming quite unbearable!.
+
+5.   PETRÍSTCHEF. I have C said (ceased), B said, and D said.
+
+6.   BARONESS. But tell me, please, is he paid for this?
+
+     ANNA PÁVLOVNA. I really do not know.
+
+     BARONESS. But he is a gentleman?
+
+     ANNA PÁVLOVNA. Oh, yes!
+
+     BARONESS. It is almost miraculous. Isn't it? How does he manage
+     to find things?
+
+     ANNA PÁVLOVNA. I really can't tell you. My husband will explain
+     it to you.... Excuse me....
+
+7.   Stunning!
+
+8.   BARONESS. Capital! Does it not cause him any pain?
+
+     LEONÍD FYÓDORITCH. Not the slightest.
+
+9.   He uses a Centigrade thermometer.
+
+10.  LEONÍD FYÓDORITCH. You bring good luck.
+
+11.  FAT LADY. But he looks quite nice.
+
+12.  To take a header.
+
+13.  Do not disappoint us.
+
+14.  BETSY. I have more than enough of your Koko.
+
+15.  YOUNG PRINCESS. He is usually so very punctual....
+
+16.  BETSY. Cease; mind the servants!
+
+17.  And that won't suit me at all, at all! Not at all, at all!
+
+18.  Employers have charge of the servants' passports, and in this way
+     have a hold on them in case of misconduct.
+
+19.  It is customary for peasants to marry just after Easter, but when
+     spring has come and the field work begun, no marriages take place
+     among them till autumn. (See also THE POWER OF DARKNESS
+     footnote 2.)
+
+20.  COUNTESS. Thank you (for your hospitality), a thousand thanks
+
+21.  ANNA PÁVLOVNA. Thank you (for coming to see us), a thousand
+     thanks. Till next Tuesday!
+
+
+
+
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+<h1>The Project Gutenberg eBook of Redemption and Two Other Plays, by Leo Tolstoy et al</h1>
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+Title: Redemption and Two Other Plays
+
+Author: Leo Tolstoy et al
+
+Release Date: January, 2006  [EBook #9792]
+[This file was first posted on October 17, 2003]
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+Edition: 10
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+*** START OF THE PROJECT GUTENBERG EBOOK, REDEMPTION AND TWO OTHER PLAYS ***
+</pre>
+<center>
+<h3>
+E-text prepared by David Starner, Skip Doughty,<br>
+and Project Gutenberg Distributed Proofreaders
+</h3>
+</center>
+<br>
+<br>
+<hr>
+<br>
+<h1>REDEMPTION AND TWO OTHER PLAYS</h1>
+
+<p>&nbsp;</p>
+
+<p class="hang">By LEO TOLSTOY</p>
+
+<p class="hang">Introduction By ARTHUR HOPKINS</p>
+
+<h3>CONTENTS</h3>
+
+<p class="normal"><a href="#intro">INTRODUCTION BY ARTHUR HOPKINS</a><br>
+<a href="#redemption">REDEMPTION</a><br>
+<a href="#darkness">THE POWER OF DARKNESS</a><br>
+<a href="#fruits">FRUITS OF CULTURE</a></p>
+
+<h3><a name="intro">INTRODUCTION</a></h3>
+
+<p class="normal">After making a production of <i>Redemption</i>, the chief
+feeling of the producer is one of deep regret that Tolstoi did not
+make more use of the theatre as a medium. His was the rare gift of
+vitalization: the ability to breathe life into word-people which
+survives in them so long as there is any one left to turn up the
+pages they have made their abode.</p>
+
+<p class="normal">In the world of writing, many terms that should be illuminative
+have become meaningless. So often has the barren been called
+"pregnant," the chill of death "the breath of life," the atrophied
+"pulsating," that when we really come upon a work with beating
+heart we find it difficult to give it place that has not already
+been stuffed to suffocation with misplaced dummies.</p>
+
+<p class="normal">We seat it at table with staring wax figures and bid it to join
+the feast. There is no exclusion act in art, no passport bureau,
+not even hygienic segregation.</p>
+
+<p class="normal">In writing the briefest introduction to Tolstoi's work, I am
+appointed by the publisher, a sort of reception committee of one to
+escort the work to some fitting place where it may enjoy the
+surroundings and deference it deserves.</p>
+
+<p class="normal">The place to which I escort it is built of words, but what words
+have been left me by the long procession of previous committees?
+Where they have been truthfully used they have been glorified, and
+offer all the rarer material for my structure, but how often have
+they been subjected to base use. Perhaps some day we will learn the
+proper respect of such simple words as love and truth and life, and
+then when we meet them in books we shall know how to greet
+them.</p>
+
+<p class="normal">The study of <i>Redemption</i> is so simple that it needs no
+illumination from me. The characters may walk in strange lands
+without introduction. They are part of us. F&eacute;dya is in all
+of us. His one cry "There has always been so much lacking between
+what I felt and what I could do" instantly makes him brother to all
+mankind. His simultaneous physical degeneration and spiritual
+regeneration is the glory that all people have invested in death.
+Tolstoi's cry against convention that disregards spiritual
+struggle, and system that ignores human growth, will find answering
+cries in many breasts in many lands.</p>
+
+<p class="normal">Utterly disregarding effect, technique or method, Tolstoi has
+explored his own soul and there touched hands with countless other
+souls, and since he has trod the path of countless millions who
+will come after him, the mementos of his journey will long be
+sought.</p>
+
+<p class="hang">ARTHUR HOPKINS.</p>
+
+<p>&nbsp;</p>
+
+<hr>
+<p>&nbsp;</p>
+
+<p class="normal">The translation of <i>Redemption</i> here published is the one
+produced by Mr. Arthur Hopkins at the Plymouth Theatre, New York,
+in the season of 1918-1919. The part of F&Eacute;DYA was played by
+Mr. John Barrymore.</p>
+
+<p>&nbsp;</p>
+
+<hr>
+<p>&nbsp;</p>
+
+<h1><a name="redemption">REDEMPTION</a></h1>
+
+<h3>CHARACTERS</h3>
+
+<p class="normal">THEODORE VAS&Iacute;LYEVICH PROTOSOV (F&Eacute;DYA).<br>
+ELISABETH ANDR&Eacute;YEVNA PROTOSOVA (LISA). <i>His wife</i>.<br>
+M&Iacute;SHA. <i>Their son</i>.<br>
+ANNA P&Aacute;VLOVNA. <i>Lisa's mother</i>.<br>
+SASHA. <i>Lisa's younger, unmarried sister</i>.<br>
+VICTOR MICHAELOVITCH KAR&Eacute;NIN.<br>
+SOPHIA DM&Iacute;TRIEVNA KAR&Eacute;NINA.<br>
+PRINCE SERGIUS DM&Iacute;TRIEVICH ABR&Eacute;SKOV.<br>
+MASHA. <i>A gypsy girl</i>.<br>
+IV&Aacute;N MAK&Aacute;ROVICH. <i>An old gypsy man. Masha's
+parent.</i><br>
+NASTAS&Iuml;A IV&Aacute;NOVNA. <i>An old gypsy woman. Masha's
+parent.</i><br>
+OFFICER.<br>
+MUSICIAN.<br>
+FIRST GYPSY MAN.<br>
+SECOND GYPSY MAN.<br>
+GYPSY WOMAN.<br>
+GYPSY CHOIR.<br>
+DOCTOR.<br>
+MICHAEL ALEX&Aacute;NDROVICH AFR&Eacute;MOV.<br>
+ST&Aacute;KHOV. <i>One of F&eacute;dya's boon companions.</i><br>
+BUTK&Eacute;VICH. <i>One of F&eacute;dya's boon companions.</i><br>
+KOROTK&Oacute;V. <i>One of F&eacute;dya's boon companions.</i><br>
+IV&Aacute;N PETROVICH ALEX&Aacute;NDROV.<br>
+VOZNES&Eacute;NSKY. <i>Kar&eacute;nin's secretary</i>.<br>
+PETUSHK&Oacute;V. <i>An artist</i>.<br>
+ARTIMIEV.<br>
+WAITER IN THE PRIVATE ROOM AT THE RESTAURANT.<br>
+WAITER IN A LOW-CLASS RESTAURANT.<br>
+MANAGER OF THE SAME.<br>
+POLICEMAN.<br>
+INVESTIGATING MAGISTRATE.<br>
+M&Eacute;LNIKOV.<br>
+CLERK.<br>
+USHER.<br>
+YOUNG LAWYER.<br>
+PETR&Uacute;SHIN. <i>A lawyer</i>.<br>
+LADY.<br>
+ANOTHER OFFICER.<br>
+ATTENDANT AT LAW COURTS.<br>
+PROTOSOVS' NURSE.<br>
+PROTOSOVS' MAID.<br>
+AFR&Eacute;MOV'S FOOTMAN.<br>
+KAR&Eacute;NINS' FOOTMAN.</p>
+
+<h3>ACT I</h3>
+
+<h4>SCENE I</h4>
+
+<p class="hang"><i>Protosovs' flat in Moscow. The scene represents
+a small dining room.</i> ANNA P&Aacute;VLOVNA<i>, a stout,
+gray-haired lady, tightly laced, is sitting alone at the tea-table
+on which is a samov&aacute;r.</i></p>
+
+<p class="hang"><i>Enter</i> NURSE <i>carrying a tea-pot.</i></p>
+
+<p class="hang"><i>Nurse</i> (<i>enters R. I, over to table
+C.</i>). Please, Madam, may I have some water?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>sitting R. of table
+C.</i>). Certainly. How is the baby now?</p>
+
+<p class="hang"><i>Nurse.</i> Oh, restless, fretting all the time.
+There's nothing worse than for a lady to nurse her child. She has
+her worries and the baby suffers for them. What sort of milk could
+she have, not peeping all night, and crying and crying?</p>
+
+<p class="indent">[SASHA <i>enters R. I, strolls to L. of table
+C.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> But I thought she was more calm
+now?</p>
+
+<p class="hang"><i>Nurse.</i> Fine calm! It makes me sick to look at her. She's
+just been writing something and crying all the time.</p>
+
+<p class="hang"><i>Sasha</i> (<i>to nurse</i>). Lisa's looking for you.</p>
+
+<p class="indent">[<i>Sits in chair L. of table C.</i></p>
+
+<p class="hang"><i>Nurse.</i> I'm going.</p>
+
+<p class="indent">[<i>Exits R. I.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> Nurse says she's
+always crying. Why can't she try and calm herself a little?</p>
+
+<p class="hang"><i>Sasha.</i> Well, really, Mother, you're amazing.
+How can you expect her to behave as if nothing had happened when
+she's just left her husband and taken her baby with her?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> Well, I don't exactly,
+but that's all over. If I approve of my daughter's having left her
+husband, if I'm ever glad, well, you may be quite sure he deserved
+it. She has no reason to be miserable&mdash;on the contrary, she ought
+to be delighted at being freed from such a wretch.</p>
+
+<p class="hang"><i>Sasha</i>. Mother! Why do you go on like this?
+It's not the truth and you know it. He's not a wretch, he's
+wonderful. Yes, in spite of all his weakness.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. I suppose you'd like
+her to wait till he'd spent every kopec they had, and smile sweetly
+when be brought his gypsy mistresses home with him.</p>
+
+<p class="hang"><i>Sasha</i>. He hasn't any mistresses.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. There you go again.
+Why, the man's simply bewitched you, but I can see through him, and
+he knows it. If I'd been Lisa, I'd left him a year ago.</p>
+
+<p class="hang"><i>Sasha</i>. Oh, how easily you speak of these
+serious things.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Not easily, not easily
+at all. Do you suppose it's agreeable for me to have my daughter
+admit her marriage a failure? But anything's better than for her to
+throw away her life in a lie. Thank God, she's made up her mind to
+finish with him for good.</p>
+
+<p class="hang"><i>Sasha</i>. Maybe it won't be for good.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. It would be if only
+he'd give her a divorce.</p>
+
+<p class="hang"><i>Sasha</i>. To what end?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Because she's young
+and has the right to look for happiness.</p>
+
+<p class="hang"><i>Sasha</i>. It's awful to listen to you. How
+could she love some one else?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Why not? There are
+thousands better than your F&eacute;dya, and they'd be only too
+happy to marry Lisa.</p>
+
+<p class="hang"><i>Sasha</i>. Oh, it's not nice of you. I feel, I
+can tell, you're thinking about Victor Kar&eacute;nin.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Why not? He loved her
+for ten years, and she him, I believe.</p>
+
+<p class="hang"><i>Sasha</i>. Yes, but she doesn't love him as a
+husband. They grew up together; they've just been friends.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Ah, those friendships!
+How should you know what keeps them warm! If only they were both
+free!</p>
+
+<p class="indent">[<i>Enter a</i> MAID <i>L. U.</i></p>
+
+<p class="follow">Well?</p>
+
+<p class="hang"><i>Maid</i>. The porter's just come back with an
+answer to the note.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. What note?</p>
+
+<p class="hang"><i>Maid</i>. The note Elizaveta Protosova sent to
+Victor Kar&eacute;nin.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Well? What answer?</p>
+
+<p class="hang"><i>Maid</i>. Victor Kar&eacute;nin told the porter
+he'd be here directly.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Very well.</p>
+
+<p class="indent">[MAID <i>exits L. U.</i></p>
+
+<p class="indent">[<i>To</i> SASHA.</p>
+
+<p class="follow">Why do you suppose she sent for him? Do you
+know?</p>
+
+<p class="hang"><i>Sasha</i>. Maybe I do and maybe I don't.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. You're always so full
+of secrets.</p>
+
+<p class="hang"><i>Sasha</i>. Ask Lisa, she'll tell you.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Just as I thought! She
+sent for him at once.</p>
+
+<p class="hang"><i>Sasha</i>. Yes, but maybe not for the reason you
+think.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Then what for?</p>
+
+<p class="hang"><i>Sasha</i>. Why, Mother, Lisa cares just about as
+much for Victor Kar&eacute;nin as she does for her old nurse.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. You'll see. She wants
+consolation, a special sort of consolation.</p>
+
+<p class="hang"><i>Sasha</i>. Really, it shows you don't know Lisa
+at all to talk like this.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. You'll see.
+<i>Sasha</i>. Yes, I shall see.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>alone to
+herself</i>). And I am very glad. I'm very, very glad.</p>
+
+<p class="indent">[<i>Enter</i> MAID.</p>
+
+<p class="hang"><i>Maid</i>. Victor Kar&eacute;nin.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Show him here and tell
+your mistress.</p>
+
+<p class="indent">[MAID <i>shows in</i> KAR&Eacute;NIN <i>and exits
+door R. I.</i></p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>goes C. and stands behind
+table C</i>.). (<i>Shaking hands with Anna P&aacute;vlovna</i>.)
+Elizaveta Andreyevna sent me a note to come at once. I should have
+been here to-night anyway. How is she? Well, I hope.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Not very. The baby has
+been upset again. However, she'll be here in a minute. Will you
+have some tea?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. No, thank you.</p>
+
+<p class="indent">[<i>Sits chair R.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Tell me, do you know
+that he and she&mdash;.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Yes, I was here two days ago
+when she got this letter. Is she positive now about their
+separating?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Oh, absolutely. It
+would be impossible to begin it all over again.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Yes. To cut into living
+things and then draw back the knife is terrible. But are you sure
+she knows her mind?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. I should think so. To
+come to this decision has caused her much pain. But now it's final,
+and he understands perfectly that his behavior has made it
+impossible for him to come back on any terms.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Why?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. After breaking every
+oath he swore to decency, how could he come back? And so why
+shouldn't he give her her freedom?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. What freedom is there for a
+woman still married?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Divorce. He promised
+her a divorce and we shall insist upon it.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. But your daughter was so in
+love with him?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Her love has been
+tried out of existence. Remember she had everything to contend
+with: drunkenness, gambling, infidelity&mdash;what was there to go on
+loving in such a person?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Love can do anything.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. How can one love a rag
+torn by every wind? Their affairs were in dreadful shape; their
+estate mortgaged; no money anywhere. Finally his uncle sends them
+two thousand rubles to pay the interest on the estate. He takes it,
+disappears, leaves Lisa home and the baby sick&mdash;when suddenly she
+gets a note asking her to send him his linen.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. I know.</p>
+
+<p class="indent">[<i>Enter</i> LISA <i>R.I.</i> KAR&Eacute;NIN
+<i>crosses to</i> LISA.</p>
+
+<p class="follow">I'm sorry to have been a little detained.</p>
+
+<p class="indent">[<i>Shakes hands with</i> LISA.</p>
+
+<p class="hang"><i>Lisa</i>. Oh, thank you so much for coming. I
+have a great favor to ask of you. Something I couldn't ask of
+anybody else.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. I'll do everything I
+can.</p>
+
+<p class="indent">[LISA <i>moves away a few steps down R.</i></p>
+
+<p class="hang"><i>Lisa</i>. You know all about this.</p>
+
+<p class="indent">[<i>Sits chair R.</i></p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Yes, I know.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Well, I think I'll
+leave you two young people to yourselves.<br>
+(<i>To</i> SASHA.) Come along, dear, you and I will be just in the
+way.</p>
+
+<p class="indent">[<i>Exit L. U.</i> ANNA P&Aacute;VLOVNA
+<i>and</i> SASHA.</p>
+
+<p class="hang"><i>Lisa</i>. F&eacute;dya wrote to me saying it was
+all over between us. (<i>She begins to cry</i>.) That hurt me so,
+bewildered me so, that&mdash;well, I agreed to separate. I wrote to him
+saying I was willing to give him up if he wanted me to.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. And now you're sorry?</p>
+
+<p class="hang"><i>Lisa</i> (<i>nodding</i>). I feel I oughtn't to
+have said yes. I can't. Anything is better than not to see him
+again. Victor dear, I want you to give him this letter and tell him
+what I've told you, and&mdash;and bring him back to me.</p>
+
+<p class="indent">[<i>Gives</i> VICTOR <i>a letter.</i></p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. I'll do what I can.</p>
+
+<p class="indent">[<i>Takes letter, turns away and sits chair R. of
+table C.</i></p>
+
+<p class="hang"><i>Lisa</i>. Tell him I will forget everything if
+only he will come back. I thought of mailing this, only I know him:
+he'd have a good impulse, first thwarted by some one, some one who
+would finally make him act against himself.</p>
+
+<p class="indent">[<i>Pause.</i></p>
+
+<p class="follow">Are you&mdash;are you surprised I asked you?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. No. (<i>He hesitates</i>.)
+But&mdash;well, candidly, yes. I am rather surprised.</p>
+
+<p class="hang"><i>Lisa</i>. But you are not angry?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. You know I couldn't be angry
+with you.</p>
+
+<p class="hang"><i>Lisa</i>. I ask you because I know you're so
+fond of him.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Of him&mdash;and of you too.
+Thank you for trusting me. I'll do all I can.</p>
+
+<p class="hang"><i>Lisa</i>. I know you will. Now I'm going to tell
+you everything. I went to-day to Afr&eacute;mov's, to find out
+where he was. They told me he was living with the gypsies. Of
+course that's what I was afraid of. I know he'll be swept off his
+feet if he isn't stopped in time. So you'll go, won't you?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Where's the place?</p>
+
+<p class="hang"><i>Lisa</i>. It's that big tenement where the gypsy
+orchestra lives, on the left bank below the bridge. I went there
+myself. I went as far as the door, and was just going to send up
+the letter, but somehow I was afraid. I don't know why. And then I
+thought of you. Tell him, tell him I've forgotten everything and
+that I'm here waiting for him to come home. (<i>Crosses to</i>
+KAR&Eacute;NIN&mdash;<i>a little pause</i>.) Do it out of love for him,
+Victor, and out of friendship for me.</p>
+
+<p class="indent">[<i>Another pause.</i></p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. I'll do all I can.</p>
+
+<p class="indent">[<i>He bows to her and goes out L.U. Enter</i>
+SASHA <i>L.U., goes L. over near table C.</i></p>
+
+<p class="hang"><i>Sasha</i>. Has the letter gone? (LISA
+<i>nods</i>.) He had no objections to taking it himself?</p>
+
+<p class="indent">[<i>LISA, R. C., shakes head.</i></p>
+
+<p class="hang"><i>Sasha</i> (<i>L.C.</i>). Why did you ask him? I
+don't understand it.</p>
+
+<p class="hang"><i>Lisa</i>. Who else was there?</p>
+
+<p class="hang"><i>Sasha</i>. But you know he's in love with
+you.</p>
+
+<p class="hang"><i>Lisa</i>. Oh, that's all past. (<i>Over to
+table</i> C.) Do you think F&eacute;dya will come back?</p>
+
+<p class="hang"><i>Sasha</i>. I'm sure he will, but&mdash;</p>
+
+<p class="indent">[<i>Enter</i> ANNA P&Aacute;VLOVNA.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Where's Victor
+Kar&eacute;nin?</p>
+
+<p class="hang"><i>Lisa</i>. Gone.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Gone?</p>
+
+<p class="hang"><i>Lisa</i>. I've asked him to do something for
+me.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. What was it? Another
+secret?</p>
+
+<p class="hang"><i>Lisa</i>. No, not a secret. I simply asked him
+to take a letter to F&eacute;dya.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. To Fedor Protosov?</p>
+
+<p class="hang"><i>Lisa</i>. Oh, to F&eacute;dya, F&eacute;dya.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Then it's not going to
+be over?</p>
+
+<p class="hang"><i>Lisa</i>. I can't let him leave me.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Oh, so we shall commence
+all over again?</p>
+
+<p class="hang"><i>Lisa</i>. I'll do anything you like, but I can't
+give him up.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. You don't mean you
+want him to come back?</p>
+
+<p class="hang"><i>Lisa</i>. Yes, yes.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Let that reptile into
+the house again!</p>
+
+<p class="hang"><i>Lisa</i>. Please don't talk like that. He's my
+husband.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Was your husband.</p>
+
+<p class="hang"><i>Lisa</i>. No. He's still my husband.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Spendthrift. Drunkard.
+Reprobate. And you'll not part from him!</p>
+
+<p class="hang"><i>Lisa</i>. Oh, Mother, why do you keep on hurting
+me! You seem to enjoy it.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Hurt you, do I? Enjoy
+it, do I? Very well, then, if that's the case, I'd better go.</p>
+
+<p class="indent">[<i>Pause.</i></p>
+
+<p class="follow">I see I'm in your way. You <i>want</i> me to go.
+Well, all I can say is I can't make you out. I suppose you're being
+"modern" and all that. But to me, it's just plain disgusting.
+First, you make up your mind to separate from your husband, and
+then you up and send for another man who's in love with you&mdash;</p>
+
+<p class="hang"><i>Lisa</i>. Mother, <i>he's not</i>.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. You know
+Kar&eacute;nin proposed to you, and he's the man you pick out to
+bring back your husband. I suppose you do it just to make him
+jealous.</p>
+
+<p class="hang"><i>Lisa</i>. Oh, Mother, stop it. Leave me
+alone.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. That's right. Send off
+your mother. Open the door to that awful husband. Well, I can't
+stand by and see you do it. I'll go. I'm going. And God be with you
+and your extraordinary ways.</p>
+
+<p class="indent">[<i>Exit L. U. with suppressed rage.</i></p>
+
+<p class="hang"><i>Lisa</i> (<i>sinking into a chair R. of table
+C</i>.). That's the last straw.</p>
+
+<p class="hang"><i>Sasha</i>. Oh, she'll come back. We'll make her
+understand. (<i>Going to the door and following after her
+mother</i>.) Now, Mother darling, listen&mdash;listen&mdash;</p>
+
+<p class="indent">[<i>Exit L. U.</i></p>
+
+<p class="indent">[<i>All lights dim to black out.</i></p>
+
+<p class="hang">CURTAIN</p>
+
+<p>&nbsp;</p>
+
+<h4>SCENE II</h4>
+
+<p class="hang"><i>A room at the gypsies', dark but beautifully
+lit. The actual room is scarcely seen, and although at first it
+appears squalid, there are flaring touches of Byzantine luxury.
+Gypsies are singing.</i> F&Eacute;DYA <i>is lying on the sofa, his
+eyes closed, coat off. An</i> OFFICER <i>sits at the table, on
+which there are bottles of champagne and glasses. Beside him sits a
+musician taking down the song.</i></p>
+
+<p class="hang"><i>Afr&eacute;mov</i> (<i>standing L. U</i>.).
+Asleep?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>on couch L. Raising his
+hand warningly</i>). Sh! Don't talk! Now let's have "No More at
+Evening."</p>
+
+<p class="hang"><i>Gypsy Leader</i>. Impossible, Fedor Protosov.
+Masha must have her solo first.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Afterwards. Now let's have "No
+More at Evening."</p>
+
+<p class="indent">[<i>Gypsies sing.</i></p>
+
+<p class="hang"><i>Gypsy Woman</i> (<i>R. C., when they finish
+singing, turning to Musician who is sitting at table R., with his
+back to audience</i>). Have you got it?</p>
+
+<p class="hang"><i>Musician</i>. It's <i>impossible</i> to take it
+down correctly. They change the tune each <i>time</i>, and they
+seem to have a different scale, too. (<i>He calls a gypsy
+woman</i>.) Is this it?</p>
+
+<p class="indent">[<i>He hums a bar or two.</i></p>
+
+<p class="hang"><i>Gypsy Woman</i> (<i>clapping her hands</i>).
+Splendid! Wonderful! How can you do it?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>rising. Goes to table L.
+back of couch and pours out glass of wine</i>). He'll never get it.
+And even if he did and shovelled it into an opera, he'd make it
+seem absolutely meaningless.</p>
+
+<p class="hang"><i>Afr&eacute;mov</i>. Now we'll have "The Fatal
+Hour."</p>
+
+<p class="indent">[<i>Gypsies sing quartette. During this song,</i>
+F&Eacute;DYA <i>is standing down R., keeping time with the wine
+glass from which he has drunk. When they finish he returns to the
+couch and falls into</i> MASHA'S <i>arms.</i></p>
+
+<p class="hang"><i>F&eacute;dya</i>. God! That's it! That's it!
+That's wonderful. What lovely things that music says. And where
+does it all come from, what does it all mean?</p>
+
+<p class="indent">[<i>Another pause.</i></p>
+
+<p class="follow">To think that men can touch eternity like that,
+and then&mdash;nothing&mdash;nothing at all.</p>
+
+<p class="hang"><i>Musician</i>. Yes, it's very original.</p>
+
+<p class="indent">[<i>Taking notes.</i></p>
+
+<p class="hang"><i>F&eacute;dya</i>. Original be damned. It's
+real.</p>
+
+<p class="hang"><i>Musician</i>. It's all very simple, except the
+rhythm. That's very strange.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Oh, Masha, Masha! You turn my
+soul inside out.</p>
+
+<p class="indent">[<i>Gypsies hum a song softly.</i></p>
+
+<p class="hang"><i>Masha</i> (<i>sitting on couch L. with</i>
+F&Eacute;DYA). Do I? But what was it I asked you for?</p>
+
+<p class="hang"><i>F&eacute;dya</i>. What? Oh, money. Voil&agrave;,
+mademoiselle.</p>
+
+<p class="indent">[<i>He takes money front his trousers pocket.</i>
+MASHA <i>laughs, takes the money, counts it swiftly, and hides it
+in her dress.</i></p>
+
+<p class="hang"><i>F&eacute;dya</i>. Look at this strange creature.
+When she sings she rushes me into the sky and all she asks for is
+money, little presents of money for throwing open the Gates of
+Paradise. You don't know yourself, at all, do you?</p>
+
+<p class="hang"><i>Masha</i>. What's the use of me wondering about
+myself? I know when I'm in love, and I know that I sing best when
+my love is singing.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Do you love me?</p>
+
+<p class="hang"><i>Masha</i> (<i>murmuring</i>). I love you.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. But I am a married man, and
+you belong to this gypsy troupe. They wouldn't let you leave it,
+and&mdash;</p>
+
+<p class="hang"><i>Masha</i> (<i>interrupting</i>). The troupe's
+one thing, and my heart's another. I love those I love, and I hate
+those I hate.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Oh, you must be happy to be
+like that.</p>
+
+<p class="hang"><i>Masha</i>. I'm always happy when handsome
+gentlemen come and say nice things to me. (<i>Gypsies stop
+singing</i>.)</p>
+
+<p class="indent">[<i>A gypsy entering speaks to</i>
+F&Eacute;DYA.</p>
+
+<p class="hang"><i>Gypsy</i>. Some one asking for you.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Who?</p>
+
+<p class="hang"><i>Gypsy</i>. Don't know. He's rich, though. Fur
+coat.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Fur coat? O my God, show him
+in.</p>
+
+<p class="hang"><i>Afr&eacute;mov</i>. Who the devil wants to see
+you here?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>carelessly</i>). God knows,
+I don't. (<i>Begins to hum a song</i>.)</p>
+
+<p class="indent">[KAR&Eacute;NIN <i>comes in, looking around the
+room.</i></p>
+
+<p class="follow">(<i>Exclaiming</i>). Ha! Victor! You're the last
+man in the world I expected to break into this enchanting milieu.
+Take off your coat, and they'll sing for you.</p>
+
+<p class="hang"><i>Kar&eacute;nin.</i> Je voudrais vous parler sans
+t&eacute;moins.</p>
+
+<p class="indent">[MASHA <i>rises and joins the group R.</i></p>
+
+<p class="hang"><i>F&eacute;dya.</i> Oh.... What about?</p>
+
+<p class="hang"><i>Kar&eacute;nin.</i> Je viens de chez vous. Votre
+femme ma charg&eacute; de cette lettre, et puis&mdash;</p>
+
+<p class="indent">[F&Eacute;DYA <i>takes the letter, opens it,
+reads. He frowns, then smiles affectionately at</i>
+KAR&Eacute;NIN.</p>
+
+<p class="hang"><i>F&eacute;dya.</i> You know what's in this
+letter, Victor?</p>
+
+<p class="indent">[<i>He is smiling gently all the time.</i></p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>looking at F&eacute;dya
+rather severely</i>). Yes, I know. But really, F&eacute;dya, you're
+in no&mdash;</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>interrupting</i>). Please,
+please don't think I'm drunk and don't realize what I'm saying. Of
+course I'm drunk, but I see everything very clearly. Now go ahead.
+What were you told to tell me?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>is standing L. C.
+Shrugging his shoulders</i>). Your wife asked me to find you and to
+tell you she's waiting for you. She wants you to forget everything
+and come back.</p>
+
+<p class="indent">[<i>Pause.</i></p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>stiffly</i>). Elizaveta
+Protosova sent for me and suggested that I&mdash;</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>as he hesitates</i>).
+Yes.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>finishing rather
+lamely</i>). But I ask you not so much for her as for
+myself&mdash;F&eacute;dya, come <i>home</i>.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>looking up at him, smiling
+rather whimsically</i>). You're a much finer person than I am,
+Victor. Of course that's not saying much. I'm not very much good,
+am I? (<i>Laughing gently</i>.) But that's exactly why I'm not
+going to do what you want me to. It's not the only reason, though.
+The real reason is that I just simply can't. How could I?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>persuasively</i>). Come
+along to my rooms, F&eacute;dya, and I'll tell her you'll be back
+to-morrow.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>wistfully</i>). To-morrows
+can't change what we are. She'll still be she, and I will still be
+I to-morrow. (<i>Goes to the table and drinks</i>.) No, it's better
+to have the tooth out in one pull. Didn't I say that if I broke my
+word she was to leave me? Well, I've broken it, and that's
+enough.</p>
+
+<p class="hang"><i>Kar&eacute;nin.</i> Yes. For you, but not for
+her.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>down L. Politely
+insolent</i>). You know ... it's rather odd, that you, of all men,
+should take so much trouble to keep our marriage from going to
+pieces.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>revolted</i>). Good God,
+F&eacute;dya! You don't think&mdash;</p>
+
+<p class="indent">[MASHA <i>crosses L., goes to</i> F&Eacute;DYA.
+F&Eacute;DYA <i>interrupting him with a return of his former
+friendliness.</i></p>
+
+<p class="hang"><i>F&eacute;dya.</i> Come now, my dear Victor, you
+shall hear them sing.</p>
+
+<p class="hang"><i>Masha</i> (<i>whispering to F&eacute;dya</i>).
+What's his name? We must honor him with a song.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>laughing</i>). O good God,
+yes! Honor him by all means. His name is Victor Michaelovitch.
+(<i>Saluting Kar&eacute;nin</i>.) Victor, my lord! son of
+Michael!</p>
+
+<p class="indent">[<i>The gypsies sing a song of greeting and
+laudation. As they begin to sing,</i> MASHA <i>and</i> F&Eacute;DYA
+<i>sit on couch L.</i></p>
+
+<p class="hang">(<i>When song is finished</i>.)</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>in an imploring
+tone</i>). F&eacute;dya!</p>
+
+<p class="indent">[<i>Exits quietly L. U.</i></p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>business with Masha</i>).
+Where's the fur coat? Gone, eh? All right. May the devil go with
+it.</p>
+
+<p class="hang"><i>F&eacute;dya.</i> Do you know who that was?</p>
+
+<p class="hang"><i>Masha.</i> I heard his name.</p>
+
+<p class="hang"><i>F&eacute;dya.</i> Ah, he's a splendid fellow. He
+came to take me home to my wife. You see she loves even a fool like
+me, (<i>caressing her hair</i>) and look what I'm doing.</p>
+
+<p class="hang"><i>Masha.</i> You should go back to her and be very
+sorry.</p>
+
+<p class="hang"><i>F&eacute;dya.</i> Do you think I should? (<i>He
+kisses her</i>.) Well, I think I shouldn't.</p>
+
+<p class="hang"><i>Masha.</i> Of course, you needn't go back to her
+if you don't love her. Love is all that counts.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>smiling</i>). How do you
+know that?</p>
+
+<p class="hang"><i>Masha</i> (<i>looking at him timidly</i>). I
+don't know, but I do.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Now, let's have "No More at
+Evening." (<i>As the gypsies sing,</i> MASHA <i>lies on her back
+across his lap, looking up into his face, which she draws down to
+her, and they kiss until the music begins to cease</i>.) That's
+wonderful! Divine! If I could only lie this way forever, with my
+arms around the heart of joy, and sleep ... and die.... (<i>He
+closes his eyes; his voice trails away</i>.)</p>
+
+<p class="indent">[<i>Lights dim and out, then the</i></p>
+
+<p class="hang">CURTAIN</p>
+
+<p>&nbsp;</p>
+
+<h4>SCENE III</h4>
+
+<p class="hang">SOPHIA KAR&Eacute;NINA'S <i>boudoir</i>. SOPHIA
+KAR&Eacute;NINA, VICTOR'S <i>mother, is reading a book. She is a
+great lady, over fifty, but tries to look younger. She likes to
+interlard her conversation with French words. A servant
+enters.</i></p>
+
+<p class="hang"><i>Servant</i> (<i>enters R., announcing</i>).
+Prince Sergius Abr&eacute;skov.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i> (<i>on sofa over
+L</i>.). Show him in, please.</p>
+
+<p class="indent">[<i>She turns and picks up hand mirror from table
+back of couch, arranging her hair.</i></p>
+
+<p class="hang"><i>Prince Sergius</i> (<i>enters R. I.
+Entering</i>). J'esp&egrave;re que je ne force pas la consigne.</p>
+
+<p class="indent">[<i>Crossing to sofa L. He kisses her hand. He is
+a charming old diplomat of seventy.</i></p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. Ah, you know well
+que vous &ecirc;tes toujours le bien venu.... Tell me, you have
+received my letter?</p>
+
+<p class="hang"><i>Prince Sergius</i>. I did. Me voil&agrave;.
+(<i>Sits L. on sofa L</i>.) <i>Sophia Kar&eacute;nina</i>
+(<i>working up to distress</i>). Oh, my dear friend, I begin to
+lose hope. She's bewitched him, positively bewitched him. Il est
+ensorcel&eacute;. I never knew he could be so obstinate, so
+heartless, and so indifferent to me. He's changed completely since
+that woman left her husband.</p>
+
+<p class="hang"><i>Prince Sergius.</i> How do matters actually
+stand?</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina.</i> Well, he's made up
+his mind to marry her at any cost.</p>
+
+<p class="hang"><i>Prince Sergius.</i> And her husband?</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina.</i> He agrees to a
+divorce.</p>
+
+<p class="hang"><i>Prince Sergius.</i> Really?</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina.</i> And Victor is
+willing to put up with all the sordidness, the vulgarity of the
+divorce court, the lawyers, evidences of guilt ... tout &ccedil;a
+est d&eacute;go&ucirc;tant. I can't understand his sensitive nature
+not being repelled by it.</p>
+
+<p class="hang"><i>Prince Sergius</i> (<i>smiling</i>). He's in
+love, and when a man's really in love&mdash;</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>
+(<i>interrupting</i>). In our time love could remain pure, coloring
+one's whole life with a romantic friendship. Such love I understand
+and value.</p>
+
+<p class="hang"><i>Prince Sergius</i> (<i>sighing</i>). However,
+the present generation refuses to live on dreams. (<i>He coughs
+delicately</i>.) La possession de l'&acirc;me ne leur suffit plus.
+So what is the alternative? But tell me more of Victor.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina.</i> There's not very
+much to say. He seems bewitched, hardly my son. Did you know I'd
+called upon her? Victor pressed me so it was impossible to refuse.
+But Dieu merci, I found her out. So I merely left my card, and now
+she has asked me if I could receive her to-day, and I am expecting
+her (<i>she glances at her watch</i>) any moment now. I am doing
+all this to please Victor, but conceive my feelings. I know you
+always can. Really, really, I need your help.</p>
+
+<p class="hang"><i>Prince Sergius</i> (<i>bowing</i>). Thank you
+for the honor you do me.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. You realize this
+visit decides Victor's fate. I must refuse my consent, or&mdash;&mdash;But
+that's impossible.</p>
+
+<p class="hang"><i>Prince Sergius.</i> Have you met her?</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina.</i> I've never seen her,
+but I'm afraid of her. No good woman leaves her husband, especially
+when there's nothing obviously intolerable about him. Why,
+I've seen Protosov often with Victor, and found him even
+quite charming.</p>
+
+<p class="hang"><i>Prince Sergius</i> (<i>murmurs</i>). So I've
+heard. So I've heard.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i> (<i>continuing</i>).
+She should bear her cross without complaint. And Victor must cease
+trying to persuade himself that his happiness lies in defying his
+principles. What I don't understand is how Victor, with his
+religious views, can think of marrying a divorced woman. I've heard
+him say over and over again&mdash;once quite lately&mdash;that divorce is
+totally inconsistent with true Christianity. If she's been able to
+fascinate him to that point, I <i>am</i> afraid of her.&mdash;But how
+stupid of me to talk all the time! Have you spoken to him at all?
+What does he say? And don't you thoroughly agree with me?</p>
+
+<p class="hang"><i>Prince Sergius</i>. Yes, I've spoken to Victor.
+I think he really loves her, has grown accustomed to the idea of
+loving her, pour ainsi dire. (<i>Shaking his head</i>.) I don't
+believe he could ever now care for another woman.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i> (<i>sighing</i>). And
+Varia Casanzeva would have made him such a charming wife. She's so
+devoted already.</p>
+
+<p class="hang"><i>Prince Sergius</i> (<i>smiling</i>). I am afraid
+I hardly see her in the present ... tableau. (<i>Earnestly</i>.)
+Why not submit to Victor's wish and help him?</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina.</i> To marry a
+divorc&eacute;e? And afterwards have him running into his wife's
+husband? How can you calmly suggest that a mother accept such a
+situation for her son?</p>
+
+<p class="hang"><i>Prince Sergius.</i> But, ch&egrave;re amie, why
+not approve of the inevitable? And you might console yourself by
+regarding the dangers he'll avoid by marrying this gentle, lovely
+woman. After all, suppose he conceived a passion for some
+one&mdash;&mdash;</p>
+
+<p class="indent">[<i>Convey the word "disreputable".</i></p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina.</i> How can a good woman
+leave her husband?</p>
+
+<p class="hang"><i>Prince Sergius.</i> Ah, that's not like you.
+You're unkind and you're harsh. Her husband is the sort of
+man&mdash;well, he's his own worst enemy. A weakling, a
+ne'er-do-well&mdash;he's spent all his money and hers too. She has a
+child. Do you think you can condemn her for leaving him? As a
+matter of fact she didn't leave him, he left her.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i> (<i>faintly</i>). Oh
+what a mud-pen I'm slipping into!</p>
+
+<p class="hang"><i>Prince Sergius</i> (<i>amused</i>). Could your
+religion aid you?</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i> (<i>smelling her
+salts</i>). In this instance, religion would require of me the
+impossible. C'est plus fort que moi.</p>
+
+<p class="hang"><i>Prince Sergius</i>. F&eacute;dya himself&mdash;you
+know what a charming clever creature he is when he's in his
+senses&mdash;he advised her to leave him.</p>
+
+<p class="indent">[<i>Enter</i> VICTOR <i>who kisses his mother's
+hand and greets</i> PRINCE SERGIUS.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Ah, Prince Sergius!
+(<i>Shakes hands with Prince&mdash;formally</i>.) Maman, I've come to
+tell you that Elizaveta Protosova will be here directly. There's
+only one thing I ask you: do you still refuse your consent to my
+marriage&mdash;-</p>
+
+<p class="hang">&nbsp;<i>Sophia Kar&eacute;nina</i>
+(<i>interrupting</i>). And I most assuredly do.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>continuing.
+Frowning</i>). In that case all I ask is for you not to speak to
+her about it.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. I don't suppose we
+shall even mention the subject. I certainly shan't.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>standing at head of sofa
+L</i>.). If you don't, she won't. (<i>Pleadingly</i>.) Mother dear,
+I just want you to know her.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. One thing I can't
+understand. How is it you want to marry Lisa Protosova, a woman
+with a living husband, and at the same time believe divorce is a
+crime against Christianity?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Oh, Maman, that's cruel of
+you. Life is far too complex to be managed by a few formulas. Why
+are you so bitter about it all?</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i> (<i>honestly</i>). I
+love you. I want you to be happy.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>imploringly to Prince
+Sergius</i>) Sergius Abr&eacute;skov!</p>
+
+<p class="hang"><i>Prince Sergius</i> (<i>to Sophia
+Kar&eacute;nina</i>). Naturally you want him happy. But it's
+difficult for our hearts, wearied from the weight of years, to feel
+the pulse of youth and sympathize, especially is it difficult for
+you, my friend, who have schooled yourself to view Victor's
+happiness in a single way....</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. Oh, you're all
+against me. Do as you like. Vous &ecirc;tes majeur. (<i>Sniffing
+into her pocket handkerchief</i>.) But you'll kill me.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>deeply distressed</i>).
+Ah, Mother, please. It's worse than cruel to say things like
+that.</p>
+
+<p class="hang"><i>Prince Sergius</i> (<i>smiling to Victor</i>).
+Come, come, Victor, you know your mother speaks more severely than
+she could ever act.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. I shall tell her
+exactly what I think and feel, and I hope I can do it without
+offending her.</p>
+
+<p class="hang"><i>Prince Sergius</i>. I am sure of it.</p>
+
+<p class="indent">[<i>Enter</i> FOOTMAN.</p>
+
+<p class="follow">Here she is.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. I'll go. (<i>Goes to back of
+sofa</i>.)</p>
+
+<p class="hang"><i>Footman</i> (<i>announcing</i>). Elizaveta
+Andreyevna Protosova.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>warningly</i>). Now,
+Mother.</p>
+
+<p class="indent">[<i>He goes out L.</i> PRINCE SERGIUS
+<i>rises.</i></p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>
+(<i>majestically</i>). Show her in. (<i>To Prince Sergius</i>.)
+Please remain.</p>
+
+<p class="hang"><i>Prince Sergius</i>. I thought you might prefer a
+t&ecirc;te-&agrave;-t&ecirc;te?</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. No, no. I rather
+dread it. And if I want to be left alone in the room with her, I'll
+drop my handkerchief. &Ccedil;a d&eacute;pendra.</p>
+
+<p class="hang"><i>Prince Sergius</i>. I'm sure you're going to
+like her immensely.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. Oh you're all
+against me.</p>
+
+<p class="indent">[<i>Enter</i> LISA <i>R. and crosses to R.
+C.</i></p>
+
+<p class="follow">(<i>Rising</i>) How do you do? I was so sorry not
+to find you at home and it is most kind of you to come to see
+me.</p>
+
+<p class="hang"><i>Lisa</i> (<i>R.C.</i>). I never expected the
+honor of your visit, and I am so grateful that you permit me to
+come and see you.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i> (<i>C</i>.). You know
+Prince Sergius Abr&eacute;skov?</p>
+
+<p class="hang"><i>Prince Sergius</i> (<i>L.&mdash;Heartily</i>). Yes, I
+have had the pleasure. (<i>Crossing to her, he shakes hands</i>.)
+My niece Nellie has spoken often of you to me.</p>
+
+<p class="indent">[<i>Goes to L.C.</i></p>
+
+<p class="hang"><i>Lisa</i>. Yes, we were great friends. (<i>She
+glances shyly around her</i>.) And still are. (<i>To</i> SOPHIA.) I
+never hoped that you would wish to see me.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. I knew your husband
+quite well. He was a great friend of Victor's and used frequently
+to visit us in Tambov, (<i>politely</i>) where you were married, I
+believe.</p>
+
+<p class="hang"><i>Lisa</i> (<i>looking down</i>). Yes.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. But when you
+returned to Moscow we were deprived of the pleasure of his
+visit.</p>
+
+<p class="hang"><i>Lisa</i>. Yes, then he stopped going
+anywhere.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. Ah, that explains
+our missing him.</p>
+
+<p class="indent">[<i>Awkward pause.</i></p>
+
+<p class="hang"><i>Prince Sergius</i> (<i>to</i> LISA). The last
+time I'd the pleasure of seeing you was in those tableaux at the
+Dennishovs. You were charming in your part.</p>
+
+<p class="hang"><i>Lisa</i>. How good of you to think so! Yes, I
+remember perfectly.</p>
+
+<p class="indent">[<i>Another awkward silence.</i></p>
+
+<p class="follow">(<i>To</i> SOPHIA KAR&Eacute;NINA.) Sophia
+Kar&eacute;nina, please forgive me if what I am going to say
+offends you, but I don't know how to cover up what's in my heart. I
+came here to-day because Victor Kar&eacute;nin said&mdash;because he
+said that&mdash;because he&mdash;I mean because you wanted to see me.
+(<i>With a catch in her voice</i>.) It's rather difficult&mdash;but
+you're so sweet.</p>
+
+<p class="hang"><i>Prince Sergius</i> (<i>very sympathetic</i>).
+There, there, my dear child, I assure you there's nothing in the
+world to&mdash; (<i>He breaks off when he sees</i> SOPHIA
+KAR&Eacute;NINA <i>pointing impatiently to the floor. She has
+dropped her handkerchief</i>.) Permit me. (<i>He picks it up,
+presenting it to her with a smile and a bow; then looks casually at
+his watch</i>.) Ah, five o'clock already. (<i>To</i> SOPHIA
+KAR&Eacute;NINA.) Madame, in your salon pleasure destroys the
+memory of time. You will excuse me.</p>
+
+<p class="indent">[<i>He kisses her hand.</i></p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i> (<i>smiling</i>). Au
+revoir, mon ami.</p>
+
+<p class="hang"><i>Prince Sergius</i> (<i>bowing and shaking hands
+with</i> LISA). Elizaveta Protosova, au revoir.</p>
+
+<p class="indent">[<i>He goes out R.</i></p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina.</i> Now listen, my
+child. Please believe how truly sorry for you I am and that you are
+most sympathetique to me. But I love my son alone in this world,
+and I know his soul as I do my own. He's very proud&mdash;oh I don't
+mean of his position and money&mdash;but of his high ideals, his purity.
+It may sound strange to you, but you must believe me when I tell
+you that at heart he is as pure as a young girl.</p>
+
+<p class="hang"><i>Lisa.</i> I know.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina.</i> He's never loved a
+woman before. You're the first. I don't say I'm not a little
+jealous. I am. But that's something we mothers have to face. Oh,
+but your son's still a baby, you don't know. I was ready to give
+him up, though&mdash;but I wanted his wife to be as pure as himself.</p>
+
+<p class="hang"><i>Lisa (flushing hotly).</i> And I, am I
+not&mdash;&mdash;</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i> (<i>interrupting her
+kindly</i>). Forgive me, my dear. I know it's not your fault and
+that you've been most unhappy. And also I know my son. He will bear
+anything, and he'll bear it without saying a word, but his hurt
+pride will suffer and bring you infinite remorse. You must know how
+strongly he has always felt that the bond of marriage is
+indissoluble.</p>
+
+<p class="hang"><i>Lisa.</i> Yes. I've thought of all that.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina.</i> Lisa, my dear,
+you're a wise woman and you're a good woman too. If you love him,
+you must want his happiness more than you want your own. You can't
+want to cripple him so that he'll be sorry all his life&mdash;yes, sorry
+even though he never says a word.</p>
+
+<p class="hang"><i>Lisa.</i> I've thought about it so much. I've
+thought about it and I've talked to him about it. But what can I do
+when he says he can't live without me? I said to him only the other
+day, "Victor, let's just be friends. Don't spoil your life. Don't
+ruin yourself by trying to help me." And do you know what he did?
+He laughed.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina.</i> Of course he would,
+at the time.</p>
+
+<p class="hang"><i>Lisa.</i> If you could persuade him not to marry
+me, you know I'll agree, don't you? I just want him to be happy. I
+don't care about myself. Only please help me. Please don't hate me.
+Let's do all we can for him, because, after all, we both love
+him.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina.</i> Yes, I know. And I
+think I love you too. I really do. (<i>She kisses her.</i> LISA
+<i>begins to cry</i>.) Oh, it's all so dreadful. If only he had
+fallen in love with you before you were married!</p>
+
+<p class="hang"><i>Lisa</i> (<i>sobbing</i>). He&mdash;he says he
+did&mdash;but he had to be loyal to his friend.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina.</i> Alas, it's all very
+heart-breaking. But let us love each other, and God will help us to
+find what we are seeking.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>entering L. I</i>).
+Mother darling. I've heard what you just said. I knew you'd love
+her. And now everything must come right.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i> (<i>hastily</i>). But
+nothing's decided. All I can say is, had things been different, I
+should have been very glad. (<i>Tenderly</i>.) So very glad.</p>
+
+<p class="indent">[<i>She kisses</i> LISA.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>smiling</i>). Please
+don't change. That's all I ask.</p>
+
+<p class="indent">[<i>Lights down and out.</i></p>
+
+<p class="hang">CURTAIN</p>
+
+<p>&nbsp;</p>
+
+<h4>SCENE IV</h4>
+
+<p class="hang"><i>A plainly furnished room, bed, table and
+stove.</i> F&Eacute;DYA alone writing.</p>
+
+<p class="hang"><i>At rise</i> MASHA <i>is heard outside
+calling</i> "F&Eacute;DYA! F&Eacute;DYA!" MASHA <i>enters R. I,
+crosses to</i> F&Eacute;DYA <i>on bed C. and embraces him.</i></p>
+
+<p class="hang"><i>F&eacute;dya.</i> Ah, thank Heaven you've come.
+I was wasting away in boredom.</p>
+
+<p class="hang"><i>Masha.</i> Then why didn't you come over to us?
+(<i>Sees wine glass on chair near bed</i>.) So, you've been
+drinking again? And after all your promises!</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>embarrassed</i>). I didn't
+come over because I had no money.</p>
+
+<p class="hang"><i>Masha.</i> Oh, why is it I love you so.</p>
+
+<p class="hang"><i>F&eacute;dya.</i> Masha!</p>
+
+<p class="hang"><i>Masha</i> (<i>imitating him</i>). Masha! Masha!
+What's that mean? If you loved me, by now you'd have your divorce.
+You say you don't love your wife. (<i>F&Eacute;DYA winces</i>.) But
+you stick to her like grim death.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>interrupting her</i>). You
+know why I don't want to.</p>
+
+<p class="hang"><i>Masha.</i> Nonsense. They're right when they say
+you're no good. It's your mind that you can never make up
+comfortably causing you all the worry.</p>
+
+<p class="hang"><i>F&eacute;dya.</i> You know perfectly well that
+the only joy I've got in life is being in love with you.</p>
+
+<p class="hang"><i>Masha.</i> Oh, it's always "My joy," "Your
+love." Where's your love and my joy?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>a little wearily</i>).
+Well, Masha, after all, you've got all I can give, the best I've
+ever had to give, perhaps, because you're so strong, so beautiful,
+that sometimes you've made me know how to make you glad. So why
+torture yourself?</p>
+
+<p class="hang"><i>Masha</i> (<i>kneels and puts her arms around
+his neck</i>). I won't if you're sure you love me.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>coming closer to her</i>).
+My beautiful young Masha.</p>
+
+<p class="hang"><i>Masha</i> (<i>tearfully, searching his
+face</i>). You do love me?</p>
+
+<p class="hang"><i>F&eacute;dya.</i> Of course, of course.</p>
+
+<p class="hang"><i>Masha.</i> Only me, only me?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>kissing her</i>). Darling,
+only you.</p>
+
+<p class="hang"><i>Masha</i> (<i>with a return to brightness</i>).
+Now read me what you've written.</p>
+
+<p class="hang"><i>F&eacute;dya.</i> It may bore you.</p>
+
+<p class="hang"><i>Masha</i> (<i>reproachfully</i>). How could
+it?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>reads</i>). "The snow was
+flooded in moonlight and the birch trees wavered their stark
+shadows across it like supplicating arms. Suddenly I heard the soft
+padded sound of snow falling upon snow, to slowly perceive a
+figure, the slender figure of a young child attempting to arouse
+itself almost at my feet&mdash;I&mdash;&mdash;"</p>
+
+<p class="indent">[<i>Enter</i> IV&Aacute;N <i>and</i>
+NASTAS&Iuml;A. <i>They are two old gypsies,</i> MASHA'S
+<i>parents.</i></p>
+
+<p class="hang"><i>Nastas&iuml;a</i> (<i>stepping up to</i> MASHA).
+So here you are&mdash;you cursed little stray sheep. No disrespect to
+you, sir. (<i>To</i> MASHA.) You black-hearted, ungrateful little
+snake. How dare you treat us like this, how dare you, eh?</p>
+
+<p class="hang"><i>Iv&aacute;n</i> (<i>to</i> F&Eacute;DYA). It's
+not right, sir, what you've done, bringing to her ruin our only
+child. It's against God's law.</p>
+
+<p class="hang"><i>Nastas&iuml;a</i> (<i>to</i> MASHA). Come and
+get out of here with me. You thought you'd skip, didn't you? And
+what was I supposed to tell the troupe while you dangled around
+here with this tramp? What can you get out of him, tell me that?
+Did you know he hasn't got a kopek to his name, didn't you?</p>
+
+<p class="indent">[<i>During scene with parents,</i> F&Eacute;DYA
+<i>sits dumbly on the bed, bewildered. He puts his forehead
+against</i> MASHA'S <i>face and clings to her like a child.</i></p>
+
+<p class="hang"><i>Masha</i> (<i>sullenly</i>). I haven't done
+anything wrong. I love this gentleman, that's all. I didn't leave
+the troupe either. I'll go on singing just the same.</p>
+
+<p class="hang"><i>Iv&aacute;n</i>. If you talk any more, I'll pull
+your hair all out for you, you loose little beast, you. (<i>To</i>
+F&Eacute;DYA, reproachfully.) And you, sir, when we were so fond of
+you&mdash;why, often and often we used to sing for you for nothing and
+this is how you pay us back.</p>
+
+<p class="hang"><i>Nastas&iuml;a</i> (<i>rocking herself to and
+fro</i>). You've ruined our daughter, our very own, our only one,
+our best beloved, our diamond, our precious one, (<i>with sudden
+fury</i>). You've stamped her into the dirt, you have. Where's your
+fear of God?</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Nastas&iuml;a, Nastas&iuml;a,
+you've made a mistake. Your daughter is like a sister to me. I
+haven't harmed her at all. I love her, that's true. But how can I
+help it?</p>
+
+<p class="hang"><i>Iv&aacute;n</i>. Well, why didn't you love her
+when you had some money? If you'd paid us ten thousand rubles, you
+could have owned her, body and soul. That's what respectable
+gentlemen do. But you&mdash;you throw away every kopek you've got and
+then you steal her like you'd steal a sack of meal. You ought to be
+ashamed, sir.</p>
+
+<p class="hang"><i>Masha</i> (<i>rising, puts her arm around his
+neck</i>). He didn't steal me. I went to him myself, and if you
+take me away now, I'll come right back. If you take me away a
+thousand times, I'll come back to him. I love him and that's
+enough. My love will break through anything&mdash;through anything.
+Through anything in the whole damn world.</p>
+
+<p class="hang"><i>Nastas&iuml;a</i> (<i>trying to soothe her</i>).
+Now, Mashenka darling, don't get cross. You know you haven't
+behaved well to your poor old parents. There, there, come along
+with us now.</p>
+
+<p class="indent">[<i>With greedy fingers that pretend to
+caress,</i> NASTAS&Iuml;A <i>seizes her savagely and suddenly at
+the end of this speech and draws her to the door.</i> MASHA
+<i>cries out</i> "F&Eacute;DYA! F&Eacute;DYA!" <i>as she exits
+R.</i></p>
+
+<p class="hang"><i>Iv&aacute;n</i> (<i>alongside</i>). You open
+your mouth again and I'll smash you dumb. (<i>To</i> F&Eacute;DYA.)
+Good-bye, your worship.</p>
+
+<p class="indent">[<i>All exit R. I.</i></p>
+
+<p class="indent">[F&Eacute;DYA <i>sits as though stupefied. The
+gypsies exit noisily. There is a pause. He drinks; then</i> PRINCE
+SERGIUS <i>appears, very quiet and dignified, at the door.</i></p>
+
+<p class="hang"><i>Prince.</i> Excuse me. I'm afraid I'm intruding
+upon a rather painful scene.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>getting up</i>). With whom
+have I the honor&mdash; (<i>recognizing the Prince</i>). Ah, Prince
+Sergius, how do you do?</p>
+
+<p class="indent">[<i>They shake hands.</i></p>
+
+<p class="hang"><i>Prince</i> (<i>in a distinguished manner</i>). I
+repeat that I am afraid to be most inopportune. I would rather not
+have heard, but since I have, it's my duty to say so. When I
+arrived I knocked several times, but I presume you could not have
+heard through such uproar.</p>
+
+<p class="hang"><i>F&eacute;dya.</i> Do sit down. (<i>Prince sits
+chair R.C.</i>) Thanks for telling me you heard. (<i>Sits on bed up
+C</i>.) It gives me a chance to explain it all. Forgive me for
+saying your opinion of me can't concern me, but I want to tell you
+that the way her parents talked to that young girl, that gypsy
+singer, was absolutely unjust. She's as pure as your own mother. My
+relations with her are simply friendly ones. Possibly there is a
+ray of poetry in them, but that could hardly degrade her. However,
+what can I do for you?</p>
+
+<p class="hang"><i>Prince Sergius</i>. Well, to begin&mdash;&mdash;</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>interrupting</i>). Excuse
+me, Prince, but my present social position hardly warrants a visit
+from you.</p>
+
+<p class="indent">[<i>Smiling.</i></p>
+
+<p class="hang"><i>Prince Sergius</i>. I know that, but I ask you
+to believe that your changed position does not influence me in what
+I am about to tell you.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>interrogatively</i>).
+Then?</p>
+
+<p class="hang"><i>Prince Sergius</i>. To be as brief as possible,
+Victor Kar&eacute;nin, the son of my old friend, Sophia
+Kar&eacute;nina, and she herself, have asked me to discover from
+you personally what your present relations are with your wife, and
+what intentions you have regarding them.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. My relations with my wife&mdash;I
+should say my former wife&mdash;are several.</p>
+
+<p class="hang"><i>Prince Sergius</i>. As I thought, and for this
+reason accepted my somewhat difficult mission.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>quickly</i>). I wish to say
+first of all that the fault was entirely mine. She is, just as she
+always was, absolutely stainless, faultless.</p>
+
+<p class="hang"><i>Prince Sergius</i>. Victor Kar&eacute;nin and
+especially his mother are anxious to know your exact intentions
+regarding the future.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. I've got no intentions. I've
+given her full freedom. I know she loves Victor Kar&eacute;nin, let
+her. Personally, I think he is a bore, but he is a good bore. So
+they'll probably be very happy together, at least in the ordinary
+sense and que le bon Dieu les b&eacute;nisse.</p>
+
+<p class="hang"><i>Prince Sergius</i>. Yes, but we&mdash;&mdash;</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>rising, goes L., leans on
+table</i>). Please don't think I'm jealous. If I just said Victor
+was dull, I take it back. He's splendid, very decent, in fact the
+opposite of myself, and he's loved her since her childhood
+(<i>slowly</i>) and maybe she loved him even when we were married.
+After all, that happens, and the strongest love is perhaps
+unconscious love. Yes, I think she's always loved him far, far down
+beneath what she would admit to herself, and this feeling of nine
+has been a black shadow across our married life. But&mdash; I&mdash;I really
+don't suppose I ought to be talking to you like this, ought I?</p>
+
+<p class="hang"><i>Prince Sergius</i>. Please go on. My only object
+in coming was to understand this situation completely, and I begin
+to see how the shadow&mdash;as you charmingly express it&mdash;could have
+been&mdash;&mdash;</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>looking strangely ahead of
+him</i>). Yes, no brightness could suck up that shadow. And so I
+suppose I never was satisfied with what my wife gave me, and I
+looked for every kind of distraction, sick at heart because I did
+so. I see it more and more clearly since we've been apart. Oh, but
+I sound as if I were defending myself. God knows I don't want to do
+that. No, I was a shocking bad husband. I say was, because now I
+don't consider myself her husband at all. She's perfectly free.
+There, does that satisfy you?</p>
+
+<p class="hang"><i>Prince Sergius</i>. Yes, but you know how
+strictly orthodox Victor and his family are. Of course I don't
+agree with them&mdash;perhaps I have broader views&mdash;(<i>with a
+shrug</i>) but I understand how they feel. They consider that any
+union without a church marriage is&mdash;well, to put it mildly,
+unthinkable.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Yes, I know he's very stu&mdash;I
+mean strict. (<i>With a slight smile</i>.) "Conservative" is the
+word, isn't it? But what in God's name (<i>crossing to C</i>.) do
+they want, a divorce? I told them long ago I was perfectly willing.
+But the business of hiring a street-woman and taking her to a shady
+hotel and arranging to be caught by competent witnesses&mdash;ugh&mdash;it's
+all so&mdash;so loathsome.</p>
+
+<p class="indent">[<i>He shudders&mdash;pauses; and sits on bed.</i></p>
+
+<p class="hang"><i>Prince Sergius</i>. I know. I know. I assure
+you, I can sympathize with such a repugnance, but how can one avoid
+it? You see, it's the only way out. But, my dear boy, you mustn't
+think I don't sympathize with you. It's a horrible situation for a
+sensitive man and I quite understand how you must hate it.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Thank you, Prince Sergius. I
+always knew you were kind and just. Now tell me what to do. Put
+yourself in my place. I don't pretend to be any better than I
+really am. I am a blackguard but there are some things that even I
+can't do. (<i>With a smile and helpless gesture</i>.) I can't tell
+lies.</p>
+
+<p class="indent">[<i>A pause.</i></p>
+
+<p class="hang"><i>Prince Sergius.</i> I must confess that you
+bewilder me. You with your gifts and charm and really au fond&mdash;a
+wonderful sense of what's right. How could you have permitted
+yourself to plunge into such tawdry distractions? How could you
+have forgotten so far what you owed to yourself? Tell me, why did
+you let your life fall into this ruin?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>suppressing emotion</i>).
+I've led this sort of life for ten years and you're the first real
+person to show me sympathy. Of course, I've been pitied by the
+degraded ones but never before by a sensible, kind man like you.
+Thanks more than it's possible to say. (<i>He seems to forget his
+train of thought and suddenly to recall it</i>.) Ah, yes, my ruin.
+Well, first, drink, not because it tasted well, but because
+everything I did disappointed me so, made me so ashamed of myself.
+I feel ashamed now, while I talk to you. Whenever I drank, shame
+was drowned in the first glass, and sadness. Then music, not opera
+or Beethoven, but gypsy music; the passion of it poured energy into
+my body, while those dark bewitching eyes looked into the bottom of
+my soul. (<i>He sighs</i>.) And the more alluring it all was, the
+more shame I felt afterwards.</p>
+
+<p class="indent">[<i>Pause.</i></p>
+
+<p class="hang"><i>Prince Sergius.</i> But what about your
+career?</p>
+
+<p class="hang"><i>F&eacute;dya.</i> My career? This seems to be
+it. Once I was a director of a bank. There was something terribly
+lacking between what I felt and what I could do. (<i>Abruptly</i>.)
+But enough, enough of myself. It makes me rather nervous to think
+about myself.</p>
+
+<p class="indent">[<i>Rises.</i></p>
+
+<p class="hang"><i>Prince Sergius.</i> What answer am I to take
+back?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>very nervous</i>). Oh, tell
+them I'm quite at their disposal. (<i>Walking up and down</i>) They
+want to marry, and there mustn't be anything in their way
+(<i>pause</i>); is that it? (<i>Stops walking very suddenly.
+Repeats</i>.) There mustn't be anything in their way&mdash;is that
+it?</p>
+
+<p class="hang"><i>Prince Sergius</i> (<i>pause.</i> F&Eacute;DYA
+<i>sits on table L</i>.). Yes. When do you&mdash;when do you
+think&mdash;you'll&mdash;you'll have it ready? The evidence?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>turns and looks at the
+Prince, suppressing a slight, strained smile</i>). Will a fortnight
+do?</p>
+
+<p class="hang"><i>Prince Sergius</i> (<i>rising</i>). Yes, I am
+sure it will. (<i>Rises and crosses to</i> F&Eacute;DYA.) May I say
+that you give them your word?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>with some impatience</i>).
+Yes. Yes. (<i>Prince offers his hand</i>.) Good-bye, Prince
+Sergius. And again thanks.</p>
+
+<p class="indent">[<i>Exit</i> PRINCE SERGIUS, R. I. F&Eacute;DYA
+<i>sits down in an attitude of deep thought.</i></p>
+
+<p class="follow">Why not? Why not? And it's good not to be
+ashamed&mdash;&mdash;</p>
+
+<p class="indent">[<i>Lights dim and out.</i></p>
+
+<p class="hang">CURTAIN</p>
+
+<p>&nbsp;</p>
+
+<h4>SCENE V</h4>
+
+<p class="hang"><i>Private room in a cheap restaurant.</i>
+F&Eacute;DYA is shown in by a shabby waiter.</p>
+
+<p class="hang"><i>Waiter</i>. This way, sir. No one will disturb
+you here. Here's the writing paper.</p>
+
+<p class="indent">[<i>Starts to exit.</i></p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>as waiter starts to
+exit</i>). Bring me a bottle of champagne.</p>
+
+<p class="hang"><i>Waiter</i>. Yes, sir.</p>
+
+<p class="indent">[<i>Exits R. C.</i></p>
+
+<p class="indent">[F&Eacute;DYA <i>sits at table L. C., and begins
+to write.</i> IV&Aacute;N PETROVICH <i>appearing in the doorway R.
+C.</i></p>
+
+<p class="hang"><i>Iv&aacute;n.</i> I'll come in, shall I?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>sitting L. of table L. C.
+Very serious</i>). If you want to, but I'm awfully busy,
+and&mdash;(<i>seeing he has already entered</i>) Oh, all right, do come
+in.</p>
+
+<p class="hang"><i>Iv&aacute;n Petrovich</i> (<i>C</i>.). You're
+going to write an answer to their demand. I'll help you. I'll tell
+you what to say Speak out. Say what you mean. It's straight from
+the shoulder. That's my system. (<i>Picks up box that</i>
+F&Eacute;DYA <i>has placed on table&mdash;opens it and takes out a
+revolver</i>.) Hallo! What's this? Going to shoot yourself. Of
+course, why not? I understand. They want to humiliate you, and you
+show them where the courage is&mdash;put a bullet through your head and
+heap coals of fire on theirs. I understand perfectly. (<i>The
+waiter enters with champagne on tray, pours a glass for</i>
+F&Eacute;DYA, <i>then exits.</i> PETROVICH <i></i>takes up the
+glass of wine and starts to drink. F&Eacute;DYA <i>looks up from
+his writing.</i>) I understand everything and everybody, because
+I'm a genius.</p>
+
+<p class="hang"><i>F&eacute;dya.</i> So you are, but&mdash;&mdash;</p>
+
+<p class="hang"><i>Iv&aacute;n Petrovich</i> (<i>filling and
+lifting his glass</i>). Here's to your immortal journey. May it be
+swift and pleasant. Oh, I see it from your point of view. So why
+should I stop you? Life and death are the same to genius. I'm dead
+during life and I live after death. You kill yourself in order to
+make a few people miss you, but I&mdash;but I&mdash;am going to kill myself
+to make the whole <i>world</i> know what it lost. I won't hesitate
+or think about it. I'll just take the revolver&mdash;one, two&mdash;and all
+is over&mdash;um. But I am premature. My hour is not yet struck. (<i>He
+puts the revolver down</i>.) But I shall write nothing. The world
+will have to understand all by itself. (F&Eacute;DYA <i>continues
+to write</i>.) The world, what is it but a mass of preposterous
+creatures, who crawl around through life, understanding nothing&mdash;
+nothing at all&mdash;do you hear me? (F&Eacute;DYA <i>looks up, rather
+exasperated</i>.) Oh, I'm not talking to you. All this is between
+me and the cosmos. (Pours himself out another drink.) After all,
+what does humanity most lack? Appreciation for its geniuses. As it
+is, we're persecuted, tortured, racked, through a lifetime of
+perpetual agony, into the asylum or the grave. But no longer will I
+be their bauble. Humanity, hypocrite that you are&mdash;to hell with
+you.</p>
+
+<p class="indent">[<i>Drinks wine.</i></p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>having finished his
+letter</i>). Oh, go away, please.</p>
+
+<p class="hang"><i>Iv&aacute;n Petrovich.</i> Away? (<i>With a
+gesture</i>.) Away? Me? (<i>With profound resolve</i>.) So be it.
+(<i>He leans over the table, faces</i> F&Eacute;DYA.) I shall away.
+I'll not deter you from accomplishing what I also shall commit&mdash;all
+in its proper moment, however. Only I <i>should</i> like to say
+this&mdash;&mdash;</p>
+
+<p class="hang"><i>F&eacute;dya.</i> Later. Later. But now, listen,
+old man, give this to the head waiter. (<i>Handing him some
+money</i>.) You understand?</p>
+
+<p class="hang"><i>Iv&aacute;n Petrovich.</i> Yes, but for God's
+sake wait for me to come back. (<i>Moves away</i>.) I've something
+rare to tell you, something you'll never hear in the next world&mdash;at
+least not till I get there&mdash;&mdash; Look here, shall I give him all this
+money?</p>
+
+<p class="hang"><i>F&eacute;dya.</i> No, just what I owe him.</p>
+
+<p class="indent">[<i>Exit</i> IV&Aacute;N PETROVICH, whistling.
+F&Eacute;DYA <i>sighs with a sense of relief, takes the revolver,
+cocks it, stands at mirror on wall up R., and puts it close to his
+temple. Then shivers, and lets his hand drop.</i></p>
+
+<p class="follow">I can't do it. I can't do it.</p>
+
+<p class="indent">[<i>Pause.</i> MASHA <i>is heard singing.</i>
+MASHA <i>bursts into the room.</i></p>
+
+<p class="hang"><i>Masha</i> (<i>breathless</i>). I've been
+everywhere looking for you. To Popov's, Afr&eacute;mov's, then I
+guessed you'd be here. (<i>Crosses to him. Sees revolver, turns,
+faces him quickly, concealing it with her body, stands very tense
+and taut, looking at him</i>.) Oh, you fool! You hideous fool! Did
+you think you'd&mdash;&mdash;</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>still completely
+unnerved</i>). Awful! It's been awful! I tried&mdash;&mdash; (<i>With a
+gesture of despair</i>.) I couldn't&mdash;&mdash;</p>
+
+<p class="indent">[<i>Crosses to table L. C.&mdash;leans against
+it.</i></p>
+
+<p class="hang"><i>Masha</i> (<i>puts her hand to her face as if
+terribly hurt</i>). As if <i>I</i> didn't exist. (<i>Crosses over
+to table L. C., puts down revolver</i>.) As if I weren't in your
+life at all. Oh, how godless you are! (<i>Brokenly</i>.) Tell me,
+tell me, what about all my love for you?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>as if suddenly aware of a
+great fatigue</i>). I wanted to set them free. I promised to&mdash;and
+when the time came I couldn't.</p>
+
+<p class="hang"><i>Masha.</i> And what about <i>me?</i> What about
+me?</p>
+
+<p class="hang"><i>F&eacute;dya.</i> I thought you'd be free, too.
+Surely my torturing you can't make you happy.</p>
+
+<p class="hang"><i>Masha.</i> Oh, I can look out for myself. Maybe
+I'd rather be unhappy, miserable, wretched with you every minute
+than even <i>think</i> of living without you.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>up R.&mdash;half to
+himself</i>). If I'd finished just now, you would have cried
+bitterly perhaps, my Masha, but you would have lived past it.</p>
+
+<p class="hang"><i>Masha.</i> Oh, damn you, don't be so sure I'd
+cry at all. Can't you even be sorry for me?</p>
+
+<p class="indent">[<i>She tries to conceal her tears.</i></p>
+
+<p class="hang"><i>F&eacute;dya.</i> Oh God, I only wanted to make
+everybody happier.</p>
+
+<p class="hang"><i>Masha.</i> Yourself happier, you mean.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>smiling</i>). Would I have
+been happier to be dead now?</p>
+
+<p class="hang"><i>Masha</i> (<i>sulkily</i>). I suppose you would.
+(<i>Suddenly in a tender voice, crossing to him</i>.) But,
+F&eacute;dya, do you know what you want? Tell me, what do you
+want?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>R</i>). I want so many
+things.</p>
+
+<p class="hang"><i>Masha</i> (<i>impatiently and clinging to
+him</i>). But what? What?</p>
+
+<p class="hang"><i>F&eacute;dya.</i> First of all, I want to set
+them free. How can I lie? How can I crawl through the muck and
+filth of a divorce? I can't. (<i>Moves to end of table and stands
+there facing front</i>.) But I must set them free somehow. They're
+such good people, my wife and Victor. I can't bear having them
+suffer.</p>
+
+<p class="hang"><i>Masha</i> (<i>R. of table L. C.-scornfully</i>).
+Where's the good in her if she left you?</p>
+
+<p class="hang"><i>F&eacute;dya.</i> She didn't. I left her.</p>
+
+<p class="hang"><i>Masha.</i> She made you think she'd be happier
+without you. But go on&mdash;&mdash; (<i>Impatiently</i>.) Blame yourself,
+what else.</p>
+
+<p class="hang"><i>F&eacute;dya.</i> There's you, Masha. Young,
+lovely, awfully dear to me. If I stay alive, ah, where will you
+be?</p>
+
+<p class="hang"><i>Masha.</i> Don't bother about me. You can't hurt
+me.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>sighing</i>). But the big
+reason, the biggest reason of all, is <i>myself</i>. I'm just lost.
+Your father is right, my dear. I'm no good.</p>
+
+<p class="hang"><i>Masha</i> (<i>crossing to him, at once tenderly
+and savagely</i>). I won't unfasten myself from you. I'll stick to
+you, no matter where you take me, no matter what you do. You're
+alive, terribly alive, and I love you. F&eacute;dya, drop all this
+horror.</p>
+
+<p class="hang"><i>F&eacute;dya.</i> How can I?</p>
+
+<p class="hang"><i>Masha</i> (<i>trying to project the very essence
+of her vitality into him</i>). Oh, you can, you can.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>slowly</i>). When I look at
+you, I feel as though I could do anything.</p>
+
+<p class="hang"><i>Masha</i> (<i>proudly, fondly</i>). My love, my
+love. You can do anything, get anywhere you want to. (F&Eacute;DYA
+<i>moves away impatiently up R. She sees letter</i>.) So you have
+been writing to them&mdash;to tell them you'll kill yourself. You just
+told them you'd kill yourself, is that it? But you didn't say
+anything about a revolver. Oh, F&eacute;dya, let me think, there
+must be some way. F&eacute;dya&mdash;listen to me. Do you remember the
+day we all went to the picnic to the White Lakes with Mama and
+Afr&eacute;mov and the young Cossack officer? And you buried the
+bottles of wine in the sand to keep them cool while we went in
+bathing? Do you remember how you took my hands and drew me out
+beyond the waves till the water was quite silent and flashing
+almost up to our throats, and then suddenly it seemed as if there
+were nothing under our feet? We tried to get back. We couldn't and
+you shouted out, "Afr&eacute;mov," and if he hadn't been almost
+beside us and pulled us in&mdash;and how cross he was with you for
+forgetting that you couldn't swim, and after, how wonderful it was
+to stretch out safely on the sands in the sunlight. Oh, how nice
+every one was to us that day and you kept on being so sorry for
+forgetting you couldn't swim! And, F&eacute;dya, don't you see? Of
+course, she must know you can't swim. Oh, it's all getting as clear
+as daylight. You will send her this beautiful letter. Your clothes
+will be found on the river bank&mdash;but instead of being in the river
+you will be far away with me&mdash;F&eacute;dya, don't you see, don't
+you see? You will be dead to her, but alive for me.
+(<i>Embraces</i> F&Eacute;DYA.)</p>
+
+<p class="indent">[<i>The lights down and out.</i></p>
+
+<p class="hang">CURTAIN</p>
+
+<p>&nbsp;</p>
+
+<h4>SCENE VI</h4>
+
+<p class="hang"><i>The</i> PROTOSOVS' <i>drawing-room</i>.</p>
+
+<p class="hang">KAR&Eacute;NIN <i>and</i> LISA.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>sitting chair R</i>.). He's promised me
+definitely, and I'm sure he'll keep to it.</p>
+
+<p class="hang"><i>Lisa</i> (<i>sitting chair R. C</i>.). I'm
+rather ashamed to confess it, Victor, but since I found out about
+this&mdash;this gypsy, I feel completely free of him. Of course, I am
+not in the least jealous, but knowing this makes me see that I owe
+him nothing more. Am I clear to you, I wonder?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>coming closer to
+her</i>). Yes, dear, I think I'll always understand you.</p>
+
+<p class="hang"><i>Lisa</i> (<i>smiling</i>). Don't interrupt me,
+but let me speak as I think. The thing that tortured me most was I
+seemed to love both of you at once, and that made me seem so
+indecent to myself.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>incredulously
+amused</i>). You indecent?</p>
+
+<p class="hang"><i>Lisa</i> (<i>continuing</i>). But since I've
+found out that there's another woman, that he doesn't need me any
+more, I feel free, quite free of him. And now I can say truthfully,
+I love you. Because everything is clear in my soul. My only worry
+is the divorce, and all the waiting to be gone through before we
+can&mdash;&mdash; Ah, that's torturing.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Dearest, everything will be
+settled soon. After all, he's promised, and I've asked my secretary
+to go to him with the petition and not to leave until he's signed
+it. Really, sometimes, if I didn't know him as I do, I'd think he
+was trying on purpose to discomfort us.</p>
+
+<p class="hang"><i>Lisa</i>. No. No. It's, only the same weakness
+and honesty fighting together in him. He doesn't want to lie.
+However, I'm sorry you sent him money.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. If I hadn't, it might have
+delayed things. <i>Lisa</i>. I know, but money seems so ugly.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>slightly ruffled</i>). I
+hardly think it's necessary to be so delicate with
+F&eacute;dya.</p>
+
+<p class="hang"><i>Lisa</i>. Perhaps, perhaps. (<i>Smiling</i>.)
+But don't you think we are becoming very selfish?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Maybe. But it's all your
+fault, dear. After all, this hopelessness and waiting, to think of
+being happy at last! I suppose happiness does make us selfish.</p>
+
+<p class="hang"><i>Lisa.</i> Don't believe you're alone in your
+happiness or selfishness. I am so filled with joy it makes me
+almost afraid. Misha's all right, your mother loves me, and above
+all, you are here, close to me, loving me as I love you.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>bending over her and
+searching her eyes</i>). You're sure you've no regret?</p>
+
+<p class="hang"><i>Lisa.</i> From the day I found out about that
+gypsy woman, my mind underwent a change that has set me free.</p>
+
+<p class="hang"><i>Kar&eacute;nin.</i> You're sure?</p>
+
+<p class="indent">[<i>Kissing her hands.</i></p>
+
+<p class="hang"><i>Lisa</i> (<i>passionately</i>). Darling, I've
+only one desire now, and that is to have you forget the past and
+love as I do.</p>
+
+<p class="indent">[<i>Her little boy toddles in R., sees them and
+stops.</i></p>
+
+<p class="indent">[<i>To the child.</i></p>
+
+<p class="follow">Come here, my sweetheart.</p>
+
+<p class="indent">[<i>He goes to her and she takes him on her
+knees.</i></p>
+
+<p class="hang"><i>Kar&eacute;nin.</i> What strange contradictory
+instincts and desires make up our beings!</p>
+
+<p class="hang"><i>Lisa.</i> Why?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>slowly</i>). I don't
+know. When I came back from abroad, knew I'd lost you, I was
+unhappy, terribly. Yet, it was enough for me to learn that you at
+least remembered me. Afterward, when we became friends, and you
+were kind to me, and into our friendship wavered a spark of
+something more than friendship, ah, I was almost happy! Only one
+thing tormented me: fear that such a feeling wronged F&eacute;dya.
+Afterwards, when F&eacute;dya tortured you so, I saw I could help.
+Then a certain definite hope sprang up in me. And later, when he
+became impossible and you decided to leave him, and I showed you my
+heart for the first time, and you didn't say no, but went away in
+tears--then I was happy through and through. Then came the
+possibility of joining our lives. Mamma loved you. You told me you
+loved me, that F&eacute;dya was gone out of your heart, out of your
+life forever, and there was only, only me.... Ah, Lisa, for what
+more could I ask! Yet the past tortured me. Awful fancies would
+flush up into my happiness, turning it all into hatred for your
+past.</p>
+
+<p class="hang"><i>Lisa</i> (<i>interrupting reproachfully</i>).
+Victor!</p>
+
+<p class="hang"><i>Kar&eacute;nin.</i> Forgive me, Lisa. I only
+tell you this because I don't want to hide a single thought from
+you. I want you to know how bad I am, and what a weakness I've got
+to fight down. But don't worry, I'll get past it. It's all right,
+dear. (<i>He bends over, kissing the child on the head</i>.) And I
+love him, too.</p>
+
+<p class="hang"><i>Lisa</i>. Dearest, I'm so happy. Everything has
+happened in my heart to make it as you'd wish.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. All?</p>
+
+<p class="hang"><i>Lisa</i>. All, beloved, or I never could say
+so.</p>
+
+<p class="indent">[<i>Enter the</i> NURSE <i>L. U.</i></p>
+
+<p class="hang"><i>Nurse</i>. Your secretary has come back.</p>
+
+<p class="indent">[LISA <i>and</i> KAR&Eacute;NIN <i>exchange
+glances.</i></p>
+
+<p class="hang"><i>Lisa</i>. Show him in here, nurse, and take
+Misha, will you?</p>
+
+<p class="hang"><i>Nurse</i>. Come along, my pet. It's time for
+your rest.</p>
+
+<p class="indent">[<i>Exit</i> NURSE <i>with the little boy,
+R.</i></p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>gets up, walks to the
+door</i>). This will be F&eacute;dya's answer.</p>
+
+<p class="hang"><i>Lisa</i> (<i>kissing Kar&eacute;nin</i>). At
+last, at last we shall know when. (<i>She kisses him</i>.)</p>
+
+<p class="indent">[<i>Enter</i> VOZNES&Eacute;NSKY <i>L. U.</i></p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Well?</p>
+
+<p class="hang"><i>Secretary</i>. He's not there, sir.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Not there? He's not signed
+the petition, then?</p>
+
+<p class="hang"><i>Secretary</i>. No. But here is a letter
+addressed to you and Elizaveta Protosova.</p>
+
+<p class="indent">[<i>Takes letter from his pocket and gives it
+to</i> KAR&Eacute;NIN.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>interrupting
+angrily</i>). More excuses, more excuses. It's perfectly
+outrageous. How without conscience he is. Really, he has lost every
+claim to&mdash;&mdash;</p>
+
+<p class="hang"><i>Lisa</i>. But read the letter, dear; see what he
+says.</p>
+
+<p class="indent">[KAR&Eacute;NIN <i>opens the letter.</i></p>
+
+<p class="hang"><i>Secretary</i>. Shall you need me, sir?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. No. That's all. Thank you.</p>
+
+<p class="indent">[<i>Exit</i> SECRETARY. KAR&Eacute;NIN <i>reads
+the letter growing astonishment and concern.</i> LISA <i>watches
+his face.</i></p>
+
+<p class="follow">(<i>Reading</i>.) "Lisa, Victor, I write you both
+without using terms of endearment, since I can't feel them, nor can
+I conquer a sense of bitterness and reproach, self-reproach
+principally, when I think of you together in your love. I know, in
+spite of being the husband, I was also the barrier, preventing you
+from coming earlier to one another. C'est moi qui suis l'intrue. I
+stood in your way, I worried you to death. Yet I can't help feeling
+bitterly, coldly, toward you. In one way I love both of you,
+especially Lisa Lizenska, but in reality I am more than cold toward
+you. Yes, it's unjust, isn't it, but to change is impossible."</p>
+
+<p class="hang"><i>Lisa</i>. What's all that for?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>standing L. of table C.,
+continuing</i>). "However, to the point. I am going to fulfill your
+wishes in perhaps a little different way from what you desire. To
+lie, to act a degrading comedy, to bribe women of the streets for
+evidence&mdash;the ugliness of it all disgusts me. I am a bad man, but
+this despicable thing I am utterly unable to do. My solution is
+after all the simplest. You must marry to be happy. I am the
+obstacle, consequently that obstacle must be removed."</p>
+
+<p class="hang"><i>Lisa</i> (<i>R. of table</i>). Victor!</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>reading</i>). Must be
+removed? "By the time this letter reaches you, I shall no longer
+exist. All I ask you is to be happy, and whenever you think of me,
+think tender thoughts. God bless you both. Good-bye.
+F&Eacute;DYA."</p>
+
+<p class="hang"><i>Lisa</i>. He's killed himself!</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>going hurriedly up stage
+L. and calls of</i>). My secretary! Call back my secretary!</p>
+
+<p class="hang"><i>Lisa</i>. F&eacute;dya! F&eacute;dya,
+darling!</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Lisa!</p>
+
+<p class="hang"><i>Lisa</i>. It's not true! It's not true that I've
+stopped loving him! He's the only man in all the world I love! And
+now I've killed him! I've killed him as surely as if I'd murdered
+him with my own two hands!</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Lisa, for God's sake!</p>
+
+<p class="hang"><i>Lisa</i>. Stop it! Don't come near me! Don't be
+angry with me, Victor. You see I, too, cannot lie!</p>
+
+<p class="hang">CURTAIN</p>
+
+<h3>ACT II</h3>
+
+<h4>SCENE I</h4>
+
+<p class="hang"><i>A dirty, ill-lighted underground dive; people
+are lying around drinking, sleeping, playing cards and making love.
+Near the front a small table at which</i> F&Eacute;DYA <i>sits; he
+is in rags and has fallen very low. By his side is</i>
+PETUSHK&Oacute;V, a delicate spiritual man, with long yellow hair
+and beard. Both are rather drunk.</p>
+
+<p class="hang"><i>Candle light is the only lighting in this
+Scene.</i></p>
+
+<p class="hang"><i>Petushk&oacute;v</i> (<i>R.C. of table C</i>.).
+I know. I know. Well, that's real love. So what happened then?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>L. C. of table C.,
+pensively</i>). You might perhaps expect a girl of our own class,
+tenderly brought up, to be capable of sacrificing for the man she
+loved, but this girl was a gypsy, reared in greed, yet she gave me
+the purest sort of self-sacrificing love. She'd have done anything
+for nothing. Such contrasts are amazing.</p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. I see. In painting we call
+that value. Only to realize bright red fully when there is green
+around it. But that's not the point. What happened?</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Oh, we parted. I felt it
+wasn't right to go on taking, taking where I couldn't give. So one
+night we were having dinner in a little restaurant, I told her we'd
+have to say good-bye. My heart was so wrung all the time I could
+hardly help crying.</p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. And she?</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Oh, she was awfully unhappy, but she knew I
+was right. So we kissed each other a long while, and she went back
+to her gypsy troupe&mdash;(<i>Slowly</i>.) Maybe she was glad to
+go&mdash;&mdash;</p>
+
+<p class="indent">[<i>A pause.</i></p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. I wonder.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Yes. The single good act of my
+soul was not ruining that girl.</p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. Was it from pity?</p>
+
+<p class="hang"><i>F&eacute;dya</i>. <i>I</i> sorry for <i>her?</i>
+Oh, never. Quite the contrary. I worshipped her unclouded
+sincerity, the energy of her clear, strong will, and God in Heaven,
+how she sang. And probably she is singing now, for some one else.
+Yes, I always looked up at her from beneath, as you do at some
+radiance in the sky. I loved her really. And now it's a tender
+beautiful memory.</p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. I understand. It was
+ideal, and you left it like that.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>ruminatingly</i>). And I've
+been attracted often, you know. Once I was in love with a grande
+dame, bestially in love, dog-like. Well, she gave me a rendezvous,
+and I didn't, couldn't, keep it, because suddenly I thought of her
+husband, and it made me feel sick. And you know, it's queer, that
+now, when I look back, instead of being glad that I was decent, I
+am as sorry as if I had sinned. But with Masha it's so different;
+I'm filled with joy that I've never soiled the brightness of my
+feeling for her. (<i>He points his finger at the floor</i>.) I may
+go much further down.</p>
+
+<p class="hang"><i>Petushk&oacute;v</i> (<i>interrupting</i>). I
+know so well what you mean. But where is she now?</p>
+
+<p class="hang"><i>F&eacute;dya</i>. I don't know. I don't want to
+know. All that belongs to another life, and I couldn't bear to mix
+that life and this life.</p>
+
+<p class="indent">[A POLICE OFFICER <i>enters from up R., kicks a
+man who is lying on the floor&mdash;walks down stage, looks at</i>
+F&Eacute;DYA <i>and</i> PETUSHK&Oacute;V, then exits.</p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. Your life's wonderful. I
+believe you're a real idealist.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. No. It's awfully simple. You
+know among our class&mdash;I mean the class I was born in&mdash;there are
+only three courses: the first, to go into the civil service or join
+the army and make money to squander over your sensual appetites.
+And all that was appalling to me&mdash;perhaps because I couldn't do it.
+The second thing is to live to clear out, to destroy what is foul,
+to make way for the beautiful. But for that you've got to be a
+hero, and I'm not a hero. And the third is to forget it
+all&mdash;overwhelm it with music, drown it with wine. That's what
+<i>I</i> did. And look (<i>he spreads his arms out</i>) where my
+singing led me to.</p>
+
+<p class="indent">[<i>He drinks.</i></p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. And what about family
+life? The sanctity of the home and all that&mdash;I would have been
+awfully happy if I'd had a decent wife. As it was, she ruined
+me.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. I beg your pardon. Did you say
+marriage? Oh, yes, of course. Well, I've been married, too. Oh, my
+wife was quite an ideal woman. I don't know why I should say was,
+by the way, because she's still living. But there's something&mdash;I
+don't know; it's rather difficult to explain&mdash;But you know how
+pouring champagne into a glass makes it froth up into a million
+iridescent little bubbles? Well, there was none of that in our
+married life. There was no fizz in it, no sparkle, no taste, phew!
+The days were all one color&mdash;flat and stale and gray as the devil.
+And that's why I wanted to get away and forget. You can't forget
+unless you play. So trying to play I crawled in every sort of muck
+there is. And you know, it's a funny thing, but we love people for
+the good we do them, and we hate them for the harm. That's why I
+hated Lisa. That's why she seemed to love me.</p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. Why do you say seemed?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>wistfully</i>). Oh, she
+couldn't creep into the center of my being like Masha. But that's
+not what I mean. Before the baby was born, and afterwards, when she
+was nursing him, I used to stay away for days and days, and come
+back drunk, drunk, and love her less and less each time, because I
+was wronging her so terribly. (<i>Excitedly</i>.) Yes. That's it, I
+never realized it before. The reason why I loved Masha was because
+I did her good, not harm. But I crucified my wife, and her
+contortions filled me almost with hatred.</p>
+
+<p class="indent">[F&Eacute;DYA <i>drinks.</i></p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. I think I understand. Now
+in my case&mdash;&mdash;</p>
+
+<p class="indent">[ARTIMIEV <i>enters R. U., approaches with a
+cockade on his cap, dyed mustache, and shabby, but carefully mended
+clothes.</i></p>
+
+<p class="hang"><i>Artimiev</i> (<i>stands L. of table</i>). Good
+appetite, gentlemen! (<i>Bowing to F&Eacute;DYA</i>.) I see you've
+made the acquaintance of our great artist.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>coolly</i>). Yes, I
+have.</p>
+
+<p class="hang"><i>Artimiev</i> (<i>to PETUSHK&Oacute;V</i>). Have
+you finished your portrait?</p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. No, they didn't give me
+the commission, after all.</p>
+
+<p class="hang"><i>Artimiev</i> (<i>sitting down on end of
+table</i>). I'm not in your way, am I?</p>
+
+<p class="indent">[F&Eacute;DYA <i>and</i> PETUSHK&Oacute;V
+<i>don't answer.</i></p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. This gentleman was telling
+me about his life.</p>
+
+<p class="hang"><i>Artimiev</i>. Oh, secrets? Then I won't disturb
+you. Pardon me for interrupting. (<i>To himself as he moves
+away</i>.) Damn swine!</p>
+
+<p class="indent">[<i>He goes to the next table, sits down and in
+the dim candlelight he can just be seen listening to the
+conversation.</i></p>
+
+<p class="hang"><i>F&eacute;dya</i>. I don't like that man.</p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. I think he's offended.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Let him be. I can't stand him.
+If he'd stayed I shouldn't have said a word. Now, it's different
+with you. You make me feel all comfortable, you know. Well, what
+was I saying?</p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. You were talking about
+your wife. How did you happen to separate?</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Oh, that? (<i>A pause</i>.)
+It's a rather curious story. My wife's married.</p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. Oh, I see! You're
+divorced.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. No. (<i>Smiling</i>.) She's a
+widow.</p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. A widow? What do you
+mean?</p>
+
+<p class="hang"><i>F&eacute;dya</i>. I mean exactly what I say.
+She's a widow. I don't exist.</p>
+
+<p class="hang"><i>Petushk&oacute;v</i> (<i>puzzled</i>). What?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>smiling drunkenly</i>). I'm
+dead. You're talking to a corpse.</p>
+
+<p class="indent">[ARTIMIEV <i>leans towards them and listens
+intently.</i></p>
+
+<p class="follow">Funny, I seem to be able to say anything to you.
+And it's so long ago, so long ago. And what is it after all to you
+but a story? Well, when I got to the climax of torturing my wife,
+when I'd squandered everything I had or could get, and become
+utterly rotten, then, there appeared a protector.</p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. The usual thing, I
+suppose?</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Don't think anything filthy
+about it. He was just her friend, mine too, a very good, decent
+fellow; in fact the opposite of myself. He'd known my wife since
+she was a child, and I suppose he'd loved her since then. He used
+to come to our house a lot. First I was very glad he did, then I
+began to see they were falling in love with each other, and
+then&mdash;an odd thing began to happen to me at night. Do you know when
+she lay there asleep beside me (<i>he laughs shrilly</i>) I would
+hear him, pushing open the door, crawling into the room, coming to
+me on his hands and knees, grovelling, whining, begging me (<i>he
+is almost shouting</i>) for her, for her, imagine it! And I, I had
+to get up and give my place to him. (<i>He covers his eyes with his
+hands in a. convulsive moment</i>.) Phew! Then I'd come to
+myself.</p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. God! It must have been
+horrible.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>wearily</i>). Well, later
+on I left her&mdash;and after a while, they asked me for a divorce. I
+couldn't bear all the lying there was to be got through. Believe me
+it was easier to think of killing myself. And so I tried to commit
+suicide, and I tried and I couldn't. Then a kind friend came along
+and said, "Now, don't be foolish!" And she arranged the whole
+business for me. I sent my wife a farewell letter&mdash;and the next day
+my clothes and pocketbook were found on the bank of the river.
+Everybody knew I couldn't swim. (<i>Pause</i>.) You understand,
+don't you?</p>
+
+<p class="hang"><i>Petushk&oacute;v</i>. Yes, but what about the
+body? They didn't find that?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>smiling drunkenly</i>). Oh
+yes, they did! You just listen! About a week afterwards some horror
+was dragged out of the water. My wife was called in to identify it.
+It was in pretty bad shape, you know. She took one glance. "Is that
+your husband?" they asked her. And she said, "Yes." Well, that
+settled it! I was buried, they were married, and they're living
+very happily right here in this city. I'm living here, too! We're
+all living here together! Yesterday I walked right by their house.
+The windows were lit and somebody's shadow went across the blind.
+(<i>A pause</i>.) Of course there're times when I feel like hell
+about it, but they don't last. The worst is when there's no money
+to buy drinks with.</p>
+
+<p class="indent">[<i>He drinks.</i></p>
+
+<p class="hang"><i>Artimiev</i>. (<i>rising and approaching
+them</i>). Excuse me, but you know I've been listening to that
+story of yours? It's a very good story, and what's more a very
+useful one. You say you don't like being without money, but really
+there's no need of your ever finding yourself in that position.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. (<i>interrupting</i>). Look
+here, I wasn't talking to you and I don't need your advice!</p>
+
+<p class="hang"><i>Artimiev</i>. But I'm going to give it to you
+just the same. Now you're a corpse. Well, suppose you come to life
+again!</p>
+
+<p class="hang"><i>F&eacute;dya</i>. What?</p>
+
+<p class="hang"><i>Artimiev</i>. Then your wife and that fellow
+she's so happy with&mdash;they'd be arrested for bigamy. The best
+they'd get would be ten years in Siberia. Now you see where you can
+have a steady income, don't you?</p>
+
+<p class="hang"><i>F&eacute;dya</i>. (<i>furiously</i>). Stop
+talking and get out of here!</p>
+
+<p class="hang"><i>Artimiev</i>. The best way is to write them a
+letter. If you don't know how I'll do it for you. Just give me
+their address and afterwards when the ruble notes commence to drop
+in, how grateful you'll be!</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Get out! Get out, I say! I
+haven't told you anything!</p>
+
+<p class="hang"><i>Artimiev</i>. Oh, yes, you have! Here's my
+witness! This waiter heard you saying you were a corpse!</p>
+
+<p class="hang"><i>F&eacute;dya</i>. (<i>beside himself</i>). You
+damn blackmailing beast&mdash;&mdash;</p>
+
+<p class="indent">[<i>Rising.</i></p>
+
+<p class="hang"><i>Artimiev</i>. Oh, I'm a beast, am I? We'll see
+about that! (F&Eacute;DYA <i>rises to go</i>, ARTIMIEV <i>seizes
+him</i>.) Police! Police! (F&Eacute;DYA <i>struggles frantically to
+escape</i>.)</p>
+
+<p class="indent">[<i>The</i> POLICE <i>enter and drag him
+away.</i></p>
+
+<p class="hang">CURTAIN</p>
+
+<p>&nbsp;</p>
+
+<h4>SCENE II</h4>
+
+<p class="hang"><i>In the country. A veranda covered by a gay
+awning; sunlight; flowers; SOPHIA KAR&Eacute;NINA, LISA, her little
+boy and nurse.</i></p>
+
+<p class="hang"><i>Lisa</i> (<i>standing C. in door. To the little
+boy, smiling</i>), Who do you think is on his way from the
+station?</p>
+
+<p class="hang"><i>Misha</i> (<i>excitedly</i>). Who? Who?</p>
+
+<p class="hang"><i>Lisa</i>. Papa.</p>
+
+<p class="hang"><i>Misha</i> (<i>rapturously</i>). Papa's coming!
+Papa's coming!</p>
+
+<p class="indent">[<i>Exits L. through C. door.</i></p>
+
+<p class="hang"><i>Lisa</i> (<i>contentedly, to SOPHIA
+KAR&Eacute;NINA</i>). How much he loves Victor! As if he were his
+real father!</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i> (<i>on sofa L.
+knitting&mdash;back to audience</i>). Tant mieux. Do you think he ever
+remembers his father?</p>
+
+<p class="hang"><i>Lisa</i> (<i>sighing</i>). I can't tell. Of
+course I've never said anything to him. What's the use of confusing
+his little head? Yet sometimes I feel as though I ought. What do
+you think, Mamma?</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. I think it's a
+matter of feeling. If you can trust your heart, let it guide you.
+What extraordinary adjustments death brings about! I confess I used
+to think very unkindly of F&eacute;dya, when he seemed a barrier to
+all this. (<i>She makes a gesture with her hand</i>.) But now I
+think of him as that nice boy who was my son's friend, and a man
+who was capable of sacrificing himself for those he loved. (<i>She
+knits</i>.) I hope Victor hasn't forgotten to bring me some
+wool.</p>
+
+<p class="hang"><i>Lisa</i>. Here he comes. (<i>LISA runs to the
+edge of the veranda</i>.) There's some one with him&mdash;a lady in a
+bonnet! Oh, it's mother! How splendid! I haven't seen her for an
+age!</p>
+
+<p class="indent">[<i>Enter</i> ANNA P&Aacute;VLOVNA <i>up
+C.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>kissing LISA</i>).
+My darling. (<i>To SOPHIA KAR&Eacute;NINA</i>.) How do you do?
+Victor met me and insisted on my coming down.</p>
+
+<p class="indent">[<i>Sits bench L. C. beside</i> SOPHIA.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. This is perfectly
+charming!</p>
+
+<p class="indent">[<i>Enter</i> VICTOR <i>and</i> M&Iacute;SHA.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. I did want to see Lisa
+and the boy. So now, if you don't turn me out, I'll stay till the
+evening train.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. (<i>L. C., kissing his wife,
+his mother and the boy</i>). Congratulate me&mdash;everybody&mdash;I've a bit
+of luck, I don't have to go to town again for two days. Isn't that
+wonderful?</p>
+
+<p class="hang"><i>Lisa</i>. (<i>R. C</i>.). Two days! That's
+glorious! We'll drive over to the Hermitage to-morrow and show it
+to mother.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. (<i>holding the
+boy</i>). He's so like his father, isn't he? I do hope he hasn't
+inherited his father's disposition.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. After all,
+F&eacute;dya's heart was in the right place. <i>Lisa</i>. Victor
+thinks if he'd only been brought up more carefully everything would
+have been different.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Well, I'm not so sure
+about that, but I do feel sorry for him. I can't think of him
+without wanting to cry.</p>
+
+<p class="hang"><i>Lisa</i>. I know. That's how Victor and I feel.
+All the bitterness is gone. There's nothing left but a very tender
+memory.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. (<i>sighing</i>). I'm
+sure of it. <i>Lisa</i>. Isn't it funny? It all seemed so hopeless
+back there, and now see how beautifully everything's come out!</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. Oh, by the way,
+Victor, did you get my wool?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. I certainly did. (<i>Brings
+a bag and takes out parcels</i>.) Here's the wool, here's the
+eau-de-cologne, here are the letters&mdash;one on "Government Service"
+for you, Lisa&mdash;&mdash; (<i>Hands her the letter. LISA opens letter, then
+strolls R, reading it, suddenly stops</i>.) Well, Anna
+P&aacute;vlovna, I know you want to make yourself beautiful! I must
+tidy up, too. It's almost dinner time. Lisa, you've put your
+another in the Blue Room, haven't you?</p>
+
+<p class="indent">[<i>Pause.</i></p>
+
+<p class="indent">[LISA <i>is pale. She holds the letter with
+trembling hands and reads it,</i> KAR&Eacute;NIN <i>seeing
+her.</i></p>
+
+<p class="follow">What's the matter, Lisa? What is it?</p>
+
+<p class="hang"><i>Lisa</i>. He's alive. He's alive. My God! I
+shall never be free from him. (<i>VICTOR crosses to LISA</i>.) What
+does this mean? What's going to happen to us?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i> (<i>taking the letter and
+reading</i>). I don't believe it.</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. What is it?
+(<i>Rising</i>.) What's the matter? Why don't you tell us?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. He's alive! They're accusing
+us of bigamy! It's a summons for Lisa to go before the Examining
+Magistrate.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. No&mdash;no! It can't
+be!</p>
+
+<p class="hang"><i>Sophia Kar&eacute;nina</i>. Oh, that horrible
+man!</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. So it was all a lie!</p>
+
+<p class="hang"><i>Lisa</i> (<i>with a cry of rage</i>). Oh! I hate
+him so! Victor!&mdash;F&eacute;dya!&mdash;&mdash;My God! I don't know what I'm
+saying. I don't know what I'm saying.</p>
+
+<p class="indent">[<i>Sinks in chair down R.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>rising</i>). He's not really alive?</p>
+
+<p class="indent">[<i>Lights dim and out.</i></p>
+
+<p class="hang">CURTAIN</p>
+
+<p>&nbsp;</p>
+
+<h4>SCENE III</h4>
+
+<p class="hang"><i>The room of the examining magistrate, who sits
+at a table talking to M&Eacute;LNIKOV, a smartly dressed, languid,
+man-about-town</i>.</p>
+
+<p class="hang"><i>At a side-table a CLERK is sorting
+papers</i>.</p>
+
+<p class="hang"><i>Magistrate</i>. (<i>sitting R. of table R.
+C</i>.). Oh, I never said so. It's her own notion. And now she is
+reproaching me with it.</p>
+
+<p class="hang"><i>M&eacute;lnikov</i>. (<i>sitting C. back to
+audience</i>). She's not reproaching you, only her feelings are
+awfully hurt.</p>
+
+<p class="hang"><i>Magistrate</i>. Are they? Oh, well, tell her
+I'll come to supper after the performance. But you'd better wait
+on. I've rather an interesting case. (<i>To the CLERK</i>.) Here,
+you, show them in.</p>
+
+<p class="hang"><i>Clerk</i>. (<i>sitting C. facing audience</i>).
+Both? Excellency. <i>Magistrate</i>. No, only Madame
+Kar&eacute;nina.</p>
+
+<p class="indent">[CLERK <i>exits L. I.</i></p>
+
+<p class="hang"><i>Clerk</i> (<i>calling off stage</i>). Madame
+Protosova, Madame Protosova.</p>
+
+<p class="hang"><i>Magistrate</i>. Or, to dot my i's, Madame
+Protosova.</p>
+
+<p class="hang"><i>M&eacute;lnikov</i> (<i>starting to go out</i>).
+Ah, it's the Kar&eacute;nin case.</p>
+
+<p class="hang"><i>Magistrate</i>. Yes, and an ugly one. I'm just
+beginning the investigation. But I assure you it's a first-rate
+scandal already. Must you go? Well, see you at supper.
+Good-bye.</p>
+
+<p class="indent">[<i>Exit</i> M&Eacute;LNIKOV, <i>R.</i></p>
+
+<p class="indent">[<i>The</i> CLERK <i>shows in</i> LISA<i>; she
+wears a black dress and veil.</i></p>
+
+<p class="hang"><i>Magistrate</i>. Please sit down, won't you?
+(<i>He points to a chair L. C. LISA sits down</i>.) I am extremely
+sorry that it's necessary to ask you questions.</p>
+
+<p class="indent">[LISA <i>appears very much agitated.</i>
+MAGISTRATE <i>appears unconcerned and is reading a newspaper as he
+speaks.</i></p>
+
+<p class="follow">But please be calm. You needn't answer them
+unless you wish. Only in the interest of every one concerned, I
+advise you to help me reach the entire truth.</p>
+
+<p class="hang"><i>Lisa</i>. I've nothing to conceal.</p>
+
+<p class="hang"><i>Magistrate</i> (<i>looking at papers</i>). Let's
+see. Your name, station, religion. I've got all that. You are
+accused of contracting a marriage with another man, knowing your
+first husband to be alive.</p>
+
+<p class="hang"><i>Lisa</i>. But I did not know it.</p>
+
+<p class="hang"><i>Magistrate</i> (<i>continuing</i>). And also you
+are accused of having persuaded with bribes your first husband to
+commit a fraud, a pretended suicide, in order to rid yourself of
+him.</p>
+
+<p class="hang"><i>Lisa</i>. All that's not true.</p>
+
+<p class="hang"><i>Magistrate</i>. Then permit me to ask you these
+questions: Did you or did you not send him 1200 rubles in July of
+last year?</p>
+
+<p class="hang"><i>Lisa</i>. That was his own money obtained from
+selling his things, which I sent to him during our separation,
+while I was waiting for my divorce.</p>
+
+<p class="hang"><i>Magistrate</i>. Just so. Very well. When the
+police asked you to identify the corpse, how were you sure it was
+your husband's?</p>
+
+<p class="hang"><i>Lisa</i>. Oh, I was so terribly distressed that
+I couldn't bear to look at the body. Besides, I felt so sure it was
+he, and when they asked me, I just said yes.</p>
+
+<p class="hang"><i>Magistrate</i>. Very good indeed. I can well
+understand your distraction, and permit me to observe, Madame, that
+although servants of the law, we remain human beings, and I beg you
+to be assured that I sympathize with your situation. You were bound
+to a spendthrift, a drunkard, a man whose dissipation caused you
+infinite misery.</p>
+
+<p class="hang"><i>Lisa</i> (<i>interrupting</i>). Please, I loved
+him.</p>
+
+<p class="hang"><i>Magistrate</i> (<i>tolerantly</i>). Of course.
+Yet naturally you desired to be free, and you took this simple
+course without counting the consequence, which is considered a
+crime, or bigamy. I understand you, and so will both judges and
+jury. And it's for this reason, Madam, I urge you to disclose the
+entire truth.</p>
+
+<p class="hang"><i>Lisa</i>. I've nothing to disclose. I never have
+lied. (<i>She begins to cry</i>.) Do you want me any longer?</p>
+
+<p class="hang"><i>Magistrate</i>. Yes. I must ask you to remain a
+few minutes longer. No more questions, however. (<i>To the
+CLERK</i>.) Show in Victor Kar&eacute;nin. (<i>To LISA</i>.) I
+think you'll find that a comfortable chair. (<i>Sits L. C</i>.)</p>
+
+<p class="indent">[<i>Enter</i> KAR&Eacute;NIN, stern and
+solemn.</p>
+
+<p class="follow">Please, sit down.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Thank you. (<i>He remains
+standing L. U</i>.) What do you want from me?</p>
+
+<p class="hang"><i>Magistrate</i>. I have to take your
+deposition.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. In what capacity?</p>
+
+<p class="hang"><i>Magistrate</i> (<i>smiling</i>). In my capacity
+of investigating magistrate. You are here, you know, because you
+are charged with a crime.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Really? What crime?</p>
+
+<p class="hang"><i>Magistrate</i>. Bigamy, since you've married a
+woman already married. But I'll put the questions to you in their
+proper order. Sure you'll not sit down?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Quite sure.</p>
+
+<p class="hang"><i>Magistrate</i> (<i>writing</i>). Your name?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Victor Kar&eacute;nin.</p>
+
+<p class="hang"><i>Magistrate</i>. Rank?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Chamberlain of the Imperial
+Court.</p>
+
+<p class="hang"><i>Magistrate</i>. Your age?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Thirty-eight.</p>
+
+<p class="hang"><i>Magistrate</i>. Religion?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Orthodox, and I've never
+been tried before of any charge. (<i>Pause</i>.) What else?</p>
+
+<p class="hang"><i>Magistrate</i>. Did you know that Fedor Protosov
+was alive when you married his wife?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. No, we were both convinced
+that he was drowned.</p>
+
+<p class="hang"><i>Magistrate</i>. All right. And why did you send
+1200 rubles to him a few days before he simulated death on July
+17th?</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. That money was given me by
+my wife.</p>
+
+<p class="hang"><i>Magistrate</i> (<i>interrupting him</i>). Excuse
+me, you mean by <i>Madame</i> Protosova.</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. By my wife to send to her
+husband. She considered this money his property, and having broken
+off all relations with him, felt it unjust to withhold it. What
+else do you want?</p>
+
+<p class="hang"><i>Magistrate</i>. I don't want anything, except to
+do my official duty, and to aid you in doing yours, through causing
+you to tell me the whole truth, in order that your innocence be
+proved. You'd certainly better not conceal things which are sure to
+be found out, since Protosov is in such a weakened condition,
+physically and mentally, that he is certain to come out with the
+entire truth as soon as he gets into court, so from your point of
+view I advise....</p>
+
+<p class="hang"><i>Kar&eacute;nin</i>. Please don't advise me, but
+remain within the limits of your official capacity. Are we at
+liberty to leave?</p>
+
+<p class="indent">[<i>He goes to</i> LISA <i>who takes his
+arm.</i></p>
+
+<p class="hang"><i>Magistrate</i>. Sorry, but it's necessary to
+detain you. (KAR&Eacute;NIN <i>looks around in astonishment</i>.)
+No, I've no intention of arresting you, although it might be a
+quicker way of reaching the truth. I merely want to take Protosov's
+deposition in your presence, to confront him with you, that you may
+facilitate your chances by proving his statements to be false.
+Kindly sit down. (<i>To</i> CLERK.) Show in Fedor Protosov.</p>
+
+<p class="indent">[<i>There is a pause. The</i> CLERK <i>shows
+in</i> F&Eacute;DYA <i>in rags, a total wreck. He enters slowly,
+dragging his feet. He catches sight of his wife, who is bowed in
+grief. For a moment he is about to take her in his arms&mdash;he
+hesitates--then stands before the</i> MAGISTRATE.</p>
+
+<p class="hang"><i>Magistrate</i>. I shall ask you to answer some
+questions.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. (<i>rises, confronting the
+MAGISTRATE</i>). Ask them.</p>
+
+<p class="hang"><i>Magistrate</i>. Your name?</p>
+
+<p class="hang"><i>F&eacute;dya</i>. You know it.</p>
+
+<p class="hang"><i>Magistrate</i>. Answer my questions exactly,
+please.</p>
+
+<p class="indent">[<i>Rapping on his desk.</i></p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>shrugs</i>). Fedor
+Protosov.</p>
+
+<p class="hang"><i>Magistrate</i>. Your rank, age, religion?</p>
+
+<p class="hang"><i>F&eacute;dya</i>. (<i>silent for a moment</i>).
+Aren't you ashamed to ask me these absurd questions? Ask me what
+you need to know, only that.</p>
+
+<p class="hang"><i>Magistrate</i>. I shall ask you to take care how
+you express yourself.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Well, since you're not
+ashamed. My rank, graduate of the University of Moscow; age 40;
+religion orthodox. What else?</p>
+
+<p class="hang"><i>Magistrate</i>. Did Victor Kar&eacute;nin and
+Elizaveta Andreyevna know you were alive when you left your clothes
+on the bank of the river and disappeared?</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Of course not. I really wished
+to commit suicide. But&mdash;however, why should I tell you? The fact's
+enough. They knew nothing of it.</p>
+
+<p class="hang"><i>Magistrate</i>. You gave a somewhat different
+account to the police officer. How do you explain that?</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Which police officer? Oh yes,
+the one who arrested me in that dive. I was drunk, and I lied to
+him&mdash;about what, I don't remember. But I'm not drunk now and I'm
+telling you the whole truth. They knew nothing; they thought I was
+dead, and I was glad of it. Everything would have stayed all right
+except for that damned beast Artimiev. So if any one's guilty, it's
+I.</p>
+
+<p class="hang"><i>Magistrate</i>. I perceive you wish to be
+generous. Unfortunately the law demands the truth. Come, why did
+you receive money from them?</p>
+
+<p class="indent">[F&Eacute;DYA <i>is silent.</i></p>
+
+<p class="follow">Why don't you answer me? Do you realize that it
+will be stated in your deposition that the accused refused to
+answer these questions, and that will harm (<i>he includes</i> LISA
+<i>and</i> VICTOR <i>in a gesture</i>) all of you?</p>
+
+<p class="indent">[F&Eacute;DYA <i>remains silent.</i></p>
+
+<p class="follow">Aren't you ashamed of your stubborn refusal to
+aid these others and yourself by telling the entire truth?</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>breaking out
+passionately</i>). The truth&mdash;Oh, God! what do you know about the
+truth? Your business is crawling up into a little power, that you
+may use it by tantalizing, morally and physically, people a
+thousand times better than you.... You sit there in your smug
+authority torturing people.</p>
+
+<p class="hang"><i>Magistrate</i>. I must ask you&mdash;&mdash;</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>interrupts him</i>). Don't
+ask me for I'll speak as I feel. (<i>Turning to</i> CLERK.) And you
+write it down. So for once some human words will get into a
+deposition.</p>
+
+<p class="indent">[<i>Raising his voice, which ascends to a climax
+during this speech.</i></p>
+
+<p class="follow">There were three human beings alive: I, he, and
+she.</p>
+
+<p class="indent">[<i>He turns to his wife with a gesture
+indicating his love for her. He pauses, then proceeds.</i></p>
+
+<p class="follow">We all bore towards one another a most complex
+relation. We were all engaged in a spiritual struggle beyond your
+comprehension: the struggle between anguish and peace; between
+falsehood and truth. Suddenly this struggle ended in a way that set
+us free. Everybody was at peace. They loved my memory, and I was
+happy even in my downfall, because I'd done what should have been
+done, and cleared away my weak life from interfering with their
+strong good lives. And yet we're all alive. When suddenly a bastard
+adventurer appears, who demands that I abet his filthy scheme. I
+drive him off as I would a diseased dog, but he finds you, the
+defender of public justice, the appointed guardian of morality, to
+listen to him. And you, who receive on the 20th of each month a few
+kopeks' gratuity for your wretched business, you get into your
+uniform, and in good spirits proceed to torture&mdash;bully people whose
+threshold you're not clean enough to pass. Then when you've had
+your fill of showing off your wretched power, oh, then you are
+satisfied, and sit and smile there in your damned complacent
+dignity. And....</p>
+
+<p class="hang"><i>Magistrate</i> (<i>raising his voice. Rising
+excitedly</i>). Be silent or I'll have you turned out.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. God! Who should <i>I</i> be
+afraid of! I'm dead, dead, and away out of your power. (<i>Suddenly
+overcome with the horror of the situation</i>.) What can you do to
+me? How can you punish me&mdash;a corpse?</p>
+
+<p class="indent">[<i>Beating his breast.</i></p>
+
+<p class="hang"><i>Magistrate</i>. Be silent! (<i>To</i> CLERK,
+<i>who is down L</i>.) Take him out!</p>
+
+<p class="indent">[F&Eacute;DYA <i>turns, seeing his wife, he falls
+on his knees before her ... kisses the hem of her dress, crying
+bitterly.</i></p>
+
+<p class="indent">[<i>Slowly he rises, pulls himself together with
+a great effort, then exits L.</i></p>
+
+<p class="indent">[<i>The lights dim and out.</i></p>
+
+<p class="hang">CURTAIN</p>
+
+<p>&nbsp;</p>
+
+<h4>SCENE IV</h4>
+
+<p class="hang"><i>A corridor at the lower courts; in the
+background a door opposite which stands a</i> GUARD; <i>to the
+right is another door through which the</i> PRISONERS <i>are
+conducted to the court.</i> IV&Aacute;N PETROVICH <i>in rags enters
+L., goes to this last door, trying to pass through it.</i></p>
+
+<p class="hang"><i>Guard</i> (<i>at door R. C</i>.). Where do you
+think you're going, shoving in like that?</p>
+
+<p class="hang"><i>Iv&aacute;n Petrovich</i>. Why shouldn't I? The
+law says these sessions are public.</p>
+
+<p class="hang"><i>Guard</i>. You can't get by and that's enough.</p>
+
+<p class="hang"><i>Iv&aacute;n Petrovich</i> (<i>in pity</i>). Wretched peasant,
+you have no idea to whom you are speaking.</p>
+
+<p class="hang"><i>Guard</i>. Be silent!</p>
+
+<p class="indent">[<i>Enter a</i> YOUNG LAWYER <i>from R.
+I.</i></p>
+
+<p class="hang"><i>Lawyer</i> (<i>to Petrovich</i>). Are you here
+on business?</p>
+
+<p class="hang"><i>Iv&aacute;n Petrovich</i>. No. I'm the public.
+But this wretched peasant won't let me pass.</p>
+
+<p class="hang"><i>Lawyer</i>. There's no room for the public at
+this trial.</p>
+
+<p class="hang"><i>Iv&aacute;n Petrovich</i>. Perhaps, but I am
+above the general rule.</p>
+
+<p class="hang"><i>Lawyer</i>. Well, you wait outside; they'll
+adjourn presently.</p>
+
+<p class="indent">[<i>He is just going into courtroom through door
+R. C. when</i> PRINCE SERGIUS <i>enters L. and stops him.</i></p>
+
+<p class="hang"><i>Prince Sergius</i>. How does the case stand?</p>
+
+<p class="hang"><i>Lawyer</i>. The defense has just begun.
+Petr&uacute;shin is speaking now.</p>
+
+<p class="hang"><i>Prince Sergius</i>. Are the Kar&eacute;nins
+bearing up well?</p>
+
+<p class="hang"><i>Lawyer</i>. Yes, with extraordinary dignity.
+They look as if they were the judges instead of the accused. That's
+felt all the way through, and Petr&uacute;shin is taking advantage
+of it.</p>
+
+<p class="hang"><i>Prince Sergius</i>. What of Protosov?</p>
+
+<p class="hang"><i>Lawyer</i>. He's frightfully unnerved, trembling
+all over, but that's natural considering the sort of life he's led.
+Yes, he's all on edge, and he's interrupted, both judge and jury
+several times already.</p>
+
+<p class="hang"><i>Prince Sergius</i>. How do you think it will
+end?</p>
+
+<p class="hang"><i>Lawyer</i>. Hard to say. The jury are mixed. At
+any rate I don't think they'll find the Kar&eacute;nins guilty of
+premeditation. Do you want to go in?</p>
+
+<p class="hang"><i>Prince Sergius</i>. I should very much like
+to.</p>
+
+<p class="hang"><i>Lawyer</i>. Excuse me, you're Prince Sergius
+Abr&eacute;skov, aren't you? (<i>To the Prince</i>.) There's an
+empty chair just at the left.</p>
+
+<p class="indent">[<i>The guard lets</i> PRINCE SERGIUS
+<i>pass.</i></p>
+
+<p class="hang"><i>Iv&aacute;n Petrovich</i>. Prince! Bah! I am an
+aristocrat of the soul, and that's a higher title.</p>
+
+<p class="hang"><i>Lawyer</i>. Excuse me.</p>
+
+<p class="indent">[<i>And exits down R. C. into courtroom.</i></p>
+
+<p class="indent">[PETUSHK&Oacute;V, F&Eacute;DYA'S <i>companion in
+the dive, enters approaching</i> IV&Aacute;N PETROVICH.</p>
+
+<p class="hang"><i>Petushk&oacute;v</i> (<i>R</i>.). Oh, there you
+are. Well, how're things going?</p>
+
+<p class="hang"><i>Iv&aacute;n Petrovich</i> (<i>L</i>.). The
+speeches for the defense have begun, but this ignorant rascal won't
+let us in. Curse his damned petty soul.</p>
+
+<p class="hang"><i>Guard</i> (<i>C</i>.) Silence! Where do you
+think you are?</p>
+
+<p class="indent">[<i>Further applause is heard; door of the court
+opens, and there is a rush of lawyers and the general public into
+the corridor.</i></p>
+
+<p class="hang"><i>A Lady</i>. Oh, it's simply wonderful! When he
+spoke I felt as if my heart were breaking.</p>
+
+<p class="hang"><i>An Officer</i>. It's all far better than a
+novel. But I don't see how she could ever have loved him. Such a
+sinister, horrible figure.</p>
+
+<p class="indent">[<i>The other door opens over L.; the accused
+comes out.</i></p>
+
+<p class="hang"><i>The Lady</i> (<i>this group is down R</i>.).
+Hush! There he is. See how wild he looks.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>seeing</i> IV&Aacute;N
+PETROVICH). Did you bring it?</p>
+
+<p class="indent">[<i>Goes to</i> PETROVICH.</p>
+
+<p class="hang"><i>Petrovich</i>. There.</p>
+
+<p class="indent">[<i>He hands</i> F&Eacute;DYA <i>something;</i>
+F&Eacute;DYA <i>hides it in his pocket.</i></p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>seeing</i>
+PETUSHK&Oacute;V). How foolish! How vulgar and how boring all this
+is, isn't it?</p>
+
+<p class="indent">[<i>Men and women enter door L. and stand down L.
+watching.</i></p>
+
+<p class="indent">[<i>Enter</i> PETR&Uacute;SHIN, from R. C.,
+F&Eacute;DYA'S <i>counsel, a stout man with red cheeks; very
+animated.</i></p>
+
+<p class="hang"><i>Petr&uacute;shin</i> (<i>rubbing his hands</i>).
+Well, well, my friend. It's going along splendidly. Only remember,
+don't go and spoil things for me in your last speech.</p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>takes him by the arm</i>).
+Tell me, what'll the worst be?</p>
+
+<p class="hang"><i>Petr&uacute;shin</i>. I've already told you.
+Exile to Siberia.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Who'll be exiled to
+Siberia?</p>
+
+<p class="hang"><i>Petr&uacute;shin</i>. You and your wife,
+naturally.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. And at the best?</p>
+
+<p class="hang"><i>Petr&uacute;shin</i>. Religious pardon and the
+annulment of the second marriage.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. You mean&mdash;that we should be
+bound again&mdash;to one another&mdash;&mdash;</p>
+
+<p class="hang"><i>Petr&uacute;shin</i>. Yes. Only try to collect
+yourself. Keep up your courage. After all, there's no occasion for
+alarm.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. There couldn't be any other
+sentence, you're sure?</p>
+
+<p class="hang"><i>Petr&uacute;shin</i>. None other. None
+other.</p>
+
+<p class="indent">[<i>Exits R. I.</i> F&Eacute;DYA <i>stands
+motionless.</i></p>
+
+<p class="hang"><i>Guard</i> (<i>crosses and exits L. I.
+Calling</i>). Pass on. Pass on. No loitering in the corridor.</p>
+
+<p class="indent">[VICTOR <i>and</i> LISA <i>enter from door L.
+Start to go off L. when pistol shot stops them.</i></p>
+
+<p class="hang"><i>F&eacute;dya</i> (<i>He turns his back to the
+audience, and from beneath his ragged coat shoots himself in the
+heart. There is a muffled explosion, smoke. He crumples up in a
+heap on the floor. All the people in the passage rush to him</i>.)
+(<i>In a very low voice</i>.) This time&mdash;it's well done...
+Lisa....</p>
+
+<p class="indent">[<i>People are crowding in from all the doors,
+judges, etc.</i> LISA <i>rushes to</i> F&Eacute;DYA,
+KAR&Eacute;NIN, IV&Aacute;N PETROVICH <i>and</i> PRINCE SERGIUS
+<i>follow.</i></p>
+
+<p class="hang"><i>Lisa</i>. F&eacute;dya!... F&eacute;dya!... What
+have you done? Oh why!... why!...</p>
+
+<p class="hang"><i>F&eacute;dya</i>. Forgive me&mdash;&mdash; No other
+way&mdash;&mdash; Not for you&mdash;but for myself&mdash;&mdash;</p>
+
+<p class="hang"><i>Lisa</i>. You will live. You must live.</p>
+
+<p class="hang"><i>F&eacute;dya</i>. No&mdash;no&mdash;&mdash; Good-bye&mdash;&mdash; (<i>He
+seems to smile, then he mutters just under his breath</i>.)
+Masha.</p>
+
+<p class="indent">[<i>In the distance the gypsies are heard singing
+"No More at Evening." They sing until the curtain.</i></p>
+
+<p class="follow">You're too late&mdash;&mdash;</p>
+
+<p class="indent">[Suddenly he raises his head from LISA'S knees,
+and barely utters as if he saw something in front of him.</p>
+
+<p class="follow">Ah.... Happiness!...</p>
+
+<p class="indent">[<i>His head falls from LISA'S knees to the
+ground. She still clings to it, in grief and horror. He
+dies.</i></p>
+
+<p class="indent">[<i>The lights dim and out.</i></p>
+
+<p class="hang">CURTAIN</p>
+
+<h4>END OF <i>REDEMPTION</i></h4>
+<hr>
+<p>&nbsp;</p>
+
+<h1><a name="darkness">THE POWER OF DARKNESS</a></h1>
+
+<h2>OR</h2>
+
+<h2>IF A CLAW IS CAUGHT THE BIRD IS LOST</h2>
+
+<h3>CHARACTERS</h3>
+
+<p class="normal">PETER IGN&Aacute;TITCH. <i>A well-to-do peasant, 42 years old,
+married for the second time, and sickly.<br>
+</i> AN&Iacute;SYA. <i>His wife, 32 years old, fond of
+dress.</i><br>
+AKOUL&Iacute;NA. <i>Peter's daughter by his first marriage, 16
+years old, hard of hearing, mentally undeveloped</i><br>
+NAN (ANNA PETR&Oacute;VNA). <i>His daughter by his second marriage,
+10 years old</i><br>
+NIK&Iacute;TA. <i>Their laborer, 25 years old, fond of
+dress.</i><br>
+AK&Iacute;M. <i>Nik&iacute;ta's father, 50 years old, a
+plain-looking, God-fearing peasant.</i><br>
+MATRY&Oacute;NA. <i>His wife and Nik&iacute;ta's mother, 50 years
+old.</i><br>
+MAR&Iacute;NA <i>An orphan girl, 22 years old.</i><br>
+MARTHA. <i>Peter's sister.</i><br>
+M&Iacute;TRITCH <i>An old laborer, ex-soldier.</i><br>
+SIMON. <i>Mar&iacute;na's husband.</i><br>
+BRIDEGROOM. <i>Engaged to Akoul&iacute;na.</i><br>
+IV&Aacute;N. <i>His father.</i><br>
+A NEIGHBOR.<br>
+FIRST GIRL.<br>
+SECOND GIRL.<br>
+POLICE OFFICER.<br>
+DRIVER.<br>
+BEST MAN<br>
+MATCHMAKER.<br>
+VILLAGE ELDER.<br>
+VISITORS, WOMEN, GIRLS, AND PEOPLE <i>come to see the
+wedding.</i></p>
+
+<p class="normal">
+
+<i>N.B.</i>&mdash;The "oven" mentioned is the usual large, brick,
+Russian baking-oven. The top of it outside is flat, so that more
+than one person can lie on it. </p>
+
+<h3>ACT I</h3>
+
+<p class="hang"><i>The Act takes place in autumn in a large
+village. The Scene represents PETER'S</i> roomy hut. PETER <i>is
+sitting on a wooden bench, mending a horse-collar.</i>
+AN&Iacute;SYA <i>and</i> AKOUL&Iacute;NA <i>are spinning, and
+singing a part-song.</i></p>
+
+<p class="hang"><i>Peter</i> (<i>looking out of the window</i>).
+The horses have got loose again. If we don't look out they'll be
+killing the colt. Nik&iacute;ta! Hey, Nik&iacute;ta! Is the fellow
+deaf? (<i>Listens. To the women</i>.) Shut up, one can't hear
+anything.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>from outside</i>).
+What?</p>
+
+<p class="hang"><i>Peter</i>. Drive the horses in.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. We'll drive 'em in. All in
+good time.</p>
+
+<p class="hang"><i>Peter</i> (<i>shaking his head</i>). Ah, these
+laborers! If I were well, I'd not keep one on no account. There's
+nothing but bother with 'em. (<i>Rises and sits down again</i>.)
+Nik&iacute;ta!.... It's no good shouting. One of you'd better go.
+Go, Ako&uacute;l, drive 'em in.</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. What? The horses?</p>
+
+<p class="hang"><i>Peter</i>. What else?</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. All right.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Peter</i>. Ah, but he's a loafer, that lad ...
+no good at all. Won't stir a finger if he can help it.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. You're so mighty brisk
+yourself. When you're not sprawling on the top of the oven you're
+squatting on the bench. To goad others to work is all you're fit
+for.</p>
+
+<p class="hang"><i>Peter</i>. If one weren't to goad you on a bit,
+one'd have no roof left over one's head before the year's out. Oh,
+what people!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. You go shoving a dozen jobs
+on to one's shoulders, and then do nothing but scold. It's easy to
+lie on the oven and give orders.</p>
+
+<p class="hang"><i>Peter</i> (<i>sighing</i>). Oh, if 'twere not
+for this sickness that's got hold of me, I'd not keep him on
+another day.</p>
+
+<p class="hang"><i>Akoul&iacute;na</i> (<i>off the scene</i>). Gee
+up, gee, woo.</p>
+
+<p class="indent">[<i>A colt neighs, the stamping of horses' feet
+and the creaking of the gate are heard.</i></p>
+
+<p class="hang"><i>Peter</i>. Bragging, that's what he's good at.
+I'd like to sack him, I would indeed.</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>mimicking him</i>). "Like
+to sack him." You buckle to yourself, and then talk.</p>
+
+<p class="hang"><i>Akoul&iacute;na</i> (<i>enters</i>). It's all I
+could do to drive 'em in. That piebald always will....</p>
+
+<p class="hang"><i>Peter</i>. And where's Nik&iacute;ta?</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. Where's Nik&iacute;ta? Why,
+standing out there in the street.</p>
+
+<p class="hang"><i>Peter</i>. What's he standing there for?</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. What's he standing there
+for? He stands there jabbering.</p>
+
+<p class="hang"><i>Peter</i>. One can't get any sense out of her!
+Who's he jabbering with?</p>
+
+<p class="hang"><i>Akoul&iacute;na</i> (<i>does not hear</i>). Eh,
+what?</p>
+
+<p class="indent">[PETER <i>waves her off. She sits down to her
+spinning.</i></p>
+
+<p class="hang"><i>Nan</i> (<i>running in to her mother</i>).
+Nik&iacute;ta's father and mother have come. They're going to take
+him away. It's true!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Nonsense!</p>
+
+<p class="hang"><i>Nan</i>. Yes. Blest if they're not!
+(<i>Laughing</i>.) I was just going by, and Nik&iacute;ta, he says,
+"Good-bye, Anna Petr&oacute;vna," he says, "you must come and dance
+at my wedding. I'm leaving you," he says, and laughs.</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>to her husband</i>). There
+now. Much he cares. You see, he wants to leave of himself. "Sack
+him" indeed!</p>
+
+<p class="hang"><i>Peter</i>. Well, let him go. Just as if I
+couldn't find somebody else.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. And what about the money he's
+had in advance?</p>
+
+<p class="indent">[NAN <i>stands listening at the door for awhile,
+and then exit.</i></p>
+
+<p class="hang"><i>Peter</i> (<i>frowning</i>). The money? Well, he
+can work it off in summer, anyhow.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Well, of course you'll be
+glad if he goes and you've not got to feed him. It's only me as'll
+have to work like a horse all the winter. That lass of yours isn't
+over fond of work either. And you'll be lying up on the oven. I
+know you.</p>
+
+<p class="hang"><i>Peter</i>. What's the good of wearing out one's
+tongue before one has the hang of the matter?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. The yard's full of cattle.
+You've not sold the cow, and have kept all the sheep for the
+winter: feeding and watering 'em alone takes all one's time, and
+you want to sack the laborer. But I tell you straight, I'm not
+going to do a man's work! I'll go and lie on the top of the oven
+same as you, and let everything go to pot! You may do what you
+like.</p>
+
+<p class="hang"><i>Peter</i> (<i>to Akoul&iacute;na</i>). Go and
+see about the feeding, will you? it's time.</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. The feeding? All right.</p>
+
+<p class="indent">[<i>Puts on a coat and takes a rope.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i>. I'm not going to work for
+you. You go and work yourself. I've had enough of it, so there!</p>
+
+<p class="hang"><i>Peter</i>. That'll do. What are you raving
+about? Like a sheep with the staggers!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. You're a crazy cur, you are!
+One gets neither work nor pleasure from you. Eating your fill,
+that's all you do; you palsied cur, you!</p>
+
+<p class="hang"><i>Peter</i> (<i>spits and puts on coat</i>).
+Faugh! The Lord have mercy! I'd better go myself and see what's
+up.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>after him</i>). Scurvy
+long-nosed devil!</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. What are you swearing at
+dad for?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Hold your noise, you
+idiot!</p>
+
+<p class="hang"><i>Akoul&iacute;na</i> (<i>going to the door</i>).
+I know why you're swearing at him. You're an idiot yourself, you
+bitch. I'm not afraid of you.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. What do you mean? (<i>Jumps
+up and looks round for something to hit her with</i>.) Mind, or
+I'll give you one with the poker.</p>
+
+<p class="hang"><i>Akoul&iacute;na</i> (<i>opening the door</i>).
+Bitch! devil! that's what you are! Devil! bitch! bitch! devil!</p>
+
+<p class="indent">[<i>Runs off.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>ponders</i>). "Come and
+dance at my wedding!" What new plan is this? Marry? Mind.
+Nik&iacute;ta, if that's your intention, I'll go and.... No, I
+can't live without him. I won't let him go.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>enters, looks round, and,
+seeing An&iacute;sya alone, approaches quickly. In a low tone</i>).
+Here's a go; I'm in a regular fix! That governor of mine wants to
+take me away,&mdash;tells me I'm to come home. Says quite straight I'm
+to marry and live at home.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Well, go and marry! What's
+that to me?</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Is that it? Why, here am I
+reckoning how best to consider matters, and just hear her! She
+tells me to go and marry. Why's that? (<i>Winking</i>.) Has she
+forgotten?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Yes, go and marry! What do I
+care?</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> What are you spitting for?
+Just see, she won't even let me stroke her.... What's the
+matter?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> This! That you want to play
+me false.... If you do,&mdash;why, I don't want you either. So now you
+know!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> That'll do, An&iacute;sya. Do
+you think I'll forget you? Never while I live! I'll not play you
+false, that's flat. I've been thinking that supposing they do go
+and make me marry, I'd still come back to you. If only he don't
+make me live at home.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Much need I'll have of you,
+once you're married.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> There's a go now. How is it
+possible to go against one's father's will?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Yes, I daresay, shove it all
+on your father. You know it's your own doing. You've long been
+plotting with that slut of yours, Mar&iacute;na. It's she has put
+you up to it. She didn't come here for nothing t'other day.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Mar&iacute;na? What's she to
+me? Much I care about her!... Plenty of them buzzing around.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Then what has made your
+father come here? It's you have told him to. You've gone and
+deceived me.</p>
+
+<p class="indent">[<i>Cries.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> An&iacute;sya, do you believe
+in a God or not? I never so much as dreamt of it. I know nothing at
+all about it. I never even dreamt of it&mdash;that's flat. My old dad
+has got it all out of his own pate.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> If you don't wish it yourself
+who can force you? He can't drive you like an ass.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Well, I reckon it's not
+possible to go against one's parent. But it's not by my wish.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Don't you budge, that's all
+about it!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> There was a fellow wouldn't
+budge, and the village elder gave him such a hiding.... That's what
+it might come to! I've no great wish for that sort of thing. They
+say it touches one up....</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Shut up with your nonsense.
+Nik&iacute;ta, listen to me: if you marry that Mar&iacute;na I
+don't know what I won't do to myself.... I shall lay hands on
+myself! I have sinned, I have gone against the law, but I can't go
+back now. If you go away I'll....</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Why should I go? Had I wanted
+to go&mdash;I should have gone long ago. There was Iv&aacute;n
+Semy&oacute;nitch t'other day&mdash;offered me a place as his
+coachman.... Only fancy what a life that would have been! But I did
+not go. Because, I reckon, I am good enough for any one. Now if you
+did not love me it would be a different matter.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Yes, and that's what you
+should remember. My old man will die one of these fine days, I'm
+thinking; then we could cover our sin, make it all right and
+lawful, and then you'll be master here.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Where's the good of making
+plans? What do I care? I work as hard as if I were doing it for
+myself. My master loves me, and his missus loves me. And if the
+wenches run after me, it's not my fault, that's flat.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> And you'll love me?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>embracing her</i>). There,
+as you have ever been in my heart....</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>enters and crosses
+herself a long time before the ic&oacute;n. Nik&iacute;ta and
+An&iacute;sya step apart</i>). What I saw I didn't perceive, what I
+heard, I didn't hearken to. Playing with the lass, eh? Well,&mdash;even
+a calf will play. Why shouldn't one have some fun when one's young?
+But your master is out in the yard a-calling you, sonny.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> I only came to get the
+axe.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> I know, sonny, I know; them
+sort of axes are mostly to be found where the women are.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>stooping to pick up
+axe</i>). I say, mother, is it true you want me to marry? As I
+reckon, that's quite unnecessary. Besides, I've got no wish that
+way.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Eh, honey! why should you
+marry? Go on as you are. It's all the old man. You'd better go,
+sonny; we can talk these matters over without you.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> It's a queer go! One moment
+I'm to be married, the next, not. I can't make head or tail of
+it.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>An&iacute;sya.</i> What's it all about, then? Do
+you really wish him to get married?</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Eh, why should he marry, my
+jewel? It's all nonsense, all my old man's drivel. "Marry, marry."
+But he's reckoning without his host. You know the saying, "From
+oats and hay, why should horses stray?" When you've enough to
+spare, why look elsewhere? And so in this case. (<i>Winks</i>.)
+Don't I see which way the wind blows?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Where's the good of my
+pretending to you, Mother Matry&oacute;na? You know all about it. I
+have sinned. I love your son.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Dear me, here's news! D'you
+think Mother Matry&oacute;na didn't know? Eh, lassie,&mdash;Mother
+Matry&oacute;na's been ground, and ground again, ground fine! This
+much I can tell you, my jewel: Mother Matry&oacute;na can see
+through a brick wall three feet thick. I know it all, my jewel! I
+know what young wives need sleeping draughts for, so I've brought
+some along.</p>
+
+<p class="indent">[<i>Unties a knot in her handkerchief and brings
+out paper-packets.</i></p>
+
+<p class="follow">As much as is wanted, I see, and what's not
+wanted I neither see nor perceive! There! Mother Matry&oacute;na
+has also been young. I had to know a thing or two to live with my
+old fool. I know seventy-and-seven dodges. But I see your old man's
+quite seedy, quite seedy! How's one to live with such as him? Why,
+if you pricked him with a hayfork it wouldn't fetch blood. See if
+you don't bury him before the spring. Then you'll need some one in
+the house. Well, what's wrong with my son? He'll do as well as
+another. Then where's the advantage of my taking him away from a
+good place? Am I my child's enemy?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Oh, if only he does not go
+away!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. He won't go away, birdie.
+It's all nonsense. You know my old man. His wits are always
+wool-gathering; yet sometimes he takes a thing into his pate, and
+it's as if it were wedged in, you can't knock it out with a
+hammer.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. And what started this
+business?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Well, you see, my jewel,
+you yourself know what a fellow with women the lad is,&mdash;and he's
+handsome too, though I say it as shouldn't. Well, you know, he was
+living at the railway, and they had an orphan wench there to cook
+for them. Well, that same wench took to running after him.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Mar&iacute;na?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Yes, the plague seize her!
+Whether anything happened or not, anyhow something got to my old
+man's ears. Maybe he heard from the neighbors, maybe she's been and
+blabbed....</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Well, she is a bold
+hussy!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. So my old man&mdash;the old
+blockhead&mdash;off he goes: "Marry, marry," he says, "he must marry her
+and cover the sin," he says. "We must take the lad home," he says,
+"and he shall marry," he says. Well, I did my best to make him
+change his mind, but, dear me, no. So, all right, thinks I,&mdash;I'll
+try another dodge. One always has to entice them fools in this way,
+just pretend to be of their mind, and when it comes to the point
+one goes and turns it all one's own way. You know, a woman has time
+to think seventy-and-seven thoughts while falling off the oven, so
+how's such as he to see through it? "Well, yes," says I, "it would
+be a good job,&mdash;only we must consider well beforehand. Why not go
+and see our son, and talk it over with Peter Ign&aacute;titch and
+hear what he has to say?" So here we are.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Oh dear, oh dear, how will it
+all end? Supposing his father just orders him to marry her?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Orders, indeed! Chuck his
+orders to the dogs! Don't you worry; that affair will never come
+off. I'll go to your old man myself, and sift and strain this
+matter clear&mdash;there will be none of it left. I have come here only
+for the look of the thing. A very likely thing! Here's my son
+living in happiness and expecting happiness, and I'll go and match
+him with a slut! No fear, I'm not a fool!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. And she&mdash;this
+Mar&iacute;na&mdash;came dangling after him here! Mother, would you
+believe, when they said he was going to marry, it was as if a knife
+had gone right through my heart. I thought he cared for her.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Oh, my jewel! Why, you
+don't think him such a fool, that he should go and care for a
+homeless baggage like that? Nik&iacute;ta is a sensible fellow, you
+see. He knows whom to love. So don't you go and fret, my jewel.
+We'll not take him away, and we won't marry him. No, we'll let him
+stay on, if you'll only oblige us with a little money.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. All I know is, that I could
+not live if Nik&iacute;ta went away.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Naturally, when one's young
+it's no easy matter! You, a wench in full bloom, to be living with
+the dregs of a man like that husband of yours.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Mother Matry&oacute;na, would
+you believe it? I'm that sick of him, that sick of this long-nosed
+cur of mine, I can hardly bear to look at him.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Yes, I see, it's one of
+them cases. Just look here. (<i>Looks round and whispers</i>.) I've
+been to see that old man, you know he's given me simples of two
+kinds. This, you see, is a sleeping draught. "Just give him one of
+these powders," he says, "and he'll sleep so sound you might jump
+on him!" And this here, "This is that kind of simple," he says,
+"that if you give one some of it to drink it has no smell whatever,
+but its strength is very great. There are seven doses here, a pinch
+at a time. Give him seven pinches," he says, "and she won't have
+far to look for freedom," he says.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. O-o-oh! What's that?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. "No sign whatever," he
+says. He's taken a rouble for it. "Can't sell it for less," he
+says. Because it's no easy matter to get 'em, you know. I paid him,
+dearie, out of my own money. If she takes them, thinks I, it's all
+right; if she don't, I can let old Michael's daughter have
+them.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> O-o-oh! But mayn't some evil
+come of them? I'm frightened!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. What evil, my jewel? If
+your old man was hale and hearty, 'twould be a different matter,
+but he's neither alive nor dead as it is. He's not for this world.
+Such things often happen.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> O-o-oh, my poor head! I'm
+afeared, Mother Matry&oacute;na, lest some evil come of them. No.
+That won't do.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Just as you like. I might
+even return them to him.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> And are they to be used in
+the same way as the others? Mixed in water?</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Better in tea, he says. "You
+can't notice anything," he says, "no smell nor nothing." He's a
+cute old fellow, too.</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>taking the powder</i>).
+O-oh, my poor head! Could I have ever thought of such a thing if my
+life were not a very hell?</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> You'll not forget that
+rouble? I promised to take it to the old man. He's had some
+trouble, too.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Of course?</p>
+
+<p class="indent">[<i>Goes to her box and hides the
+powders.</i></p>
+
+<p class="hang"><i>Matry&oacute;na.</i> And now, my jewel, keep it
+as close as you can, so that no one should find it out. Heaven
+defend that it should happen, but <i>if</i> any one notices it,
+tell 'em it's for the black-beetles. (<i>Takes the rouble</i>.)
+It's also used for beetles. (<i>Stops short</i>.)</p>
+
+<p class="indent">[<i>Enter</i> AK&Iacute;M, who crosses himself in
+front of the icon, and then PETER, who sits down.</p>
+
+<p class="hang"><i>Peter.</i> Well, then, how's it to be, Daddy
+Ak&iacute;m?</p>
+
+<p class="hang"><i>Ak&iacute;m.</i> As it's best, Peter
+Ign&aacute;titch, as it's best.... I mean&mdash;as it's best. 'Cos why?
+I'm afeared of what d'you call 'ems, some tomfoolery, you know. I'd
+like to, what d'you call it.... to start, you know, start the lad
+honest, I mean. But supposing you'd rather, what d'you call it, we
+might, I mean, what's name? As it's best....</p>
+
+<p class="hang"><i>Peter.</i> All right. All right. Sit down and
+let's talk it over. (<i>Ak&iacute;m sits down</i>.) Well, then,
+what's it all about? You want him to marry?</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> As to marrying, he might
+bide a while, Peter Ign&aacute;titch. You know our poverty, Peter
+Ign&aacute;titch. What's he to marry on? We've hardly enough to eat
+ourselves. How can he marry then?...</p>
+
+<p class="hang"><i>Peter.</i> You must consider what will be
+best.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Where's the hurry for him
+to get married? Marriage is not that sort of thing, it's not like
+ripe raspberries that drop off if not picked in time.</p>
+
+<p class="hang"><i>Peter.</i> If he were to get married, 'twould be
+a good thing in a way.</p>
+
+<p class="hang"><i>Ak&iacute;m.</i> We'd like to ... what d'you
+call it? 'Cos why, you see. I've what d'you call it ... a job. I
+mean, I've found a paying job in town, you know.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> And a fine job
+too&mdash;cleaning out cesspools. The other day when he came home, I
+could do nothing but spew and spew. Faugh!</p>
+
+<p class="hang"><i>Ak&iacute;m.</i> It's true, at first it does
+seem what d'you call it ... "knocks one clean over," you know,&mdash;the
+smell, I mean. But one gets used to it, and then it's nothing, no
+worse than malt grain, and then it's, what d'you call it, ... pays,
+pays, I mean. And as to the smell being, what d'you call it, it's
+not for the likes of us to complain. And one changes one's clothes.
+So we'd like to take what's his name ... Nik&iacute;ta, I mean,
+home. Let him manage things at home while I, what d'you call
+it,&mdash;earn something in town.</p>
+
+<p class="hang"><i>Peter.</i> You want to keep your son at home?
+Yes, that would be well: but how about the money he has had in
+advance?</p>
+
+<p class="hang"><i>Ak&iacute;m.</i> That's it, that's it! It's just
+as you Say, Ign&aacute;titch, it's just what d'you call it. 'Cos
+why? If you go into service, it's as good as if you had sold
+yourself, they say. That will be all right. I mean he may stay and
+serve his time, only he must, what d'you call it, get married. I
+mean&mdash;so: you let him off for a little while, that he may, what
+d'you call it?</p>
+
+<p class="hang"><i>Peter.</i> Yes, we could manage that.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Ah, but it's not yet
+settled between ourselves, Peter Ign&aacute;titch. I'll speak to
+you as I would before God, and you may judge between my old man and
+me. He goes on harping on that marriage. But just ask&mdash;who it is he
+wants him to marry. If it were a girl of the right sort now&mdash;I am
+not my child's enemy, but the wench is not honest.</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. No, that's wrong! Wrong, I say.
+'Cos why? She, that same girl&mdash;it's my son as has offended,
+offended the girl I mean.</p>
+
+<p class="hang"><i>Peter</i>. How offended?</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. That's how. She's what d'you
+call it, with him, with my son, Nik&iacute;ta. With Nik&iacute;ta,
+what d'you call it, mean.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. You wait a bit, my tongue
+runs smoother&mdash;let me tell it. You know, this lad of ours lived at
+the railway before he came to you. There was a girl there as kept
+dangling after him. A girl of no account, you know; her name's
+Mar&iacute;na. She used to cook for the men. So now this same girl
+accuses our son, Nik&iacute;ta, that he, so to say, deceived
+her.</p>
+
+<p class="hang"><i>Peter</i>. Well, there's nothing good in
+that.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. But she's no honest girl
+herself; she runs after the fellows like a common slut.</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. There you are again, old woman,
+and it's not at all what d'you call it, it's all not what d'you
+call it, I mean....</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. There now, that's all the
+sense one gets from my old owl&mdash;"what d'you call it, what d'you call
+it," and he doesn't know himself what he means. Peter
+Ign&aacute;titch, don't listen to me, but go yourself and ask any
+one you like about the girl, everybody will say the same. She's
+just a homeless good-for-nothing.</p>
+
+<p class="hang"><i>Peter</i>. You know, Daddy Ak&iacute;m, if
+that's how things are, there's no reason for him to marry her. A
+daughter-in-law's not like a shoe, you can't kick her off.</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>excitedly</i>). It's false,
+old woman, it's what d'you call it, false; I mean, about the girl;
+false! 'Cos why? The lass is a good lass, a very good lass, you
+know. I'm sorry, sorry for the lassie, I mean.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. It's an old saying: "For
+the wide world old Miriam grieves, and at home without bread her
+children she leaves." He's sorry for the girl, but not sorry for
+his own son! Sling her round your neck and carry her about with
+you! That's enough of such empty cackle!</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. No, it's not empty.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. There, don't interrupt, let
+me have my say.</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>interrupts</i>). No, not
+empty! I mean, you twist things your own way, about the lass or
+about yourself. Twist them, I mean, to make it better for yourself;
+but God, what d'you call it, turns them His way. That's how it
+is.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Eh! One only wears out
+one's tongue with you.</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. The lass is hard-working and
+spruce, and keeps everything round herself ... what d'you call it.
+And in our poverty, you know, it's a pair of hands, I mean; and the
+wedding needn't cost much. But the chief thing's the offence, the
+offence to the lass, and she's a what d'you call it, an orphan, you
+know; that's what she is, and there's the offence.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Eh! they'll all tell you a
+tale of that sort....</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Daddy Ak&iacute;m, you'd
+better listen to us women; we can tell you a thing or two.</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. And God, how about God? Isn't
+she a human being, the lass? A what d'you call it,&mdash;also a human
+being I mean, before God. And how do you look at it?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Eh! ... started off
+again?...</p>
+
+<p class="hang"><i>Peter</i>. Wait a bit, Daddy Ak&iacute;m. One
+can't believe all these girls say, either. The lad's alive, and not
+far away; send for him, and find out straight from him if it's
+true. He won't wish to lose his soul. Go and call the fellow,
+(<i>An&iacute;sya rises</i>) and tell him his father wants him.</p>
+
+<p class="indent">[<i>Exit</i> AN&Iacute;SYA.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. That's right, dear friend;
+you've cleared the way clean, as with water. Yes, let the lad speak
+for himself. Nowadays, you know, they'll not let you force a son to
+marry; one must first of all ask the lad. He'll never consent to
+marry her and disgrace himself, not for all the world. To my
+thinking, it's best he should go on living with you and serving you
+as his master. And we need not take him home for the summer either;
+we can hire a help. If you would only give us ten roubles now,
+we'll let him stay on. <i>Peter</i>. All in good time. First let us
+settle one thing before we start another. <i>Ak&iacute;m</i>. You
+see, Peter Ign&aacute;titch, I speak. 'Cos why? you know how it
+happens. We try to fix things up as seems best for ourselves, you
+know; and as to God, we what d'you call it, we forget Him. We think
+it's best so, turn it our own way, and lo! we've got into a fix,
+you know. We think it will be best, I mean; and lo! it turns out
+much worse&mdash;without God, I mean.</p>
+
+<p class="hang"><i>Peter</i>. Of course one must not forget
+God.</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. It turns out worse! But when
+it's the right way&mdash;God's way&mdash;it what d'you call it, it gives one
+joy; seems pleasant, I mean. So I reckon, you see, get him, the
+lad, I mean, get him to marry her, to keep him from sin, I mean,
+and let him what d'you call it at home, as it's lawful, I mean,
+while I go and get the job in town. The work is of the right
+sort&mdash;it's payin', I mean. And in God's sight it's what d'you call
+it&mdash;it's best, I mean. Ain't she an orphan? Here, for example, a
+year ago some fellows went and took timber from the
+steward,&mdash;thought they'd do the steward, you know. Yes, they did
+the steward, but they couldn't what d'you call it&mdash;do God, I mean.
+Well, and so....</p>
+
+<p class="indent">[<i>Enter</i> NIK&Iacute;TA <i>and</i> NAN.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. You called me?</p>
+
+<p class="indent">[<i>Sits down and takes out his
+tobacco-pouch.</i></p>
+
+<p class="hang"><i>Peter</i> (<i>in a low, reproachful voice</i>).
+What are you thinking about&mdash;have you no manners? Your father is
+going to speak to you, and you sit down and fool about with
+tobacco. Come, get up!</p>
+
+<p class="indent">[NIK&Iacute;TA <i>rises, leans carelessly with
+his elbow on the table, and smiles</i>.</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. It seems there's a complaint,
+you know, about you, Nik&iacute;ta&mdash;a complaint, I mean, a
+complaint.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Who's been complaining?</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Complaining? It's a maid, an
+orphan maid, complaining, I mean. It's her, you know&mdash;-a complaint
+against you, from Mar&iacute;na, I mean.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>laughs</i>). Well, that's
+a good one. What's the complaint? And who's told you&mdash;she
+herself?</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. It's I am asking you, and you
+must now, what d'you call it, give me an answer. Have you got mixed
+up with the lass, I mean&mdash;mixed up, you know?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. I don't know what you mean.
+What's up?</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Foolin', I mean, what d'you
+call it? foolin'. Have you been foolin' with her, I mean?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Never mind what's been! Of
+course one does have some fun with a cook now and then to while
+away the time. One plays the concertina and gets her to dance. What
+of that?</p>
+
+<p class="hang"><i>Peter</i>. Don't shuffle, Nik&iacute;ta, but
+answer your father straight out.</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>solemnly</i>). You can hide
+it from men but not from God, Nik&iacute;ta. You, what d'you call
+it&mdash;think, I mean, and don't tell lies. She's an orphan; so, you
+see, any one is free to insult her. An orphan, you see. So you
+should say what's rightest.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. But what if I have nothing to
+say? I have told you everything&mdash;because there isn't anything to
+tell, that's flat! (<i>Getting excited</i>.) She can go and say
+anything about me, same as if she was speaking of one as is dead.
+Why don't she say anything about F&eacute;dka Mik&iacute;shin?
+Besides, how's this, that one mayn't even have a bit of fun
+nowadays? And as for her, well, she's free to say anything she
+likes.</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Ah, Nik&iacute;ta, mind! A lie
+will out. Did anything happen?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>aside</i>). How he sticks
+to it; it's too bad. (<i>To Ak&iacute;m</i>.) I tell you, I know
+nothing more. There's been nothing between us. (<i>Angrily</i>.) By
+God! and may I never leave this spot (<i>crosses himself</i>) if I
+know anything about it. (<i>Silence. Then still more
+excitedly</i>.) Why! have you been thinking of getting me to marry
+her? What do you mean by it?&mdash;it's a confounded shame. Besides,
+nowadays you've got no such rights as to force a fellow to marry.
+That's plain enough. Besides, haven't I sworn I know nothing about
+it?</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>to her husband</i>).
+There now, that's just like your silly pate, to believe all they
+tell you. He's gone and put the lad to shame all for nothing. The
+best thing is to let him live as he is living, with his master. His
+master will help us in our present need, and give us ten roubles,
+and when the time comes....</p>
+
+<p class="hang"><i>Peter</i>. Well, Daddy Ak&iacute;m, how's it to
+be?</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>looks at his son, clicking
+his tongue disapprovingly</i>). Mind, Nik&iacute;ta, the tears of
+one that's been wronged never, what d'you call it&mdash;never fall
+beside the mark but always on, what's name&mdash;the head of the man as
+did the wrong. So mind, don't what d'you call it.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>sits down</i>). What's
+there to mind? mind yourself.</p>
+
+<p class="hang"><i>Nan</i> (<i>aside</i>). I must run and tell
+mother.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>to Peter</i>). That's
+always the way with this old mumbler of mine, Peter
+Ign&aacute;titch. Once he's got anything wedged in his pate there's
+no knocking it out. We've gone and troubled you all for nothing.
+The lad can go on living as he has been. Keep him; he's your
+servant.</p>
+
+<p class="hang"><i>Peter</i>. Well, Daddy Ak&iacute;m, what do you
+say?</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Why, the lad's his own master,
+if only he what d'you call it.... I only wish that, what d'you call
+it, I mean.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. You don't know yourself
+what you're jawing about. The lad himself has no wish to leave.
+Besides, what do we want with him at home? We can manage without
+him.</p>
+
+<p class="hang"><i>Peter</i>. Only one thing, Daddy Ak&iacute;m&mdash;if
+you are thinking of taking him back in summer, I don't want him
+here for the winter. If he is to stay at all, it must be for the
+whole year.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. And it's for a year he'll
+bind himself. If we want help when the press of work comes, we can
+hire help, and the lad shall remain with you. Only give us ten
+roubles now....</p>
+
+<p class="hang"><i>Peter</i>. Well then, is it to be for another
+year?</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>sighing</i>). Yes, it seems,
+it what d'you call it ... if it's so, I mean, it seems that it must
+be what d'you call it.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. For a year, counting from
+St. Dim&iacute;try's day. We know you'll pay him fair wages. But
+give us ten roubles now. Help us out of our difficulties. (<i>Gets
+up and bows to Peter</i>.)</p>
+
+<p class="indent">[Enter NAN and AN&Iacute;SYA. The latter sits
+down at one side.</p>
+
+<p class="hang"><i>Peter</i>. Well, if that's settled we might step
+across to the inn and have a drink. Come, Daddy Ak&iacute;m, what
+do you say to a glass of v&oacute;dka?</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. No, I never drink that sort of
+thing.</p>
+
+<p class="hang"><i>Peter</i>. Well, you'll have some tea?</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Ah, tea! yes, I do sin that
+way. Yes, tea's the thing.</p>
+
+<p class="hang"><i>Peter</i>. And the women will also have some
+tea. Come. And you, Nik&iacute;ta, go and drive the sheep in and
+clear away the straw.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. All right. (<i>Exeunt all
+but</i> NIK&Iacute;TA. NIK&Iacute;TA <i>lights a cigarette. It
+grows darker</i>.) Just see how they bother one. Want a fellow to
+tell 'em how he larks about with the wenches! It would take long to
+tell 'em all those stories&mdash;"Marry her," he says. Marry them all!
+One would have a good lot of wives! And what need have I to marry?
+Am as good as married now! There's many a chap as envies me. Yet
+how strange it felt when I crossed myself before the ic&oacute;n.
+It was just as if some one shoved me. The whole web fell to pieces
+at once. They say it's frightening to swear what's not true. That's
+all humbug. It's all talk, that is. It's simple enough.</p>
+
+<p class="hang"><i>Akoul&iacute;na</i> (<i>enters with a rope,
+which she puts down. She takes off her outdoor things and goes into
+closet</i>). You might at least have got a light.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. What, to look at you? I can
+see you well enough without.</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. Oh, bother you!</p>
+
+<p class="indent">[NAN <i>enters and whispers to</i>
+NIK&Iacute;TA.</p>
+
+<p class="hang"><i>Nan</i>. Nik&iacute;ta, there's a person wants
+you. There is!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. What person?</p>
+
+<p class="hang"><i>Nan</i>. Mar&iacute;na from the railway; she's
+out there, round the corner.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Nonsense!</p>
+
+<p class="hang"><i>Nan</i>. Blest if she isn't!
+<i>Nik&iacute;ta</i>. What does she want?</p>
+
+<p class="hang"><i>Nan</i>. She wants you to come out. She says, "I
+only want to say a word to Nik&iacute;ta." I began asking, but she
+won't tell, but only says, "Is it true he's leaving you?" And I
+say, "No, only his father wanted to take him away and get him to
+marry, but he won't, and is going to stay with us another year."
+And she says, "For goodness' sake send him out to me. I must see
+him," she says, "I must say a word to him somehow." She's been
+waiting a long time. Why don't you go?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Bother her! What should I go
+for?</p>
+
+<p class="hang"><i>Nan</i>. She says, "If he don't come, I'll go
+into the hut to him." Blest if she didn't say she'd come in!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Not likely. She'll wait a bit
+and then go away.</p>
+
+<p class="hang"><i>Nan</i>. "Or is it," she says, "that they want
+him to marry Akoul&iacute;na?"</p>
+
+<p class="indent">[<i>Re-enter</i> AKOUL&Iacute;NA, passing near
+NIK&Iacute;TA <i>to take her distaff.</i></p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. Marry whom to
+Akoul&iacute;na?</p>
+
+<p class="hang"><i>Nan</i>. Why, Nik&iacute;ta.
+<i>Akoul&iacute;na</i>. A likely thing! Who says it?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>looks at her and
+laughs</i>). It seems people do say it. Would you marry me,
+Akoul&iacute;na?</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. Who, you? Perhaps I might
+have afore, but I won't now.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. And why not now?
+<i>Akoul&iacute;na</i>. 'Cos you wouldn't love me.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Why not?
+<i>Akoul&iacute;na.</i> 'Cos you'd be forbidden to.</p>
+
+<p class="indent">[<i>Laughs.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Who'd forbid it?</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. Who? My step-mother. She
+does nothing but grumble, and is always staring at you.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>laughing</i>). Just hear
+her! Ain't she cute?</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. Who? Me? What's there to be
+cute about? Am I blind? She's been rowing and rowing at dad all
+day. The fat-muzzled witch!</p>
+
+<p class="indent">[<i>Goes into closet.</i></p>
+
+<p class="hang"><i>Nan</i> (<i>looking out of the window</i>).
+Look, Nik&iacute;ta, she's coming! I'm blest if she isn't! I'll go
+away.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Mar&iacute;na</i> (<i>enters</i>). What are you
+doing with me?</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Doing? I'm not doing
+anything.</p>
+
+<p class="hang"><i>Mar&iacute;na.</i> You mean to desert me.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>gets up angrily</i>). What
+does this look like, your coming here?</p>
+
+<p class="hang"><i>Mar&iacute;na.</i> Oh, Nik&iacute;ta!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Well, you are strange! What
+have you come for?</p>
+
+<p class="hang"><i>Mar&iacute;na.</i> Nik&iacute;ta!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> That's my name. What do you
+want with Nik&iacute;ta? Well, what next? Go away, I tell you!</p>
+
+<p class="hang"><i>Mar&iacute;na.</i> I see, you do want to throw
+me over.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Well, and what's there to
+remember? You yourself don't know. When you stood out there round
+the corner and sent Nan for me, and I didn't come, wasn't it plain
+enough that you're not wanted? It seems pretty simple. So
+there&mdash;go!</p>
+
+<p class="hang"><i>Mar&iacute;na.</i> Not wanted! So now I'm not
+wanted! I believed you when you said you would love me. And now
+that you've ruined me, I'm not wanted.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Where's the good of talking?
+This is quite improper. You've been telling tales to father. Now,
+do go away, will you?</p>
+
+<p class="hang"><i>Mar&iacute;na.</i> You know yourself I never
+loved any one but you. Whether you married me or not, I'd not have
+been angry. I've done you no wrong, then why have you left off
+caring for me? Why?</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Where's the use of baying at
+the moon? You go away. Goodness me! what a duffer!</p>
+
+<p class="hang"><i>Mar&iacute;na.</i> It's not that you deceived me
+when you promised to marry me that hurts, but that you've left off
+loving. No, it's not that you've stopped loving me either, but that
+you've changed me for another, that's what hurts. I know who it
+is!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>comes up to her
+viciously</i>). Eh! what's the good of talking to the likes of you,
+that won't listen to reason? Be off, or you'll drive me to do
+something you'll be sorry for.</p>
+
+<p class="hang"><i>Mar&iacute;na.</i> What, will you strike me,
+then? Well then, strike me! What are you turning away for? Ah,
+Nik&iacute;ta!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Supposing some one came in.
+Of course, it's quite improper. And what's the good of talking?</p>
+
+<p class="hang"><i>Mar&iacute;na.</i> So this is the end of it!
+What has been has flown. You want me to forget it? Well then,
+Nik&iacute;ta, listen. I kept my maiden honor as the apple of my
+eye. You have ruined me for nothing, you have deceived me. You have
+no pity on a fatherless and motherless girl! (<i>Weeping</i>.) You
+have deserted, you have killed me, but I bear you no malice. God
+forgive you! If you find a better one you'll forget me, if a worse
+one you'll remember me. Yes, you will remember, Nik&iacute;ta!
+Good-bye, then, if it is to be. Oh, how I loved you! Good-bye for
+the last time.</p>
+
+<p class="indent">[<i>Takes his head in her hands and tries to kiss
+him.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>tossing his head
+back</i>). I'm not going to talk with the likes of you. If you
+won't go away I will, and you may stay here by yourself.</p>
+
+<p class="hang"><i>Mar&iacute;na</i> (<i>screams</i>). You are a
+brute. (<i>In the doorway</i>.) God will give you no joy.</p>
+
+<p class="indent">[<i>Exit, crying.</i></p>
+
+<p class="hang"><i>Akoul&iacute;na</i> (<i>comes out of
+closet</i>). You're a dog, Nik&iacute;ta!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> What's up?</p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> What a cry she gave!</p>
+
+<p class="indent">[<i>Cries.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> What's up with you?</p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> What's up? You've hurt her,
+... That's the way you'll hurt me also. You're a dog.</p>
+
+<p class="indent">[<i>Exit into closet.</i></p>
+
+<p class="indent">[<i>Silence.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Here's a fine muddle. I'm as
+sweet as honey on the lasses, but when a fellow's sinned with 'em
+it's a bad look-out!</p>
+
+<p class="hang">CURTAIN</p>
+
+<h3>ACT II</h3>
+
+<p class="hang"><i>The scene represents the village street. To the
+left the outside of</i> PETER'S <i>hut, built of logs, with a porch
+in the middle; to the right of the hut the gates and a corner of
+the yard buildings</i>. AN&Iacute;SYA <i>is beating hemp in the
+street near the corner of the yard. Six months have elapsed since
+the First Act</i>.</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>stops and listens</i>).
+Mumbling something again. He's probably got off the stove.</p>
+
+<p class="indent">[AKOUL&Iacute;NA <i>enters, carrying two pails on
+a yoke.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i>. He's calling. You go and see
+what he wants, kicking up such a row.</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. Why don't you go?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Go, I tell you!</p>
+
+<p class="indent">[<i>Exit</i> AKOUL&Iacute;NA <i>into hut</i>.</p>
+
+<p class="follow">He's bothering me to death. Won't let out where
+the money is, and that's all about it. He was out in the passage
+the other day. He must have been hiding it there. Now, I don't know
+myself where it is. Thank goodness he's afraid of parting with it,
+so that at least it will stay in the house. If only I could manage
+to find it. He hadn't it on him yesterday. Now I don't know where
+it can be. He has quite worn the life out of me.</p>
+
+<p class="indent">[<i>Enter</i> AKOUL&Iacute;NA, tying her kerchief
+over her head.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Where are you off to?</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. Where? Why, he's told me to
+go for Aunt Martha. "Fetch my sister," he says. "I am going to
+die," he says. "I have a word to say to her."</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>aside</i>). Asking for his
+sister? Oh, my poor head! Sure he wants to give it her. What shall
+I do? Oh! (<i>To</i> AKOUL&Iacute;NA.) Don't go! Where are you off
+to?</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. To call Aunt.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Don't go I tell you, I'll go
+myself. You go and take the clothes to the river to rinse. Else
+you'll not have finished by the evening.</p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> But he told me to go.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> You go and do as you're bid.
+I tell you I'll fetch Martha myself. Take the shirts off the
+fence.</p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> The shirts? But maybe
+you'll not go. He's given the order.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Didn't I say I'd go? Where's
+Nan?</p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> Nan? Minding the
+calves.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Send her here. I dare say
+they'll not run away.</p>
+
+<p class="indent">[AKOUL&Iacute;NA <i>collects the clothes, and
+exit.</i></p>
+
+<p class="hang"><i>An&iacute;sya.</i> If one doesn't go he'll
+scold. If one goes he'll give the money to his sister. All my
+trouble will be wasted. I don't myself know what I'm to do. My poor
+head's splitting.</p>
+
+<p class="indent">[<i>Continues to work.</i></p>
+
+<p class="indent">[<i>Enter</i> MATRY&Oacute;NA, with a stick and a
+bundle, in outdoor clothes.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> May the Lord help you,
+honey.</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>looks round, stops
+working, and claps her hands with joy</i>). Well, I never expected
+this! Mother Matry&oacute;na, God has sent the right guest at the
+right time.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Well, how are things?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Ah, I'm driven well-nigh
+crazy. It's awful!</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Well, still alive, I
+hear?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Oh, don't talk about it. He
+doesn't live and doesn't die!</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> But the money&mdash;has he given
+it to anybody?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> He's just sending for his
+sister Martha--probably about the money.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Well, naturally! But hasn't
+he given it to any one else?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> To no one. I watch like a
+hawk.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> And where is it?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> He doesn't let out. And I
+can't find out in any way. He hides it now here, now there, and I
+can't do anything because of Akoul&iacute;na. Idiot though she is,
+she keeps watch, and is always about. Oh my poor head! I'm bothered
+to death.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Oh, my jewel, if he gives
+the money to any one but you, you'll never cease regretting it as
+long as you live! They'll turn you out of house and home without
+anything. You've been worriting, and worriting all your life with
+one you don't love, and will have to go a-begging when you are a
+widow.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> No need to tell me, mother.
+My heart's that weary, and I don't know what to do. No one to get a
+bit of advice from. I told Nik&iacute;ta, but he's frightened of
+the job. The only thing he did was to tell me yesterday it was
+hidden under the floor.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Well, and did you look
+there?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> I couldn't. The old man
+himself was in the room. I notice that sometimes he carries it
+about on him, and sometimes he hides it.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> But you, my lass, must
+remember that if once he gives you the slip there's no getting it
+right again! (<i>Whispering</i>.) Well, and did you give him the
+strong tea?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Oh! oh!...</p>
+
+<p class="indent">[<i>About to answer, but sees neighbor and
+stops.</i></p>
+
+<p class="indent">[<i>The</i> NEIGHBOR <i>(a woman) passes the hut,
+and listens to a call from within.</i></p>
+
+<p class="hang"><i>Neighbor</i> (<i>to</i> An&iacute;sya). I say,
+An&iacute;sya! Oh, An&iacute;sya! There's your old man calling, I
+think.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. That's the way he always
+coughs,--just as if he were screaming. He's getting very bad.</p>
+
+<p class="hang"><i>Neighbor</i> (<i>approaches</i>
+MATRY&Oacute;NA). How do you do, granny? Have you come far?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Straight from home, dear.
+Come to see my son. Brought him some shirts&mdash;can't help thinking of
+these things, you see, when it's one's own child.</p>
+
+<p class="hang"><i>Neighbor</i>. Yes, that's always so. (To
+An&iacute;sya.) And I was thinking of beginning to bleach the
+linen, but it is a bit early, no one has begun yet.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Where's the hurry?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Well, and has he had
+communion?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Oh, dear, yes, the priest was
+here yesterday.</p>
+
+<p class="hang"><i>Neighbor</i>. I had a look at him yesterday.
+Dearie me! one wonders his body and soul keep together. And, O
+Lord, the other day he seemed just at his last gasp, so that they
+laid him under the holy <a name="d1-r">ic&oacute;ns.</a> <sup>
+<a href="#d1">1</a></sup>  They
+started lamenting and got ready to lay him out.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. He came to, and creeps about
+again.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Well, and is he to have
+extreme unction?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. The neighbors advise it. If
+he lives till to-morrow we'll send for the priest.</p>
+
+<p class="hang"><i>Neighbor</i>. Oh, An&iacute;sya dear, I should
+think your heart must be heavy. As the saying goes, "Not he is sick
+that's ill in bed, but he that sits and waits in dread."</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Yes, if it were only over one
+way or other!</p>
+
+<p class="hang"><i>Neighbor</i>. Yes, that's true, dying for a
+year, it's no joke. You're bound hand and foot like that.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Ah, but a widow's lot is
+also bitter. It's all right as long as one's young, but who'll care
+for you when you're old? Oh yes, old age is not pleasure. Just look
+at me. I've not walked very far, and yet am so footsore I don't
+know how to stand. Where's my son?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Ploughing. But you come in
+and we'll get the samov&aacute;r ready; the tea'll set you up
+again.</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>sitting down</i>). Yes,
+it's true, I'm quite done up, my dears. As to extreme unction,
+that's absolutely necessary. Besides, they say it's good for the
+soul.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Yes, we'll send
+to-morrow.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Yes, you had better. And
+we've had a wedding down in our parts.</p>
+
+<p class="hang"><i>Neighbor</i>. What, in <a name="d2-r">spring?</a> <sup>
+<a href="#d2">2</a></sup></p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Ah, now if it were a poor
+man, then, as the saying is, it's always unseasonable for a poor
+man to marry. But it's Simon Matv&eacute;yitch, he's married that
+Mar&iacute;na.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. What luck for her!</p>
+
+<p class="hang"><i>Neighbor</i>. He's a widower. I suppose there
+are children?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Four of 'em. What decent
+girl would have him! Well, so he's taken her, and she's glad. You
+see, the vessel was not sound, so the wine trickled out.</p>
+
+<p class="hang"><i>Neighbor</i>. Oh, my! And what do people say to
+it? And he, a rich peasant!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. They are living well enough
+so far.</p>
+
+<p class="hang"><i>Neighbor</i>. Yes, it's true enough. Who wants
+to marry where there are children? There now, there's our Michael.
+He's such a fellow, dear me....</p>
+
+<p class="hang"><i>Peasant's voice</i>. Hullo, M&aacute;vra. Where
+the devil are you? Go and drive the cow in.</p>
+
+<p class="indent">[<i>Exit</i> NEIGHBOR.</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>while the NEIGHBOR is
+within hearing speaks in her ordinary voice</i>). Yes, lass, thank
+goodness, she's married. At any rate my old fool won't go bothering
+about Nik&iacute;ta. Now (<i>suddenly changing her tone</i>), she's
+gone! (<i>Whispers</i>.) I say, did you give him the tea?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Don't speak about it. He'd
+better die of himself. It's no use&mdash;he doesn't die, and I have only
+taken a sin on my soul. O-oh, my head, my head! Oh, why did you
+give me those powders?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. What of the powders? The
+sleeping powders, lass,&mdash;why not give them? No evil can come of
+them.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. I am not talking of the
+sleeping ones, but the others, the white ones.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Well, honey, those powders
+are medicinal.</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>sighs</i>). I know, yet
+it's frightening. Though he's worried me to death.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Well, and did you use
+many?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. I gave two doses.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Was anything
+noticeable?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. I had a taste of the tea
+myself&mdash;just a little bitter. And he drank them with the tea and
+says, "Even tea disgusts me," and I say, "Everything tastes bitter
+when one's sick." But I felt that scared, mother.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Don't go thinking about it.
+The more one thinks the worse it is.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. I wish you'd never given them
+to me and led me into sin. When I think of it something seems to
+tear my heart. Oh, dear, why did you give them to me?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. What do you mean, honey?
+Lord help you! Why are you turning it on to me? Mind, lass, don't
+go twisting matters from the sick on to the healthy. If anything
+were to happen, I stand aside! I know nothing! I'm aware of
+nothing! I'll kiss the cross on it; I never gave you any kind of
+powders, never saw any, never heard of any, and never knew there
+were such powders. You think about yourself, lass. Why, we were
+talking about you the other day. "Poor thing, what torture she
+endures. The step-daughter an idiot; the old man rotten, sucking
+her lifeblood. What wouldn't one be ready to do in such a
+case!"</p>
+
+<p class="hang"><i>An&iacute;sya</i>. I'm not going to deny it. A
+life such as mine could make one do worse than that. It could make
+you hang yourself or throttle him. Is this a life?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. That's just it. There's no
+time to stand gaping; the money must be found one way or other, and
+then he must have his tea.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. O-oh, my head, my head! I
+can't think what to do. I am so frightened; he'd better die of
+himself. I don't want to have it on my soul.</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>viciously</i>). And why
+doesn't he show the money? Does he mean to take it along with him?
+Is no one to have it? Is that right? God forbid such a sum should
+be lost all for nothing. Isn't that a sin? What's he doing? Is he
+worth considering?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. I don't know anything. He's
+worried me to death.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. What is it you don't know?
+The business is clear. If you make a slip now, you'll repent it all
+your life. He'll give the money to his sister and you'll be left
+without.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. O&mdash;oh dear! Yes, and he did
+send for her&mdash;I must go.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. You wait a bit and light
+the samov&aacute;r first. We'll give him some tea and search him
+together&mdash;we'll find it, no fear.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Oh dear, oh dear; supposing
+something were to happen.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. What now? What's the good
+of waiting? Do you want the money to slip from your hand when it's
+just in sight? You go and do as I say.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Well, I'll go and light the
+samov&aacute;r.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Go, honey, do the business
+so as not to regret it afterwards. That's right!</p>
+
+<p class="indent">[AN&Iacute;SYA <i>turns to go.</i>
+MATRY&Oacute;NA <i>calls her back.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Just a word. Don't tell
+Nik&iacute;ta about the business. He's silly. God forbid he should
+find out about the powders. The Lord only knows what he would do.
+He's so tender-hearted. D'you know, he usen't to be able to kill a
+chicken. Don't tell him. 'Twould be a fine go, he wouldn't
+understand things.</p>
+
+<p class="indent">[<i>Stops horror-struck as</i> PETER <i>appears
+in the doorway.</i></p>
+
+<p class="hang"><i>Peter</i> (<i>holding on to the wall, creeps out
+into the porch and calls with a faint voice</i>). How's it one
+can't make you hear? Oh, oh, An&iacute;sya! Who's there?</p>
+
+<p class="indent">[<i>Drops on the bench.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>steps from behind the
+corner</i>). Why have you come out? You should have stayed where
+you were lying.</p>
+
+<p class="hang"><i>Peter</i>. Has the girl gone for Martha? It's
+very hard.... Oh, if only death would come quicker!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. She had no time. I sent her
+to the river. Wait a bit, I'll go myself when I'm ready.</p>
+
+<p class="hang"><i>Peter</i>. Send Nan. Where's she? Oh, I'm that
+bad! Oh, death's at hand!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. I've sent for her already.
+<i>Peter</i>. Oh, dear! Then where is she?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Where's she got to, the
+plague seize her!</p>
+
+<p class="hang"><i>Peter</i>. Oh, dear! I can't bear it. All my
+inside's on fire. It's as if a gimlet were boring me. Why have you
+left me as if I were a dog? ... no one to give me a drink.... Oh
+... send Nan to me.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Here she is. Nan, go to
+father.</p>
+
+<p class="indent">[NAN <i>runs in.</i> AN&Iacute;SYA <i>goes behind
+the corner of the house.</i></p>
+
+<p class="hang"><i>Peter</i>. Go you. Oh ... to Aunt Martha, tell
+her father wants her; say she's to come, I want her.</p>
+
+<p class="hang"><i>Nan</i>. All right.</p>
+
+<p class="hang"><i>Peter</i>. Wait a bit. Tell her she's to come
+quick. Tell her I'm dying. O&mdash;oh!</p>
+
+<p class="hang"><i>Nan</i>. I'll just get my shawl and be off.</p>
+
+<p class="indent">[<i>Runs off.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>winking</i>). Now, then,
+mind and look sharp, lass. Go into the hut, hunt about everywhere,
+like a dog that's hunting for fleas: look under everything, and
+I'll search him.</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>to</i> MATRY&Oacute;NA). I
+feel a bit bolder, somehow, now you're here. (<i>Goes up to porch.
+To</i> PETER.) Hadn't I better light the samov&aacute;r? Here's
+Mother Matry&oacute;na come to see her son; you'll have a cup of
+tea with her?</p>
+
+<p class="hang"><i>Peter</i>. Well, then, light it.</p>
+
+<p class="indent">[AN&Iacute;SYA <i>goes into the house.</i>
+MATRY&Oacute;NA <i>comes up to the porch.</i></p>
+
+<p class="hang"><i>Peter</i>. How do you do?</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>bowing</i>). How d'you
+do, my benefactor; how d'you do, my precious ... still ill, I see.
+And my old man, he's that sorry! "Go," says he, "see how he's
+getting on." He sends his respects to you.</p>
+
+<p class="indent">[<i>Bows again.</i></p>
+
+<p class="hang"><i>Peter</i>. I'm dying.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Ah, yes, Peter
+Ign&aacute;titch, now I look at you I see, as the saying has it,
+"Sickness lives where men live." You've shrivelled, shrivelled, all
+to nothing, poor dear, now I come to look at you. Seems illness
+does not add to good looks.</p>
+
+<p class="hang"><i>Peter</i>. My last hour has come.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Oh well, Peter
+Ign&aacute;titch, it's God's will you know, you've had communion,
+and you'll have unction, God willing. Your missus is a wise woman,
+the Lord be thanked; she'll give you a good burial, and have
+prayers said for your soul, all most respectable! And my son, he'll
+look after things meanwhile.</p>
+
+<p class="hang"><i>Peter</i>. There'll be no one to manage things!
+She's not steady. Has her head full of folly&mdash;why, I know all about
+it, I know. And my girl is silly and young. I've got the homestead
+together, and there's no one to attend to things. One can't help
+feeling it.</p>
+
+<p class="indent">[<i>Whimpers.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Why, if it's money, or
+something, you can leave orders?</p>
+
+<p class="hang"><i>Peter</i> (<i>to An&iacute;sya inside the
+house</i>). Has Nan gone?</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>aside</i>). There now,
+he's remembered!</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>from inside</i>). She went
+then and there. Come inside, won't you? I'll help you in.</p>
+
+<p class="hang"><i>Peter</i>. Let me sit here a bit for the last
+time. The air's so stuffy inside. Oh, how bad I feel! Oh, my
+heart's burning.... Oh, if death would only come!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. If God don't take a soul,
+the soul can't go out. Death and life are in God's will. Peter
+Ign&aacute;titch. You can't be sure of death either. Maybe you'll
+recover yet. There was a man in our village just like that, at the
+very point of death....</p>
+
+<p class="hang"><i>Peter</i>. No, I feel I shall die to-day, I feel
+it.</p>
+
+<p class="indent">[<i>Leans back and shuts his eyes.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>enters</i>). Well, now,
+are you coming in or not? You do keep one waiting. Peter! eh,
+Peter!</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>steps aside and beckons
+to</i> AN&Iacute;SYA <i>with her finger</i>). Well?</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>comes down the porch
+steps</i>). Not there.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. But have you searched
+everywhere? Under the floor?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. No, it's not there either. In
+the shed perhaps; he was rummaging there yesterday.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Go, search, search for all
+you're worth. Go all over everywhere, as if you licked with your
+tongue! But I see he'll die this very day, his nails are turning
+blue and his face looks earthy. Is the samov&aacute;r ready?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Just on the boil.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>comes from the other side,
+if possible on horse-back, up to the gate, and does not see</i>
+PETER. <i>To</i> MATRY&Oacute;NA). How d'you do, mother, is all
+well at home?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. The Lord be thanked, we're
+all alive and have a crust to bite.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Well and how's master?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Hush, there he sits.</p>
+
+<p class="indent">[<i>Points to porch.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Well, let him sit. What's it
+to me?</p>
+
+<p class="hang"><i>Peter</i> (<i>opens his eyes</i>).
+Nik&iacute;ta, I say, Nik&iacute;ta, come here!</p>
+
+<p class="indent">[NIK&Iacute;TA <i>approaches.</i> AN&Iacute;SYA
+<i>and</i> MATRY&Oacute;NA <i>whisper together.</i></p>
+
+<p class="hang"><i>Peter</i>. Why have you come back so early?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. I've finished ploughing.</p>
+
+<p class="hang"><i>Peter</i>. Have you done the strip beyond the
+bridge?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. It's too far to go there.</p>
+
+<p class="hang"><i>Peter</i>. Too far? From here it's still
+farther. You'll have to go on purpose now. You might have made one
+job of it.</p>
+
+<p class="indent">[AN&Iacute;SYA, without showing herself, stands
+and listens.</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>approaches</i>). Oh,
+sonny, why don't you take more pains for your master? Your master
+is ill and depends on you; you should serve him as you would your
+own father, straining every muscle just as I always tell you
+to.</p>
+
+<p class="hang"><i>Peter</i>. Well, then&mdash;o&mdash;oh!... Get out the
+seed potatoes, and the women will go and sort them.</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>aside</i>). No fear, I'm
+not going. He's again sending every one away; he must have the
+money on him now, and wants to hide it somewhere.</p>
+
+<p class="hang"><i>Peter</i>. Else ... o&mdash;oh! when the time comes
+for planting, they'll all be rotten. Oh, I can't stand it!</p>
+
+<p class="indent">[<i>Rises.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>runs up into the porch
+and holds</i> PETER <i>up</i>). Shall I help you into the hut?</p>
+
+<p class="hang"><i>Peter</i>. Help me in. (<i>Stops</i>.)
+Nik&iacute;ta!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>angrily</i>). What
+now?</p>
+
+<p class="hang"><i>Peter</i>. I shan't see you again.... I'll die
+to-day.... Forgive <a name="d3-r">me,</a> <sup>
+<a href="#d3">3</a></sup> for Christ's sake, forgive me if I have ever sinned
+against you.... If I have sinned in word or deed.... There's been
+all sorts of things. Forgive me!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. What's there to forgive? I'm
+a sinner myself.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Ah, sonny, have some
+feeling.</p>
+
+<p class="hang"><i>Peter</i>. Forgive me, for Christ's sake.</p>
+
+<p class="indent">[<i>Weeps.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>snivels</i>). God will
+forgive you, Daddy Peter. I have no cause to complain of you.
+You've never done me any wrong. You forgive me; maybe I've sinned
+worse against you. (<i>Weeps</i>.)</p>
+
+<p class="indent">[PETER <i>goes in whimpering,</i> MATRY&Oacute;NA
+<i>supporting him.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i>. Oh, my poor head! It's not
+without some reason he's hit on that. (<i>Approaches</i>
+NIK&Iacute;TA.) Why did you say the money was under the floor? It's
+not there.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>does not answer, but
+cries</i>). I have never had anything bad from him, nothing but
+good, and what have I gone and done!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Enough now! Where's the
+money?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>angrily</i>). How should I
+know? Go and look for it yourself!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. What's made you so
+tender?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. I am sorry for him,&mdash;that
+sorry. How he cried! Oh, dear!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Look at him,&mdash;seized with
+pity! He has found some one to pity too! He's been treating you
+like a dog, and even just now was giving orders to have you turned
+out of the house. You'd better show me some pity!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. What are you to be pitied
+for?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. If he dies, and the money's
+been hidden away....</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. No fear, he'll not hide
+it....</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Oh, Nik&iacute;ta darling!
+he's sent for his sister, and wants to give it to her. It will be a
+bad lookout for us. How are we going to live, if he gives her the
+money? They'll turn me out of the house! You try and manage
+somehow! You said he went to the shed last night.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. I saw him coming from there,
+but where he's shoved it to, who can tell?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Oh, my poor head! I'll go and
+have a look there.</p>
+
+<p class="indent">[NIK&Iacute;TA <i>steps aside.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>comes out of the hut and
+down the steps of the porch to</i> AN&Iacute;SYA <i>and</i>
+NIK&Iacute;TA). Don't go anywhere. He's got the money on him. I
+felt it on a string round his neck.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Oh my head, my head!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. If you don't keep wide
+awake now, then you may whistle for it. If his sister comes&mdash;then
+good-bye to it!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. That's true. She'll come and
+he'll give it her. What's to be done? Oh, my poor head!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. What is to be done? Why,
+look here; the samov&aacute;r is boiling, go and make the tea and
+pour him out a cup, and then (<i>whispers</i>) put in all that's
+left in the paper. When he's drunk the cup, then just take it.
+He'll not tell, no fear.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Oh! I'm afeared!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Don't be talking now, but
+look alive, and I'll keep his sister off if need be. Mind, don't
+make a blunder! Get hold of the money and bring it here, and
+Nik&iacute;ta will hide it.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Oh my head, my head! I don't
+know how I'm going to....</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Don't talk about it I tell
+you, do as I bid you. Nik&iacute;ta!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. What is it?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. You stay here&mdash;sit down&mdash;in
+case something is wanted.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>waves his hand</i>). Oh,
+these women, what won't they be up to? Muddle one up completely.
+Bother them! I'll really go and fetch out the potatoes.</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>catches him by the
+arm</i>). Stay here, I tell you.</p>
+
+<p class="indent">[NAN <i>enters.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i>. Well?</p>
+
+<p class="hang"><i>Nan</i>. She was down in her daughter's
+vegetable plot&mdash;she's coming.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Coming! What shall we do?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. There's plenty of time if
+you do as I tell you.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. I don't know what to do; I
+know nothing, my brain's all in a whirl. Nan! Go, daughter, and see
+to the calves, they'll have run away, I'm afraid.... Oh dear, I
+haven't the courage.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Go on! I should think the
+samov&aacute;r's boiling over.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Oh my head, my poor head!</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>approaches</i>
+NIK&Iacute;TA). Now then, sonny. (<i>Sits down beside him</i>.)
+Your affairs must also be thought about, and not left anyhow.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. What affairs?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Why, this affair&mdash;how
+you're to live your life.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. How to live my life? Others
+live, and I shall live!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. The old man will probably
+die to-day.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Well, if he dies, God give
+him rest! What's that to me?</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>keeps looking towards
+the porch while she speaks</i>). Eh, sonny! Those that are alive
+have to think about living. One needs plenty of sense in these
+matters, honey. What do you think? I've tramped all over the place
+after your affairs, I've got quite footsore bothering about
+matters. And you must not forget me when the time comes.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. And what's it you've been
+bothering about?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. About your affairs, about
+your future. If you don't take trouble in good time you'll get
+nothing. You know Iv&aacute;n Mos&eacute;vitch? Well, I've been to
+him too. I went there the other day. I had something else to
+settle, you know. Well, so I sat and chatted awhile and then came
+to the point. "Tell me, Iv&aacute;n Mos&eacute;vitch," says I,
+"how's one to manage an affair of this kind? Supposing," says I, "a
+peasant as is a widower married a second wife, and supposing all
+the children he has is a daughter by the first wife, and a daughter
+by the second. Then," says I, "when that peasant dies, could an
+outsider get hold of the homestead by marrying the widow? Could
+he," says I, "give both the daughters in marriage and remain master
+of the house himself?" "Yes, he could," says he, "but," says he,
+"it would mean a deal of trouble; still the thing could be managed
+by means of money, but if there's no money it's no good
+trying."</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>laughs</i>). That goes
+without saying, only fork out the money. Who does not want
+money?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Well then, honey, so I
+spoke out plainly about the affair. And he says, "First and
+foremost, your son will have to get himself on the register of that
+village&mdash;that will cost something. The elders will have to be
+treated. And they, you see, they'll sign. Everything," says he,
+"must be done sensibly." Look (<i>unwraps her kerchief and takes
+out a paper</i>), he's written out this paper; just read it, you're
+a scholar, you know.</p>
+
+<p class="indent">[NIK&Iacute;TA <i>reads.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. This paper's only a decision
+for the elders to sign. There's no great wisdom needed for
+that.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. But you just hear what
+Iv&aacute;n Mos&eacute;vitch bids us do. "Above all," he says,
+"mind and don't let the money slip away, dame. If she don't get
+hold of the money," he says, "they'll not let her do it. Money's
+the great thing!" So look out, sonny, things are coming to a
+head.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. What's that to me? The
+money's hers&mdash;so let her look out.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Ah, sonny, how you look at
+it! How can a woman manage such affairs? Even if she does get the
+money, is she capable of arranging it all? One knows what a woman
+is! You're a man anyhow. You can hide it, and all that. You see,
+you've after all got more sense, in case of anything happening.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Oh, your woman's notions are
+all so inexpedient!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Why inexpedient? You just
+collar the money, and the woman's in your hands. And then should
+she ever turn snappish you'd be able to tighten the reins!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Bother you all,&mdash;I'm
+going.</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>quite pale, runs out of
+the hut and round the corner to MATRY&Oacute;NA</i>). So it was, it
+was on him! Here it is!</p>
+
+<p class="indent">[<i>Shows that she has something under her
+apron.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Give it to Nik&iacute;ta;
+he'll hide it. Nik&iacute;ta, take it and hide it somewhere.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. All right, give here!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. O&mdash;oh, my poor head! No, I'd
+better do it myself.</p>
+
+<p class="indent">[<i>Goes towards the gate.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>seizing her by the
+arm</i>). Where are you going to? You'll be missed. There's the
+sister coming; give it him; he knows what to do. Eh, you
+blockhead!</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>stops irresolutely</i>).
+Oh, my head, my head!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Well, give it here. I'll
+shove it away somewhere.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Where will you shove it
+to?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>laughing</i>). Why, are
+you afraid?</p>
+
+<p class="indent">[<i>Enter</i> AKOUL&Iacute;NA, <i>carrying
+clothes from the wash.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i>. O&mdash;oh, my poor head!
+(<i>Gives the money</i>.) Mind, Nik&iacute;ta.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. What are you afraid of? I'll
+hide it so that I'll not be able to find it myself.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>stands in terror</i>). Oh
+dear, and supposing he....</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Well, is he dead?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Yes, he seems dead. He did
+not move when I took it.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Go in, there's
+Akoul&iacute;na.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Well there, I've done the sin
+and he has the money....</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Have done and go in!
+There's Martha coming!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. There now, I've trusted him.
+What's going to happen now?</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Martha</i> (<i>enters from one side,
+AKOUL&Iacute;NA enters from the other. To AKOUL&Iacute;NA</i>). I
+should have come before, but I was at my daughter's. Well, how's
+the old man? Is he dying?</p>
+
+<p class="hang"><i>Akoul&iacute;na</i> (<i>puts down the
+clothes</i>). Don't know; I've been to the river.</p>
+
+<p class="hang"><i>Martha</i> (<i>pointing to MATRY&Oacute;NA</i>).
+Who's that?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. I'm from Zo&uacute;evo. I'm
+Nik&iacute;ta's mother from Zo&uacute;evo, my dearie. Good
+afternoon to you. He's withering, withering away, poor dear&mdash;your
+brother, I mean. He came out himself. "Send for my sister," he
+said, "because," said he.... Dear me, why, I do believe he's
+dead!</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>runs out screaming. Clings
+to a post, and begins wailing</i>)<a name="d4-r">.</a><sup><a href="#d4">4</a>
+</sup>Oh, oh, ah! who-o-o-o-m have you left me to,
+why-y-y have you dese-e-e-e-rted me&mdash;a miserable widow ... to live
+my life alone.... Why have you closed your bright eyes....</p>
+
+<p class="hang">[<i>Enter</i> NEIGHBOR. MATRY&Oacute;NA <i>and</i>
+NEIGHBOR <i>catch hold of</i> AN&Iacute;SYA <i>under the arms to
+support her.</i> AKOUL&Iacute;NA <i>and</i> MARTHA go into the hut.
+A crowd assembles.</p>
+
+<p class="hang"><i>A voice in the crowd</i>. Send for the old women
+to lay out the body.</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>rolls up her
+sleeves</i>). Is there any water in the copper? But I daresay the
+samov&aacute;r is still hot. I'll also go and help a bit.</p>
+
+<p class="hang">CURTAIN</p>
+
+<h3>ACT III</h3>
+
+<p class="hang"><i>The same hut. Winter. Nine months have passed
+since Act II. AN&Iacute;SYA, plainly dressed, sits before a loom
+weaving. NAN is on the oven.</i></p>
+
+<p class="hang"><i>M&iacute;tritch</i> (<i>an old laborer, enters
+and slowly takes off his outdoor things</i>). Oh Lord, have mercy!
+Well, hasn't the master come home yet?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. What?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Nik&iacute;ta isn't back
+from town, is he?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. No.</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Must have been on the
+spree. Oh Lord!</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Have you finished in the
+stackyard?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. What d'you think? Got it
+all as it should be, and covered everything with straw! I don't
+like doing things by halves! Oh Lord! holy Nicholas! (<i>Picks at
+the corns on his hands</i>.) But it's time he was back.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. What need has he to hurry?
+He's got money. Merry-making with that girl, I daresay....</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Why shouldn't one make
+merry if one has the money? And why did Akoul&iacute;na go to
+town?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. You'd better ask her. How do
+I know what the devil took her there!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. What! to town? There's all
+sorts of things to be got in town if one's got the means. Oh
+Lord!</p>
+
+<p class="hang"><i>Nan</i>. Mother, I heard myself. "I'll get you a
+little shawl," he says, blest if he didn't; "you shall choose it
+yourself," he says. And she got herself up so fine; she put on her
+velveteen coat and the French shawl.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Really, a girl's modesty
+reaches only to the door. Step over the threshold and it's
+forgotten. She is a shameless creature.</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Oh my! What's the use of
+being ashamed? While there's plenty of money make merry. Oh Lord!
+It is too soon to have supper, eh? (<i>AN&Iacute;SYA does not
+answer</i>.) I'll go and get warm meanwhile. (<i>Climbs on the
+stove</i>.) Oh, Lord! Blessed Virgin Mother! Holy Nicholas!</p>
+
+<p class="hang"><i>Neighbor</i> (<i>enters</i>). Seems your
+good man's not back yet?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. No.</p>
+
+<p class="hang"><i>Neighbor</i>. It's time he was. Hasn't he
+perhaps stopped at our inn? My sister, Thekla, says there's heaps
+of sledges standing there as have come from the town.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Nan! Nan, I say!</p>
+
+<p class="hang"><i>Nan</i>. Yes?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. You run to the inn and see!
+Mayhap, being drunk, he's gone there.</p>
+
+<p class="hang"><i>Nan</i> (<i>jumps down from the oven and
+dresses</i>). All right.</p>
+
+<p class="hang"><i>Neighbor</i>. And he's taken Akoul&iacute;na
+with him?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Else he'd not have had any
+need of going. It's because of her he's unearthed all the business
+there. "Must go to the bank," he says; "it's time to receive the
+payments," he says. But it's all her fooling.</p>
+
+<p class="hang"><i>Neighbor</i> (<i>shakes her head</i>). It's a
+bad look-out.</p>
+
+<p class="indent">[<i>Silence.</i></p>
+
+<p class="hang"><i>Nan</i> (<i>at the door</i>). And if he's there,
+what am I to say?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. You only see if he's
+there.</p>
+
+<p class="hang"><i>Nan</i>. All right. I'll be back in a
+winking.</p>
+
+<p class="indent">[<i>Long silence.</i></p>
+
+<p class="hang"><i>M&iacute;tritch</i> (<i>roars</i>). Oh Lord!
+merciful Nicholas!</p>
+
+<p class="hang"><i>Neighbor</i> (<i>starting</i>). Oh, how he
+scared me! Who is it?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Why, M&iacute;tritch, our
+laborer.</p>
+
+<p class="hang"><i>Neighbor</i>. Oh dear, oh dear, what a fright he
+did give me! I had quite forgotten. But tell me, dear, I've heard
+some one's been wooing Akoul&iacute;na?</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>gets up from the loom and
+sits down by the table</i>). There was some one from
+D&eacute;dlovo; but it seems the affair's got wind there too. They
+made a start, and then stopped; so the thing fell through. Of
+course, who'd care to?</p>
+
+<p class="hang"><i>Neighbor</i>. And the Lizoun&oacute;fs from
+Zo&uacute;evo?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. They made some steps too, but
+it didn't come off either. They won't even see us.</p>
+
+<p class="hang"><i>Neighbor</i>. Yet it's time she was married.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Time and more than time! Ah,
+my dear, I'm that impatient to get her out of the house; but the
+matter does not come off. He does not wish it, nor she either. He's
+not yet had enough of his beauty, you see.</p>
+
+<p class="hang"><i>Neighbor</i>. Eh, eh, eh, what doings! Only
+think of it. Why, he's her step-father!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Ah, friend, they've taken me
+in completely. They've done me so fine it's beyond saying. I, fool
+that I was, noticed nothing, suspected nothing, and so I married
+him. I guessed nothing, but they already understood one
+another.</p>
+
+<p class="hang"><i>Neighbor</i>. Oh dear, what goings on!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. So it went on from bad to
+worse, and I see they begin hiding from me. Ah, friend, I was that
+sick&mdash;that sick of my life! It's not as if I didn't love him.</p>
+
+<p class="hang"><i>Neighbor</i>. That goes without saying.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Ah, how hard it is to bear
+such treatment from him! Oh, how it hurts!</p>
+
+<p class="hang"><i>Neighbor</i>. Yes, and I've heard say he's
+becoming too free with his fists?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. And that too! There was a
+time when he was gentle when he'd had a drop. He used to hit out
+before, but of me he was always fond! But now when he's in a temper
+he goes for me and is ready to trample me under his feet. The other
+day he got both my hands entangled in my hair so that I could
+hardly get away. And the girl's worse than a serpent; it's a wonder
+the earth bears such furies.</p>
+
+<p class="hang"><i>Neighbor</i>. Ah, ah, my dear, now I look at
+you, you are a sufferer! To suffer like that is no joke. To have
+given shelter to a beggar, and he to lead you such a dance! Why
+don't you pull in the reins?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Ah, but, my dear, if it
+weren't for my heart! Him as is gone was stern enough, still I
+could twist him about any way I liked; but with this one I can do
+nothing. As soon as I see him all my anger goes. I haven't a grain
+of courage before him; I go about like a drowned hen.</p>
+
+<p class="hang"><i>Neighbor</i>. Ah, neighbor, you must be under a
+spell. I've heard that Matry&oacute;na goes in for that sort of
+thing. It must be her.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Yes, dear; I think so myself
+sometimes. Gracious me, how hurt I feel at times! I'd like to tear
+him to pieces. But when I set eyes on him, my heart won't go
+against him.</p>
+
+<p class="hang"><i>Neighbor</i>. It's plain you're bewitched. It
+don't take long to blight a body. There now, when I look at you,
+what you have dwindled to!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Growing a regular
+spindle-shanks. And just look at that fool Akoul&iacute;na. Wasn't
+the girl a regular untidy slattern, and just look at her now! Where
+has it all come from? Yes, he has fitted her out. She's grown so
+smart, so puffed up, just like a bubble that's ready to burst. And,
+though she's a fool, she's got it into her head. "I'm the
+mistress," she says; "the house is mine; it's me father wanted him
+to marry." And she's that vicious! Lord help us, when she gets into
+a rage she's ready to tear the thatch off the house.</p>
+
+<p class="hang"><i>Neighbor</i>. Oh dear, what a life yours is, now
+I come to look at you. And yet there's people envying you: "They're
+rich," they say; but it seems that gold don't keep tears from
+falling.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Much reason for envy indeed!
+And the riches, too, will soon be made ducks and drakes of. Dear
+me, how he squanders money!</p>
+
+<p class="hang"><i>Neighbor</i>. But how's it, dear, you've been so
+simple to give up the money? It's yours.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Ah, if you knew all! The
+thing is that I've made one little mistake.</p>
+
+<p class="hang"><i>Neighbor</i>. Well, if I were you, I'd go
+straight and have the law of him. The money's yours; how dare he
+squander it? There's no such rights.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. They don't pay heed to that
+nowadays.</p>
+
+<p class="hang"><i>Neighbor</i>. Ah, my dear, now I come to look at
+you, you've got that weak. <i>An&iacute;sya</i>. Yes, quite weak,
+dear, quite weak. He's got me into a regular fix. I don't myself
+know anything. Oh, my poor head!</p>
+
+<p class="hang"><i>Neighbor</i> (<i>listening</i>). There's some
+one coming, I think.</p>
+
+<p class="indent">[<i>The door opens and</i> AK&Iacute;M
+<i>enters.</i></p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>crosses himself, knocks the
+snow off his feet, and takes off his coat</i>). Peace be to this
+house! How do you do? Are you well, daughter?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. How d'you do, father? Do you
+come straight from home?</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. I've been a-thinking I'll go
+and see what's name, go to see my son, I mean,&mdash;my son. I didn't
+start early&mdash;had my dinner, I mean; I went, and it's so what d'you
+call it&mdash;so snowy, hard walking, and so there I'm what d'you call
+it&mdash;late, I mean. And my son&mdash;is he at home? At home? My son, I
+mean.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. No; he's gone to the
+town.</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>sits down on a bench</i>).
+I've some business with him, d'you see, some business, I mean. I
+told him t'other day, told him I was in need&mdash;told him, I mean,
+that our horse was done for, our horse, you see. So we must what
+d'ye call it, get a horse, I mean, some kind of a horse, I mean. So
+there, I've come, you see.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Nik&iacute;ta told me. When
+he comes back you'll have a talk. (<i>Goes to the oven</i>.) Have
+some supper now, and he'll soon come. M&iacute;tritch, eh,
+M&iacute;tritch, come have your supper.</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Oh Lord! merciful
+Nicholas!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Come to supper.</p>
+
+<p class="hang"><i>Neighbor</i>. I shall go now. Good-night.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>M&iacute;tritch</i> (<i>gets down from the
+oven</i>). I never noticed how I fell asleep. Oh, Lord! gracious
+Nicholas! How d'you do, Daddy Ak&iacute;m?</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Ah, M&iacute;tritch! What are
+you, what d'ye call it, I mean?...</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Why, I'm working for your
+son, Nik&iacute;ta.</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Dear me! What d'ye call ...
+working for my son, I mean. Dear me!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. I was living with a
+tradesman in town, but drank all I had there. Now I've come back to
+the village. I've no home, so I've gone into service.
+(<i>Gapes</i>.) Oh Lord!</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. But how's that, what d'you call
+it, or what's name, Nik&iacute;ta, what does he do? Has he some
+business, I mean besides, that he should hire a laborer, a laborer,
+I mean, hire a laborer?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. What business should he have?
+He used to manage, but now he's other things on his mind, so he's
+hired a laborer.</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Why shouldn't he, seeing he
+has money?</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Now that's what d'you call it,
+that's wrong, I mean, quite wrong, I mean. That's spoiling
+oneself.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Oh, he has got spoilt, that
+spoilt, it's just awful.</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. There now, what d'you call it,
+one thinks how to make things better, and it gets worse I mean.
+Riches spoil a man, spoil, I mean.</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Fatness makes even a dog go
+mad; how's one not to get spoilt by fat living? Myself now; how I
+went on with fat living. I drank for three weeks without being
+sober. I drank my last breeches. When I had nothing left, I gave it
+up. Now I've determined not to. Bother it!</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. And where's what d'you call,
+your old woman?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. My old woman has found her
+right place, old fellow. She's hanging about the gin-shops in town.
+She's a swell too; one eye knocked out, and the other black, and
+her muzzle twisted to one side. And she's never sober; drat
+her!</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Oh, oh, oh, how's that?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. And where's a soldier's
+wife to go? She has found her right place.</p>
+
+<p class="indent">[<i>Silence.</i></p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>to AN&Iacute;SYA</i>). And
+Nik&iacute;ta,&mdash;has he what d'you call it, taken anything up to
+town? I mean, anything to sell?</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>laying the table and
+serving up</i>). No, he's taken nothing. He's gone to get money
+from the bank.</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>sitting down to supper</i>).
+Why? D'you wish to put it to another use, the money I mean?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> No, we don't touch it. Only
+some twenty or thirty roubles as have come due; they must be
+taken.</p>
+
+<p class="hang"><i>Ak&iacute;m.</i> Must be taken. Why take it, the
+money I mean? You'll take some to-day I mean, and some to-morrow;
+and so you'll what d'you call it, take it all, I mean.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> We get this besides. The
+money is all safe.</p>
+
+<p class="hang"><i>Ak&iacute;m.</i> All safe? How's that, safe? You
+take it, and it what d'you call it, it's all safe. How's that? You
+put a heap of meal into a bin, or a barn, I mean, and go on taking
+meal, will it remain there, what d'you call it, all safe, I mean?
+That's, what d'you call it, it's cheating. You'd better find out,
+or else they'll cheat you. Safe indeed! I mean you what d'ye call
+... you take it and it remains all safe there?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> I know nothing about it.
+Iv&aacute;n Mos&eacute;vitch advised us at the time. "Put the money
+in the bank," he said, "the money will be safe, and you'll get
+interest," he said.</p>
+
+<p class="hang"><i>M&iacute;tritch</i> (<i>having finished his
+supper</i>). That's so. I've lived with a tradesman. They all do
+like that. Put the money in the bank, then lie down on the oven and
+it will keep coming in.</p>
+
+<p class="hang"><i>Ak&iacute;m.</i> That's queer talk. How's
+that&mdash;what d'ye call, coming in, how's that coming in, and they,
+who do they get it from I mean, the money I mean?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> They take the money out of
+the bank.</p>
+
+<p class="hang"><i>M&iacute;tritch.</i> Get along! Tain't a thing a
+woman can understand! You look here, I'll make it all clear to you.
+Mind and remember. You see, suppose you've got some money, and I,
+for instance, have spring coming on, my land's idle, I've got no
+seeds, or I have to pay taxes. So, you see, I go to you.
+"Ak&iacute;m," I say, "give us a ten-rouble note, and when I've
+harvested in autumn I'll return it, and till two acres for you
+besides, for having obliged me!" And you, seeing I've something to
+fall back on&mdash;a horse say, or a cow&mdash;you say, "No, give two or
+three roubles for the obligation," and there's an end of it. I'm
+stuck in the mud, and can't do without. So I say, "All right!" and
+take a tenner. In the autumn, when I've made my turnover, I bring
+it back, and you squeeze the extra three roubles out of me.</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Yes, but that's what peasants
+do when they what d'ye call it, when they forget God. It's not
+honest, I mean, it's no good, I mean.</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. You wait. You'll see it
+comes just to the same thing. Now don't forget how you've skinned
+me. And An&iacute;sya, say, has got some money lying idle. She does
+not know what to do with it, besides, she's a woman, and does not
+know how to use it. She comes to you. "Couldn't you make some
+profit with my money too?" she says. "Why not?" say you, and you
+wait. Before the summer I come again and say, "Give me another
+tenner, and I'll be obliged." Then you find out if my hide isn't
+all gone, and if I can be skinned again you give me An&iacute;sya's
+money. But supposing I'm clean shorn,&mdash;have nothing to eat,&mdash;then
+you see I can't be fleeced any more, and you say, "Go your way,
+friend," and you look out for another, and lend him your own and
+An&iacute;sya's money and skin him. That's what the bank is. So it
+goes round and round. It's a cute thing, old fellow!</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>excitedly</i>). Gracious me,
+whatever is that like? It's what d'ye call it, it's filthy! The
+peasants&mdash;what d'ye call it, the peasants do so I mean, and know
+it's, what d'ye call it, a sin! It's what d'you call, not right,
+not right, I mean. It's filthy! How can people as have learnt ...
+what d'ye call it....</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. That, old fellow, is just
+what they're fond off And remember, them that are stupid, or the
+women folk, as can't put their money into use themselves, they take
+it to the bank, and they there, deuce take 'em, clutch hold of it,
+and with this money they fleece the people. It's a cute thing!</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>sighing</i>). Oh dear, I
+see, what d'ye call it, without money it's bad, and with money it's
+worse! How's that? God told us to work, but you, what d'you call
+... I mean you put money into the bank and go to sleep, and the
+money will what d'ye call it, will feed you while you sleep. It's
+filthy, that's what I call it; it's not right.</p>
+
+<p class="hang"><i>M&iacute;tritch.</i> Not right? Eh, old fellow,
+who cares about that nowadays? And how clean they pluck you, too!
+That's the fact of the matter.</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>sighs</i>). Ah, yes, seems
+the time's what d'ye call it, the time's growing ripe. There, I've
+had a look at the closets in town. What they've come to! It's all
+polished and polished I mean, it's fine, it's what d'ye call it,
+it's like inside an inn. And what's it all for? What's the good of
+it? Oh, they've forgotten God. Forgotten, I mean. We've forgotten,
+forgotten God, God, I mean! Thank you, my dear, I've had enough.
+I'm quite satisfied.</p>
+
+<p class="indent">[<i>Rises.</i> M&Iacute;TRITCH <i>climbs on to
+the oven.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>eats, and collects the
+dishes</i>). If his father would only take him to task! But I'm
+ashamed to tell him.</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. What d'you say?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Oh! it's nothing.</p>
+
+<p class="indent">[<i>Enter</i> NAN.</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Here's a good girl, always
+busy! You're cold, I should think?</p>
+
+<p class="hang"><i>Nan</i>. Yes, I am, terribly. How d'you do,
+grandfather?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Well? Is he there?</p>
+
+<p class="hang"><i>Nan</i>. No. But Andriy&aacute;n is there. He's
+been to town, and he says he saw them at an inn in town. He says
+Dad's as drunk as drunk can be!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Do you want anything to eat?
+Here you are.</p>
+
+<p class="hang"><i>Nan</i> (<i>goes to the oven</i>). Well, it is
+cold. My hands are quite numb.</p>
+
+<p class="indent">[AK&Iacute;M <i>takes off his leg-bands and
+bast-shoes.</i> AN&Iacute;SYA <i>washes up.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i>. Father!</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Well, what is it?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. And is Mar&iacute;na living
+well?</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Yes, she's living all right.
+The little woman is what d'ye call it, clever and steady; she's
+living, and what d'ye call it, doing her best. She's all right; the
+little woman's of the right sort I mean; painstaking and what d'ye
+call it, submissive; the little woman's all right I mean, all
+right, you know.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. And is there no talk in your
+village that a relative of Mar&iacute;na's husband thinks of
+marrying our Akoul&iacute;na? Have you heard nothing of it?</p>
+
+<p class="hang"><i>Ak&iacute;m.</i> Ah; that's Mir&oacute;nof. Yes,
+the women did chatter something. But I didn't pay heed, you know.
+It don't interest me I mean, I don't know anything. Yes, the old
+women did say something, but I've a bad memory, bad memory, I mean.
+But the Mir&oacute;nofs are what d'ye call it, they're all right, I
+mean they're all right.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> I'm that impatient to get her
+settled.</p>
+
+<p class="hang"><i>Ak&iacute;m.</i> And why?</p>
+
+<p class="hang"><i>Nan</i> (<i>listens</i>). They've come!</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Well, don't you go bothering
+them.</p>
+
+<p class="indent">[<i>Goes on washing the spoons without turning
+her head.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>enters</i>).
+An&iacute;sya! Wife! who has come?</p>
+
+<p class="indent">[AN&Iacute;SYA <i>looks up and turns away in
+silence.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>severely</i>). Who has
+come? Have you forgotten?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Now don't humbug. Come
+in!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>still more severely</i>).
+Who's come?</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>goes up and takes him by
+the arm</i>). Well, then, husband has come. Now then, come in!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>holds back</i>). Ah,
+that's it! Husband! And what's husband called? Speak properly.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Oh bother you!
+Nik&iacute;ta!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Where have you learnt
+manners? The full name.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Nik&iacute;ta
+Ak&iacute;mitch! Now then!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> (<i>still in the
+doorway</i>). Ah, that's it! But now&mdash;the surname?</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>laughs and pulls him by
+the arm</i>). Tchil&iacute;kin. Dear me, what airs!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Ah, that's it. (<i>Holds on
+to the door-post</i>.) No, now say with which foot Tchil&iacute;kin
+steps into this house!</p>
+
+<p class="hang"><i>An&iacute;sya.</i> That's enough! You're letting
+the cold in!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Say with which foot he steps?
+You've got to say it,&mdash;that's flat.</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>aside</i>). He'll go on
+worrying. (To NIK&Iacute;TA.) Well then, with the left. Come
+in!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Ah, that's it.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> You look who's in the
+hut!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Ah, my parent! Well, what of
+that? I'm not ashamed of my parent. I can pay my respects to my
+parent. How d'you do, father? (<i>Bows and puts out his hand</i>.)
+My respects to you.</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>does not answer</i>). Drink,
+I mean drink, what it does! It's filthy!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Drink, what's that? I've been
+drinking? I'm to blame, that's flat! I've had a glass with a
+friend, drank his health.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Go and lie down, I say.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Wife, say where am I
+standing?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Now then, it's all right, lie
+down!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. No, I'll first drink a
+samov&aacute;r with my parent. Go and light the samov&aacute;r.
+Akoul&iacute;na, I say, come here!</p>
+
+<p class="indent">[Enter <i>AKOUL&Iacute;NA</i>, smartly dressed
+and carrying their purchases.</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. Why have you thrown
+everything about? Where's the yarn?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. The yarn? The yarn's there.
+Hullo, M&iacute;tritch, where are you? Asleep? Asleep? Go and put
+the horse up.</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>not seeing</i>
+AKOUL&Iacute;NA <i>but looking at his son</i>). Dear me, what is he
+doing? The old man's what d'ye call it, quite done up, I
+mean,&mdash;been thrashing,&mdash;and look at him, what d'ye call it, putting
+on airs! Put up the horse! Faugh, what filth!</p>
+
+<p class="hang"><i>M&iacute;tritch</i> (<i>climbs down from the
+oven, and puts on felt boots</i>). Oh, merciful Lord! Is the horse
+in the yard? Done it to death, I dare say. Just see how he's been
+swilling, the deuce take him. Up to his very throat. Oh Lord, Holy
+Nicholas!</p>
+
+<p class="indent">[<i>Puts on sheepskin and exit.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>sits down</i>). You must
+forgive me, father. It's true I've had a drop; well, what of that?
+Even a hen will drink. Ain't it true? So you must forgive me. Never
+mind M&iacute;tritch, he doesn't mind, he'll put it up.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Shall I really light the
+samov&aacute;r?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Light it! My parent has come.
+I wish to talk to him, and shall drink tea with him. (<i>To</i>
+AKOUL&Iacute;NA.) Have you brought all the parcels?</p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> The parcels? I've brought
+mine, the rest's in the sledge. Hi, take this, this isn't mine!</p>
+
+<p class="indent">[<i>Throws a parcel on the table and puts the
+others into her box. NAN watches her while she puts them away.</i>
+AK&Iacute;M <i>does not look at his son, but puts his leg-bands and
+bast-shoes on the oven.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>going out with the
+samov&aacute;r</i>). Her box is full as it is, and still he's
+bought more!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>pretending to be
+sober</i>). You must not be cross with me, father. You think I'm
+drunk? I am all there, that's flat! As they say, "Drink, but keep
+your wits about you." I can talk with you at once, father. I can
+attend to any business. You told me about the money; your horse is
+worn-out,&mdash;I remember! That can all be managed. That's all in our
+hands. If it was an enormous sum that's wanted, then we might wait;
+but as it is I can do everything. That's the case.</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>goes on fidgeting with the
+leg-bands</i>). Eh, lad, "It's ill sledging when the thaw has set
+in."</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> What do you mean by that?
+"And it's ill talking with one who is drunk?" But don't you worry,
+let's have some tea. And I can do anything; that's flat! I can put
+everything to rights.</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>shakes his head</i>). Eh,
+eh, eh!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> The money, here it is.
+(<i>Puts his hand in his pocket, pulls out pocket-book, handles the
+notes in it and takes out a ten-rouble note</i>.) Take this to get
+a horse; I can't forget my parent. I shan't forsake him, that's
+flat. Because he's my parent! Here you are, take it! Really now, I
+don't grudge it. (Comes up and pushes the note towards AK&Iacute;M,
+who won't take it. NIK&Iacute;TA catches hold of his father's
+hand.) Take it, I tell you. I don't grudge it.</p>
+
+<p class="hang"><i>Ak&iacute;m.</i> I can't what d'you call it, I
+mean, can't take it! And can't what d'ye call it, talk to you,
+because you're not yourself, I mean.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> I'll not let you go! Take
+it!</p>
+
+<p class="indent">[<i>Puts the money into</i> AK&Iacute;M'S
+<i>hand.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>enters, and stops</i>).
+You'd better take it, he'll give you no peace!</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>takes it, and shakes his
+head</i>). Oh! that liquor. Not like a man, I mean!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. That's better! If you repay
+it you'll repay it, if not I'll make no bother. That's what I am!
+(<i>Sees</i> AKOUL&Iacute;NA.) Akoul&iacute;na, show your
+presents.</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. What?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Show your presents.</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. The presents, what's the
+use of showing 'em? I've put 'em away.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Get them, I tell you. Nan
+will like to see 'em. Undo the shawl. Give it here.</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Oh, oh! It's sickening!</p>
+
+<p class="indent">[<i>Climbs on the oven.</i></p>
+
+<p class="hang"><i>Akoul&iacute;na</i> (<i>gets out the parcels and
+puts them on the table</i>). Well, there you are,&mdash;what's the good
+of looking at 'em?</p>
+
+<p class="hang"><i>Nan</i>. Oh how lovely! It's as good as
+Stepan&iacute;da's.</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. Stepan&iacute;da's? What's
+Stepan&iacute;da's compared to this? (<i>Brightening up and undoing
+the parcels</i>.) Just look here,&mdash;see the quality! It's a French
+one.</p>
+
+<p class="hang"><i>Nan</i>. The print <i>is</i> fine! Mary has a
+dress like it, only lighter on a blue ground. This <i>is</i>
+pretty.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Ah, that's it!</p>
+
+<p class="indent">[AN&Iacute;SYA <i>passes angrily into the closet,
+returns with a tablecloth and the chimney of the Samov&aacute;r,
+and goes up to the table.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i>. Drat you, littering the
+table!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. You look here!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. What am I to look at? Have I
+never seen anything? Put it away!</p>
+
+<p class="indent">[<i>Sweeps the shawl on to the floor with her
+arm.</i></p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. What are you pitching
+things down for? You pitch your own things about!</p>
+
+<p class="indent">[<i>Picks up the shawl.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. An&iacute;sya! Look here!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Why am I to look?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. You think I have forgotten
+you? Look here! (<i>Shows her a parcel and sits down on it</i>.)
+It's a present for you. Only you must earn it! Wife, where am I
+sitting?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Enough of your humbug. I'm
+not afraid of you. Whose money are you spreeing on and buying your
+fat wench presents with? Mine!</p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> Yours indeed? No fear! You
+wished to steal it, but it did not come off! Get out of the
+way!</p>
+
+<p class="indent">[<i>Pushes her while trying to pass.</i></p>
+
+<p class="hang"><i>An&iacute;sya.</i> What are you shoving for?
+I'll teach you to shove!</p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> Shove me? You try!</p>
+
+<p class="indent">[<i>Presses against</i> AN&Iacute;SYA.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Now then, now then, you
+women. Have done now!</p>
+
+<p class="indent">[<i>Steps between them.</i></p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> Comes shoving herself in!
+You ought to keep quiet and remember your doings! You think no one
+knows!</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Knows what? Out with it, out
+with it! What do they know?</p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> I know something about
+you!</p>
+
+<p class="hang"><i>An&iacute;sya.</i> You're a slut who goes with
+another's husband!</p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> And you did yours to
+death!</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>throwing herself on</i>
+AKOUL&Iacute;NA). You're raving!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>holding her back</i>).
+An&iacute;sya, you seem to have forgotten!</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Want to frighten me! I'm not
+afraid of you!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>turns</i> AN&Iacute;SYA
+<i>round and pushes her out</i>). Be off!</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Where am I to go? I'll not go
+out of my own house!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Be off, I tell you, and don't
+dare to come in here!</p>
+
+<p class="hang"><i>An&iacute;sya.</i> I won't go! (NIK&Iacute;TA
+<i>pushes her,</i> AN&Iacute;SYA <i>cries and screams and clings to
+the door</i>.) What! am I to be turned out of my own house by the
+scruff of the neck? What are you doing, you scoundrel? Do you think
+there's no law for you? You wait a bit!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Now then!</p>
+
+<p class="hang"><i>An&iacute;sya.</i> I'll go to the Elder! To the
+policeman!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Off, I tell you!</p>
+
+<p class="indent">[<i>Pushes her out.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>behind the door</i>). I'll
+hang myself!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> No fear!</p>
+
+<p class="hang"><i>Nan.</i> Oh, oh, oh! Mother, dear, darling!</p>
+
+<p class="indent">[<i>Cries.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Me frightened of her! A
+likely thing! What are you crying for? She'll come back, no fear.
+Go and see to the samov&aacute;r.</p>
+
+<p class="indent">[<i>Exit</i> NAN.</p>
+
+<p class="hang"><i>Akoul&iacute;na</i> (<i>collects and folds her
+presents</i>). The mean wretch, how she's messed it up. But wait a
+bit, I'll cut up her jacket for her! Sure I will!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> I've turned her out; what
+more do you want?</p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> She's dirtied my new shawl.
+If that bitch hadn't gone away, I'd have torn her eyes out!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> That's enough. Why should you
+be angry? Now if I loved her....</p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> Loved her? She's worth
+loving, with her fat mug! If you'd have given her up, then nothing
+would have happened. You should have sent her to the devil. And the
+house was mine all the same, and the money was mine! Says she is
+the mistress, but what sort of mistress is she to her husband?
+She's a murderess, that's what she is! She'll serve you the same
+way!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Oh dear, how's one to stop a
+woman's jaw? You don't yourself know what you're jabbering
+about!</p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> Yes, I do. I'll not live
+with her! I'll turn her out of the house! She can't live here with
+me. The mistress indeed! She's not the mistress,&mdash;that
+jailbird!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> That's enough! What have you
+to do with her? Don't mind her. You look at me! I am the master! I
+do as I like. I've ceased to love her, and now I love you. I love
+who I like! The power is mine, she's under me. That's where I keep
+her. (<i>Points to his feet</i>.) A pity we've no concertina.</p>
+
+<p class="hang">[<i>Sings.</i></p>
+
+<p class="follow">"We have loaves on the stoves,<br>
+We have porridge on the shelf.<br>
+So we'll live and be gay,<br>
+Making merry every day,<br>
+And when death comes,<br>
+Then we'll die!<br>
+We have loaves on the stoves,<br>
+We have porridge on the shelf...."</p>
+
+<p class="indent">[<i>Enter</i> M&Iacute;TRITCH. <i>He takes off
+his outdoor things and climbs on the oven.</i></p>
+
+<p class="hang"><i>M&iacute;tritch.</i> Seems the women have been
+fighting again! Tearing each other's hair. Oh Lord, gracious
+Nicholas!</p>
+
+<p class="hang"><i>Ak&iacute;m.</i> (<i>sitting on the edge of the
+oven, takes his leg-bands and shoes and begins putting them on</i>).
+Get in, get into the corner.</p>
+
+<p class="hang"><i>M&iacute;tritch.</i> Seems they can't settle
+matters between them. Oh Lord!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Get out the liquor, we'll
+have some with our tea.</p>
+
+<p class="hang"><i>Nan</i> (<i>to</i> AKOUL&Iacute;NA). Sister, the
+samov&aacute;r is just boiling over.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> And where's your mother?</p>
+
+<p class="hang"><i>Nan.</i> She's standing and crying out there in
+the passage.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Oh, that's it! Call her, and
+tell her to bring the samov&aacute;r. And you, Akoul&iacute;na, get
+the tea things.</p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> The tea things? All
+right.</p>
+
+<p class="indent">[<i>Brings the things.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>unpacks spirits, rusks,
+and salt herrings</i>). That's for myself. This is yarn for the
+wife. The paraffin is out there in the passage, and here's the
+money. Wait a bit (<i>takes a counting-frame</i>); I'll add it up.
+(<i>Adds</i>.) Wheat-flour, 80 kopeykas, oil ... Father, 10 roubles
+... Father, come let's have some tea!</p>
+
+<p class="indent">[<i>Silence.</i> AK&Iacute;M <i>sits on the oven
+and winds the bands round his legs. Enter</i> AN&Iacute;SYA <i>with
+samov&aacute;r.</i></p>
+
+<p class="hang"><i>An&iacute;sya.</i> Where shall I put it?</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Here on the table. Well! have
+you been to the Elder? Ah, that's it! Have your say and then eat
+your words. Now then, that's enough. Don't be cross; sit down and
+drink this. (<i>Fills a wine-glass for her</i>.) And here's your
+present.</p>
+
+<p class="indent">[<i>Gives her the parcel he had been sitting
+on.</i> AN&Iacute;SYA <i>takes it silently and shakes her
+head.</i></p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>gets down and puts on his
+sheepskin, then comes up to the table and puts down the money</i>).
+Here, take your money back! Put it away.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>does not see the
+money</i>). Why have you put on your things?</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. I'm going, going, I mean;
+forgive me, for the Lord's sake.</p>
+
+<p class="indent">[<i>Takes up his cap and belt.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. My gracious! Where are you
+going to at this time of night?</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. I can't, I mean what d'ye call
+'em, in your house, what d'ye call 'em, can't stay I mean, stay,
+can't stay, forgive me.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. But are you going without
+having any tea?</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>fastens his belt</i>). Going
+because, I mean, it's not right in your house, I mean, what d'you
+call it, not right, Nik&iacute;ta, in the house, what d'ye call it,
+not right! I mean, you are living a bad life, Nik&iacute;ta,
+bad,&mdash;I'll go.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Eh, now! Have done talking!
+Sit down and drink your tea!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Why, father, you'll shame us
+before the neighbors. What has offended you?</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Nothing what d'ye call it,
+nothing has offended me, nothing at all! I mean only, I see, what
+d'you call it, I mean, I see my son, to ruin, I mean, to ruin, I
+mean my son's on the road to ruin, I mean.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. What ruin? Just prove it!</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Ruin, ruin; you're in the midst
+of it! What did I tell you that time?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. You said all sorts of things!
+<i>Ak&iacute;m</i>. I told you, what d'ye call it, I told you about
+the orphan lass. That you had wronged an orphan&mdash;Mar&iacute;na, I
+mean, wronged her!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Eh! he's at it again. Let
+bygones be bygones.... All that's past!</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>excited</i>). Past! No, lad,
+it's not past. Sin, I mean, fastens on to sin&mdash;drags sin after it,
+and you've stuck fast, Nik&iacute;ta, fast in sin! Stuck fast in
+sin! I see you're fast in sin. Stuck fast, sunk in sin, I mean!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Sit down and drink your tea,
+and have done with it!</p>
+
+<p class="hang"><i>Ak&iacute;m.</i> I can't, I mean can't what d'ye
+call it, can't drink tea. Because of your filth, I mean; I feel
+what d'ye call it, I feel sick, very sick! I can't what d'ye call
+it, I can't drink tea with you.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Eh! There he goes rambling!
+Come to the table.</p>
+
+<p class="hang"><i>Ak&iacute;m.</i> You're in your riches same as
+in a net&mdash;you're in a net, I mean. Ah, Nik&iacute;ta, it's the soul
+that God needs!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Now really, what right have
+you to reprove me in my own house? Why do you keep on at me? Am I a
+child that you can pull by the hair? Nowadays those things have
+been dropped!</p>
+
+<p class="hang"><i>Ak&iacute;m.</i> That's true. I have heard that
+nowadays, what d'ye call it, that nowadays children pull their
+fathers' beards, I mean! But that's ruin, that's ruin, I mean!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>angrily</i>). We are
+living without help from you, and it's you who came to us with your
+wants!</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. The money? There's your money!
+I'll go begging, begging I mean, before I'll take it, I mean.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. That's enough! Why be angry
+and upset the whole company!</p>
+
+<p class="indent">[<i>Holds him by the arm.</i></p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>shrieks</i>). Let go! I'll
+not stay. I'd rather sleep under some fence than in the midst of
+your filth! Faugh! God forgive me!</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Here's a go!</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>reopens the door</i>). Come
+to your senses, Nik&iacute;ta! It's the soul that God wants!</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Akoul&iacute;na</i> (<i>takes cups</i>). Well,
+shall I pour out the tea?</p>
+
+<p class="indent">[<i>Takes a cup. All are silent.</i></p>
+
+<p class="hang"><i>M&iacute;tritch</i> (<i>roars</i>). Oh Lord be
+merciful to me a sinner!</p>
+
+<p class="indent">[<i>All start.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>lies down on the
+bench</i>). Oh, it's dull, it's dull! (<i>To</i> AKOULINA.) Where's
+the concertina?</p>
+
+<p class="hang"><i>Akoul&iacute;na.</i> The concertina? He's
+bethought himself of it. Why, you took it to be mended. I've poured
+out your tea. Drink it!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. I don't want it! Put out the
+light.... Oh, how dull I feel, how dull!</p>
+
+<p class="indent">[<i>Sobs</i>.</p>
+
+<p class="hang">CURTAIN</p>
+
+<h3>ACT IV</h3>
+
+<p class="hang"><i>Autumn. Evening. The moon is shining. The stage
+represents the interior of courtyard. The scenery at the back
+shows, in the middle, the back porch of the hut. To the right the
+winter half of the hut and the gate; to the left the summer half
+and the cellar. To the right of the stage is a shed. The sound of
+tipsy voices and shouts are heard from the hut</i><a name="d5-r">.</a>
+<sup><a href="#d5">5</a></sup> SECOND <i></i> NEIGHBOR WOMAN <i>comes
+out of the hut and beckons to</i> FIRST NEIGHBOR WOMAN.</p>
+
+<p class="hang"><i>Second Neighbor</i>. How's it Akoul&iacute;na
+has not shown herself?</p>
+
+<p class="hang"><i>First Neighbor</i>. Why hasn't she shown
+herself? She'd have been glad to; but she's too ill, you know. The
+suitor's relatives have come, and want to see the girl; and she, my
+dear, she's lying in the cold hut and can't come out, poor
+thing!</p>
+
+<p class="hang"><i>Second Neighbor</i>. But how's that?</p>
+
+<p class="hang"><i>First Neighbor</i>. They say she's been
+bewitched by an evil eye! She's got pains in the stomach!</p>
+
+<p class="hang"><i>Second Neighbor</i>. You don't say so?</p>
+
+<p class="hang"><i>First Neighbor</i>. What else could it be?</p>
+
+<p class="indent">[<i>Whispers.</i></p>
+
+<p class="hang"><i>Second Neighbor</i>. Dear me! There's a go! But his
+relatives will surely find it out?</p>
+
+<p class="hang"><i>First Neighbor</i>. They find it out! They're
+all drunk! Besides, they are chiefly after her dowry. Just think
+what they give with the girl! Two furs, my dear, six dresses, a
+French shawl, and I don't know how many pieces of linen, and money
+as well,&mdash;two hundred roubles, it's said!</p>
+
+<p class="hang"><i>Second Neighbor</i>. That's all very well, but
+even money can't give much pleasure in the face of such a
+disgrace.</p>
+
+<p class="hang"><i>First Neighbor</i>. Hush!... There's his father,
+I think.</p>
+
+<p class="indent">[<i>They cease talking and go into the
+hut.</i></p>
+
+<p class="indent">[<i>The</i> SUITOR'S FATHER <i>comes out of the
+hut hiccoughing.</i></p>
+
+<p class="hang"><i>The Father</i>. Oh, I'm all in a sweat. It's
+awfully hot! Will just cool myself a bit. (<i>Stands puffing</i>.)
+The Lord only knows what&mdash;something is not right. I can't feel
+happy.&mdash;Well, it's the old woman's affair.</p>
+
+<p class="indent">[<i>Enter</i> MATRY&Oacute;NA <i>from
+hut.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i>. And I was just thinking,
+where's the father? Where's the father? And here you are, dear
+friend.... Well, dear friend, the Lord be thanked! Everything is as
+honorable as can be! When one's arranging a match one should not
+boast. And I have never learnt to boast. But as you've come about
+the right business, so with the Lord's help, you'll be grateful to
+me all your life! She's a wonderful girl! There's no other like her
+in all the district!</p>
+
+<p class="hang"><i>The Father.</i> That's true enough, but how
+about the money?</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Don't you trouble about the
+money! All she had from her father goes with her. And it's more
+than one gets easily, as things are nowadays. Three times fifty
+roubles!</p>
+
+<p class="hang"><i>The Father.</i> We don't complain, but it's for
+our own child. Naturally we want to get the best we can.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> I'll tell you straight,
+friend: if it hadn't been for me, you'd never have found anything
+like her! They've had an offer from the Karmilins, but I stood out
+against it. And as for the money, I'll tell you truly: when her
+father, God be merciful to his soul, was dying, he gave orders that
+the widow should take Nik&iacute;ta into the homestead&mdash;of course I
+know all about it from my son,&mdash;and the money was to go to
+Akoul&iacute;na. Why, another one might have thought of his own
+interests, but Nik&iacute;ta gives everything clean! It's no
+trifle. Fancy what a sum it is!</p>
+
+<p class="hang"><i>The Father.</i> People are saying that more
+money was left her? The lad's sharp too!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Oh, dear soul alive! A
+slice in another's hand always looks big; all she had will be
+handed over. I tell you, throw doubts to the wind and make all
+sure! What a girl she is! as fresh as a daisy!</p>
+
+<p class="hang"><i>The Father</i>. That's so. But my old woman and
+I were only wondering about the girl; why has she not come out?
+We've been thinking, suppose she's sickly?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Ah, ah.... Who? She?
+Sickly? Why, there's none to compare with her in the district. The
+girl's as sound as a bell; you can't pinch her. But you saw her the
+other day! And as for work, she's wonderful! She's a bit deaf,
+that's true, but there are spots on the sun, you know. And her not
+coming out, you see, it's from an evil eye! A spell's been cast on
+her! And I know the bitch who's done the business! They know of the
+betrothal and they bewitched her. But I know a counter-spell. The
+girl will get up to-morrow. Don't you worry about the girl!</p>
+
+<p class="hang"><i>The Father</i>. Well, of course, the thing's
+settled.</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Yes, of course! Don't you
+turn back. And don't forget me, I've had a lot of trouble. Don't
+forget....</p>
+
+<p class="indent">[<i>A woman's voice from the hut.</i></p>
+
+<p class="hang"><i>Voice</i>. If we are to go, let's go. Come
+along, Iv&aacute;n!</p>
+
+<p class="hang"><i>The Father</i>. I'm coming.</p>
+
+<p class="indent">[<i>Exeunt. Guests crowd together in the passage
+and prepare to go away.</i></p>
+
+<p class="hang"><i>Nan</i> (<i>runs out of the hut and calls to</i>
+AN&Iacute;SYA). Mother!</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>from inside</i>.) What
+d'you want?</p>
+
+<p class="hang"><i>Nan</i>. Mother, come here, or they'll hear.</p>
+
+<p class="indent">[AN&Iacute;SYA <i>enters and they go together to
+the shed.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i>. Well? What is it? Where's
+Akoul&iacute;na?</p>
+
+<p class="hang"><i>Nan</i> She's gone into the barn. It's awful
+what's she's doing there! I'm blest! "I can't bear it," she says.
+"I'll scream," she says, "I'll scream out loud." Blest if she
+didn't.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. She'll have to wait. We'll
+see our visitors off first.</p>
+
+<p class="hang"><i>Nan</i>. Oh, mother! She's so bad! And she's
+angry too. "What's the good of their drinking my health?" she says.
+"I shan't marry," she says. "I shall die," she says. Mother,
+supposing she does die! It's awful. I'm so frightened!</p>
+
+<p class="hang"><i>An&iacute;sya.</i> No fear, she'll not die. But
+don't you go near her. Come along.</p>
+
+<p class="indent">[<i>Exit</i> AN&Iacute;SYA <i>and</i> NAN.</p>
+
+<p class="hang"><i>M&iacute;tritch</i> (<i>comes in at the gate and
+begins collecting the scattered hay</i>). Oh, Lord! Merciful
+Nicholas! What a lot of liquor they've been and swilled, and the
+smell they've made! It smells even out here! But no, I don't want
+any, drat it! See how they've scattered the hay about. They don't
+eat it, but only trample it under foot. A truss gone before you
+know it. Oh, that smell, it seems to be just under my nose! Drat
+it! (<i>Yawns</i>.) It's time to go to sleep! But I don't care to
+go into the hut. It seems to float just round my nose! It has a
+strong scent, the damned stuff! (<i>The guests are heard driving
+off</i>.) They're off at last. Oh Lord! Merciful Nicholas! There
+they go, binding themselves and gulling one another. And it's all
+gammon!</p>
+
+<p class="indent">[<i>Enter</i> NIK&Iacute;TA.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> M&iacute;tritch, you get off
+to sleep and I'll put this straight.</p>
+
+<p class="hang"><i>M&iacute;tritch.</i> All right, you throw it to
+the sheep. Well, have you seen 'em all off?</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Yes, they're off! But things
+are not right! I don't know what to do!</p>
+
+<p class="hang"><i>M&iacute;tritch.</i> It's a fine mess. But
+there's the <a name="d6-r">Foundlings'</a><sup> <a href="#d6">6</a></sup> for that sort
+of thing. Whoever likes may drop one there; they'll take 'em all.
+Give 'em as many as you like, they ask no questions, and even
+pay--if the mother goes in as a wet-nurse. It's easy enough
+nowadays.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> But mind, M&iacute;tritch,
+don't go blabbing.</p>
+
+<p class="hang"><i>M&iacute;tritch.</i> It's no concern of mine.
+Cover the tracks as you think best. Dear me, how you smell of
+liquor! I'll go in. Oh, Lord!</p>
+
+<p class="indent">[<i>Exit, yawning.</i></p>
+
+<p class="indent">[NIK&Iacute;TA <i>is long silent. Sits down on a
+sledge.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Here's a go!</p>
+
+<p class="indent">[<i>Enter</i> AN&Iacute;SYA.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Where are you?</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Here.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> What are you doing there?
+There's no time to be lost! We must take it out directly!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> What are we to do?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> I'll tell you what you are to
+do. And you'll have to do it!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> You'd better take it to the
+Foundlings'--if anything.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Then you'd better take it
+there yourself if you like! You've a hankering for smut, but you're
+weak when it comes to settling up, I see!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> What's to be done?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Go down into the cellar, I
+tell you, and dig a hole!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Couldn't you manage, somehow,
+some other way?</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>imitating him</i>). "Some
+other way?" Seems we can't "some other way!" You should have
+thought about it a year ago. Do what you're told to!
+<i>Nik&iacute;ta.</i> Oh, dear, what a go!</p>
+
+<p class="indent">[<i>Enter</i> NAN.</p>
+
+<p class="hang"><i>Nan.</i> Mother! Grandmother's calling! I think
+sister's got a baby! I'm blest if it didn't scream!</p>
+
+<p class="hang"><i>An&iacute;sya.</i> What are you babbling about?
+Plague take you! It's kittens whining there. Go into the hut and
+sleep, or I'll give it you!</p>
+
+<p class="hang"><i>Nan.</i> Mammy dear, truly, I swear....</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>raising her arm as if to
+strike</i>). I'll give it you! You be off and don't let me catch
+sight of you! (<i>Nan runs into hut. To Nik&iacute;ta</i>.) Do as
+you're told, or else mind!</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>alone. After a long
+silence</i>). Here's a go! Oh, these women! What a fix! Says you
+should have thought of it a year ago. When's one to think
+beforehand? When's one to think? Why, last year this An&iacute;sya
+dangled after me. What was I to do? Am I a monk? The master died;
+and I covered my sin as was proper, so I was not to blame there.
+Aren't there lots of such cases? And then those powders. Did I put
+her up to that? Why, had I known what the bitch was up to, I'd have
+killed her! I'm sure I should have killed her! She's made me her
+partner in these horrors&mdash;that jade! And she became loathsome to me
+from that day! She became loathsome, loathsome to me as soon as
+mother told me about it. I can't bear the sight of her! Well, then,
+how could I live with her? And then it begun.... That wench began
+hanging round. Well, what was I to do! If I had not done it, some
+one else would. And this is what comes of it! Still I'm not to
+blame in this either. Oh, what a go! (<i>Sits thinking</i>.) They
+are bold, these women! What a plan to think of! But I won't have a
+hand in it!</p>
+
+<p class="indent">[<i>Enter</i> MATRY&Oacute;NA <i>with a lantern
+and spade, panting.</i></p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Why are you sitting there
+like a hen on a perch? What did your wife tell you to do? You just
+get things ready!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> What do you mean to do?</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> We know what to do. You do
+your share!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> You'll be getting me into a
+mess!</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> What? You're not thinking
+of backing out, are you? Now it's come to this, and you back
+out!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Think what a thing it would
+be! It's a living soul.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> A living soul indeed! Why,
+it's more dead than alive. And what's one to do with it? Go and
+take it to the Foundlings'--it will die just the same, and the rumor
+will get about, and people will talk, and the girl be left on our
+hands.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> And supposing it's found
+out?</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Not manage to do it in
+one's own house? We'll manage it so that no one will have an
+inkling. Only do as I tell you. We women can't do it without a man.
+There, take the spade, and get it done there,&mdash;I'll hold the
+light.</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> What am I to get done?</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>in a low voice</i>). Dig
+a hole; then we'll bring it out and get it out of the way in a
+trice! There, she's calling again. Now then, get in, and I'll
+go.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Is it dead then?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Of course it is. Only you
+must be quick, or else people will notice! They'll see or they'll
+hear! The rascals must needs know everything. And the policeman
+went by this evening. Well then, you see (<i>gives him the
+spade)</i>, you get down into the cellar and dig a hole right in
+the corner; the earth is soft there, and you'll smooth it over.
+Mother earth will not blab to any one; she'll keep it close. Go
+then; go, dear.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. You'll get me into a mess,
+bother you! I'll go away! You do it alone as best you can!</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>through the doorway</i>).
+Well? Has he dug it?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Why have you come away?
+What have you done with it?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. I've covered it with rags. No
+one can hear it. Well, has he dug it?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. He doesn't want to!</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>springs out enraged</i>).
+Doesn't want to! How will he like feeding vermin in prison! I'll go
+straight away and tell everything to the police! It's all the same
+if one must perish. I'll go straight and tell!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>taken aback</i>). What
+will you tell?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. What? Everything! Who took
+the money? You! (NIK&Iacute;TA <i>is silent</i>.) And who gave the
+poison? I did! But you knew! You knew! You knew! We were in
+agreement!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. That's enough now.
+Nik&iacute;ta dear, why are you obstinate? What's to be done now?
+One must take some trouble. Go, honey.</p>
+
+<p class="hang"><i>An&iacute;sya</i>. See the fine gentleman! He
+doesn't like it! You've put upon me long enough! You've trampled me
+under foot! Now it's my turn! Go, I tell you, or else I'll do what
+I said.... There, take the spade; there, now go!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Drat you! Can't you leave a
+fellow alone! (<i>Takes the spade, but shrinks</i>.) If I don't
+choose to, I'll not go!</p>
+
+<p class="hang"><i>An&iacute;sya.</i> Not go? (<i>Begins to
+shout</i>.) Neighbors! Heh! heh!</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>closes her mouth</i>).
+What are you about? You're mad! He'll go.... Go, sonny, go, my
+own.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> I'll cry murder!</p>
+
+<p class="hang"><i>Nik&iacute;ta.</i> Now stop! Oh, what people!
+You'd better be quick.... As well be hung for a sheep as a
+lamb!</p>
+
+<p class="indent">[<i>Goes towards the cellar.</i></p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Yes, that's just it, honey.
+If you know how to amuse yourself, you must know how to hide the
+consequences.</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>still excited</i>). He's
+trampled on me ... he and his slut! But it's enough! I'm not going
+to be the only one! Let him also be a murderer! Then he'll know how
+it feels!</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> There, there! How she
+flares up! Don't you be cross, lass, but do things quietly little
+by little, as it's best. You go to the girl, and he'll do the
+work.</p>
+
+<p class="indent">[<i>Follows</i> NIK&Iacute;TA <i>to the cellar
+with a lantern. He descends into the cellar.</i></p>
+
+<p class="hang"><i>An&iacute;sya.</i> And I'll make him strangle
+his dirty brat! (<i>Still excited</i>.) I've worried myself to
+death all alone, with Peter's bones weighing on my mind! Let him
+feel it too! I'll not spare myself; I've said I'll not spare
+myself!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>from the cellar</i>). Show
+a light!</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>holds up the lantern to
+him. To</i> AN&Iacute;SYA). He's digging. Go and bring it.</p>
+
+<p class="hang"><i>An&iacute;sya.</i> You stay with him, or he'll
+go away, the wretch! And I'll go and bring it.</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Mind, don't forget to
+baptize it, or I will if you like. Have you a cross?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> I'll find one. &Iuml; know
+how to do it.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<hr>
+
+<p class="hang"><i>See at end of Act, </i><a href="#var">VARIATION</a><i>, which may be used
+instead of the following.</i></p>
+
+<hr>
+
+<p class="hang"><i>Matry&oacute;na.</i> How the woman
+bristled up! But one must allow she's been put upon. Well, but with
+the Lord's help, when we've covered this business, there'll be an
+end of it. We'll shove the girl off without any trouble. My son
+will live in comfort. The house, thank God, is as full as an egg.
+They'll not forget me either. Where would they have been without
+Matry&oacute;na? They'd not have known how to contrive things.
+(<i>Peering into the cellar</i>.) Is it ready, sonny?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>puts out his head</i>).
+What are you about there? Bring it quick! What are you dawdling
+for? If it is to be done, let it be done.</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>goes towards door of the
+hut and meets</i> AN&Iacute;SYA. AN&Iacute;SYA <i>comes out with a
+baby wrapped in rags</i>). Well, have you baptized it?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Why, of course. It was all I
+could do to take it away&mdash;she wouldn't give it up!</p>
+
+<p class="indent">[<i>Comes forward and hands it to</i>
+NIK&Iacute;TA.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>does not take it</i>). You
+bring it yourself!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Take it, I tell you!</p>
+
+<p class="indent">[<i>Throws the baby to him.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>catches it</i>). It's
+alive! Gracious me, it's moving! It's alive! What am I to....</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>snatches the baby from him
+and throws it into the cellar</i>). Be quick and smother it, and
+then it won't be alive! (<i>Pushes</i> NIK&Iacute;TA <i>down.</i>)
+It's your doing, and you must finish it.</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>sits on the doorstep of
+the hut</i>). He's tender-hearted. It's hard on him, poor dear.
+Well, what of that? Isn't it also his sin?</p>
+
+<p class="indent">[AN&Iacute;SYA <i>stands by the cellar.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>sits looking at her and
+discourses</i>). Oh, oh, oh! How frightened he was: well, but what
+of that? If it <i>is</i> hard, it's the only thing to be done.
+Where was one to put it? And just think, how often it happens that
+people pray to God to have children! But no, God gives them none;
+or they are all still-born. Look at our priest's wife now.... And
+here, where it's not wanted, here it lives. (<i>Looks towards the
+cellar</i>.) I suppose he's finished. (<i>To</i> AN&Iacute;SYA.)
+Well?</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>looking into the
+cellar</i>). He's put a board on it and is sitting on it. It must
+be finished!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Oh, oh! One would be glad
+not to sin, but what's one to do?</p>
+
+<p class="indent">[<i>Re-enter</i> NIK&Iacute;TA <i>from cellar,
+trembling all over.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. It's still alive! I can't!
+It's alive!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. If it's alive, where are you
+off to?</p>
+
+<p class="indent">[<i>Tries to stop him.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>rushes at her</i>). Go
+away! I'll kill you! (<i>Catches hold of her arms; she escapes, he
+runs after her with the spade</i>. MATRY&Oacute;NA <i>runs towards
+him and stops him</i>. AN&Iacute;SYA <i>runs into the porch</i>.
+MATRY&Oacute;NA <i>tries to wrench the spade from him. To his
+mother</i>.) I'll kill you! I'll kill you! Go away!
+(MATRY&Oacute;NA <i>runs to</i> AN&Iacute;SYA <i>in the porch</i>.
+NIK&Iacute;TA <i>stops</i>.) I'll kill you! I'll kill you all!</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> That's because he's so
+frightened! Never mind, it will pass!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. What have they made me do?
+What have they made me do? How it whimpered.... How it crunched
+under me! What have they done with me?... And it's really alive,
+still alive! (<i>Listens in silence</i>.) It's whimpering... There,
+it's whimpering.</p>
+
+<p class="indent">[<i>Runs to the cellar.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>to</i> AN&Iacute;SYA).
+He's going; it seems he means to bury it. Nik&iacute;ta, you'd
+better take the lantern!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>does not heed her, but
+listens by the cellar door</i>). I can hear nothing! I suppose it
+was fancy! (<i>Moves away, then stops</i>.) How the little bones
+crunched under me. Krr ... kr.... What have they made me do?
+(<i>Listens again</i>.) Again whimpering! It's really whimpering!
+What can it be? Mother! Mother, I say!</p>
+
+<p class="indent">[<i>Goes up to her.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i>. What is it, sonny?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Mother, my own mother, I
+can't do any more! Can't do any more! My own mother, have some pity
+on me!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Oh dear, how frightened you
+are, my darling! Come, come, drink a drop to give you courage!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Mother, mother! It seems my
+time has come! What have you done with me? How the little bones
+crunched, and how it whimpered! My own mother! What have you done
+with me?</p>
+
+<p class="indent">[<i>Steps aside and sits down on the
+sledge.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Come, my own, have a drink!
+It certainly does seem uncanny at night-time. But wait a bit. When
+the day breaks, you know, and one day and another passes, you'll
+forget even to think of it. Wait a bit; when the girl's married
+we'll even forget to think of it. But you go and have a drink; have
+a drink! I'll go and put things straight in the cellar myself.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>rouses himself</i>). Is
+there any drink left? Perhaps I can drink it off!</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="indent">[AN&Iacute;SYA, <i>who has stood all the time by
+the door, silently makes way for him.</i></p>
+
+<p class="hang"><i>Matry&oacute;na.</i> Go, go, honey, and I'll set
+to work! I'll go down myself and dig! Where has he thrown the spade
+to? (<i>Finds the spade, and goes down into the cellar</i>.)
+An&iacute;sya, come here! Hold the light, will you?</p>
+
+<p class="hang"><i>An&iacute;sya.</i> And what of him?</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> He's so frightened! You've
+been too hard with him. Leave him alone, he'll come to his senses.
+God help him! I'll set to work myself. Put the lantern down here. I
+can see.</p>
+
+<p class="indent">[MATRY&Oacute;NA <i>disappears into the
+cellar.</i></p>
+
+<p class="hang"><i>An&iacute;sya.</i> (<i>looking towards the door
+by which Nik&iacute;ta entered the hut</i>). Well, have you had
+enough spree? You've been puffing yourself up, but now you'll know
+how it feels! You'll lose some of your bluster!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>rushes out of the hut
+towards the cellar</i>). Mother! Mother, I say!</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>puts out her head</i>).
+What is it, sonny?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>listening)</i> Don't bury
+it, it's alive? Don't you hear? Alive! There&mdash;it's whimpering!
+There ... quite plain!</p>
+
+<p class="hang"><i>Matry&oacute;na.</i> How can it whimper? Why,
+you've flattened it into a pancake! The whole head is smashed to
+bits!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. What is it then? (<i>Stops
+his ears</i>.) It's still whimpering! I am lost! Lost! What have
+they done with me?... Where shall I go?</p>
+
+<p class="indent">[<i>Sits down on the step.</i></p>
+
+<p class="hang">CURTAIN</p>
+
+<hr>
+<h4><a name="var">VARIATION</a></h4>
+
+<p class="hang"><i>Instead of the end of Act IV.</i> (<i>from the
+words,</i> "AN&Iacute;SYA. I'll find one. I know how to do it.
+[<i>Exit</i>]") <i>the following variation may be read, and is the
+one usually acted.</i></p>
+
+<p class="hang"><i><u>or</u> </i></p>
+
+<p class="hang"><i>Continue on to</i> <a href="#act5">ACT V</a>.</p>
+
+<hr>
+
+<h4>SCENE II</h4>
+
+<p class="hang"><i>The interior of the hut as in Act I.</i></p>
+
+<p class="hang">NAN <i>lies on the bench, and is covered with a
+coat.</i> M&Iacute;TRITCH <i>is sitting on the oven
+smoking.</i></p>
+
+<p class="hang"><i>M&iacute;tritch.</i> Dear me! How they've made
+the place smell I Drat 'em! They've been spilling the fine stuff.
+Even tobacco don't get rid of the smell! It keeps tickling one's
+nose so. Oh Lord! But it's bedtime, I guess.</p>
+
+<p class="indent">[<i>Approaches the lamp to put it out.</i></p>
+
+<p class="hang"><i>Nan</i> (<i>jumps up, and remains sitting
+up</i>). Daddy <a name="d7-r">dear,</a><sup><a href="#d7">7</a></sup>
+ don't put it out!</p>
+
+<p class="hang"><i>M&iacute;tritch.</i> Not put it out? Why?</p>
+
+<p class="hang"><i>Nan</i>. Didn't you hear them making a row in
+the yard? (<i>Listens</i>.) D'you hear, there in the barn again
+now?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. What's that to you? I guess
+no one's asked you to mind! Lie down and sleep! And I'll turn down
+the light.</p>
+
+<p class="indent">[<i>Turns down lamp.</i></p>
+
+<p class="hang"><i>Nan</i>. Daddy darling! Don't put it right out;
+leave a little bit if only as big as a mouse's eye, else it's so
+frightening!</p>
+
+<p class="hang"><i>M&iacute;tritch</i> (<i>laughs</i>). All right,
+all right. (<i>Sits down by her</i>.) What's there to be afraid
+of?</p>
+
+<p class="hang"><i>Nan</i>. How can one help being frightened,
+daddy! Sister did go on so! She was beating her head against the
+box! (<i>Whispers</i>.) You know, I know ... a little baby is going
+to be born.... It's already born, I think....</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Eh, what a little busybody
+it is! May the frogs tick her! Must needs know everything. Lie down
+and sleep! (NAN <i>lies down</i>.) That's right! (<i>Tucks her
+up</i>.) That's right! There now, if you know too much you'll grow
+old too soon.</p>
+
+<p class="hang"><i>Nan</i>. And you are going to lie on the
+oven?</p>
+
+<p class="hang"><i>Mitrich</i>. Well, of course! What a little
+silly you are, now I come to look at you! Must needs know
+everything. (<i>Tucks her up again, then stands up to go</i>.)
+There now, lie still and sleep!</p>
+
+<p class="indent">[<i>Goes up to the oven.</i></p>
+
+<p class="hang"><i>Nan</i>. It gave just one cry, and now there's
+nothing to be heard.</p>
+
+<p class="hang"><i>M&iacute;tritch.</i> Oh Lord! Gracious Nicholas!
+What is it you can't hear?</p>
+
+<p class="hang"><i>Nan</i>. The baby.</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. There is none, that's why
+you can't hear it.</p>
+
+<p class="hang"><i>Nan</i>. But I heard it! Blest if I didn't hear
+it! Such a thin voice!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Heard indeed! Much you
+heard! Well, if you know,&mdash;why then it was just such a little girl
+as you that the bogey popped into his bag and made off with.</p>
+
+<p class="hang"><i>Nan</i>. What bogey?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Why, just his very self!
+(<i>Climbs up on to the oven</i>.) The oven is beautifully warm
+to-night. Quite a treat! Oh Lord! Gracious Nicholas!</p>
+
+<p class="hang"><i>Nan</i>. Daddy! are you going to sleep?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. What else? Do you think I'm
+going to sing songs?</p>
+
+<p class="indent">[<i>Silence.</i></p>
+
+<p class="hang"><i>Nan</i>. Daddy! Daddy, I say! They are digging!
+they're digging&mdash;don't you hear? Blest if they're not, they're
+digging!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. What are you dreaming
+about? Digging! Digging in the night! Who's digging? The cow's
+rubbing herself, that's all. Digging indeed! Go to sleep I tell
+you, else I'll just put out the light!</p>
+
+<p class="hang"><i>Nan</i>. Daddy darling, don't put it out! I
+won't ... truly, truly, I won't. It's so frightful!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Frightful? Don't be afraid
+and then it won't be frightful. Look at her, she's afraid, and then
+says it's frightful. How can it help being frightful if you are
+afraid? Eh, what a stupid little girl!</p>
+
+<p class="indent">[<i>Silence. The cricket chirps.</i></p>
+
+<p class="hang"><i>Nan</i> (<i>whispers</i>). Daddy! I say, daddy!
+Are you asleep?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Now then, what d'you
+want?</p>
+
+<p class="hang"><i>Nan</i>. What's the bogey like?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Why, like this! When he
+finds such a one as you, who won't sleep, he comes with a sack and
+pops the girl into it, then in he gets himself, head and all, lifts
+her dress, and gives her a fine whipping!</p>
+
+<p class="hang"><i>Nan</i>. What with?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. He takes a birch-broom with
+him.</p>
+
+<p class="hang"><i>Nan</i>. But he can't see there--inside the
+sack!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. He'll see, no fear!</p>
+
+<p class="hang"><i>Nan</i>. But I'll bite him.</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. No, friend, him you can't
+bite!</p>
+
+<p class="hang"><i>Nan</i>. Daddy, there's some one coming! Who is
+it? Oh gracious goodness! Who can it be?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Well, if some one's coming,
+let them come! What's the matter with you? I suppose it's your
+mother!</p>
+
+<p class="indent">[<i>Enter</i> AN&Iacute;SYA.</p>
+
+<p class="hang"><i>An&iacute;sya</i> (NAN <i>pretends to be
+asleep</i>). M&iacute;tritch!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. What?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. What's the lamp burning for?
+We are going to sleep in the summer-hut.</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Why, you see I've only just
+got straight. I'll put the light out all right.</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>rummages in her box and
+grumbles</i>). When a thing's wanted one never can find it!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Why, what is it you are
+looking for?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. I'm looking for a cross.
+Suppose it were to die unbaptized! It would be a sin, you know!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Of course it would!
+Everything in due order.... Have you found it?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Yes, I've found it.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>M&iacute;tritch</i>. That's right, else I'd have
+lent her mine. Oh Lord!</p>
+
+<p class="hang"><i>Nan</i> (<i>jumps up trembling</i>). Oh, oh,
+daddy! Don't go to sleep; for goodness' sake, don't! It's so
+frightful!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. What's frightful?</p>
+
+<p class="hang"><i>Nan</i>. It will die&mdash;the little baby will! At
+Aunt Irene's the old woman also baptized the baby, and it died!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. If it dies, they'll bury
+it!</p>
+
+<p class="hang"><i>Nan</i>. But maybe it wouldn't have died, only
+old Granny Matry&oacute;na's there! Didn't I hear what granny was
+saying? I heard her! Blest if I didn't!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. What did you hear? Go to
+sleep, I tell you. Cover yourself up, head and all, and let's have
+an end of it!</p>
+
+<p class="hang"><i>Nan</i>. If it lived, I'd nurse it!</p>
+
+<p class="hang"><i>M&iacute;tritch</i> (<i>roars</i>). Oh Lord!</p>
+
+<p class="hang"><i>Nan</i>. Where will they put it?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. In the right place! It's no
+business of yours! Go to sleep I tell you, else mother will come;
+she'll give it you!</p>
+
+<p class="indent">[<i>Silence.</i></p>
+
+<p class="hang"><i>Nan</i>. Daddy! Eh, daddy! That girl, you know,
+you were telling about-they didn't kill her?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. That girl? Oh yes. That
+girl turned out all right!</p>
+
+<p class="hang"><i>Nan</i>. How was it? You were saying you found
+her?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Well, we just found
+her!</p>
+
+<p class="hang"><i>Nan</i>. But where did you find her? Do
+tell!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Why, in their own house;
+that's where! We came to a village, the soldiers began hunting
+about in the house, when suddenly there's that same little girl
+lying on the floor, flat on her stomach. We were going to give her
+a knock on the head, but all at once I felt that sorry, that I took
+her up in my arms; but no, she wouldn't let me! Made herself so
+heavy, quite a hundredweight, and caught hold where she could with
+her hands, so that one couldn't get them off! Well, so I began
+stroking her head. It was so bristly,--just like a hedgehog! So I
+stroked and stroked, and she quieted down at last. I soaked a bit
+of rusk and gave it her. She understood that, and began nibbling.
+What were we to do with her? We took her; took her, and began
+feeding and feeding her, and she got so used to us that we took her
+with us on the march, and so she went about with us. Ah, she was a
+fine girl!</p>
+
+<p class="hang"><i>Nan</i>. Yes, and not baptized?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Who can tell! They used to
+say, not altogether. 'Cos why, those people weren't our own.</p>
+
+<p class="hang"><i>Nan</i>. Germans?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. What an idea! Germans! Not
+Germans, but Asiatics. They are just the same as Jews, but still
+not Jews. Polish, yet Asiatics. Curls ... or, Curdlys is their
+name.... I've forgotten what it <a name="d8-r">is!</a><sup><a href="#d8">8</a></sup>
+We called the girl S&aacute;shka. She was a fine girl,
+S&aacute;shka was! There now, I've forgotten everything I used to
+know! But that girl&mdash;the deuce take her&mdash;seems to be before my eyes
+now! Out of all my time of service, I remember how they flogged me,
+and I remember that girl. That's all I remember! She'd hang round
+one's neck, and one 'ud carry her so. That was a girl,&mdash;if you
+wanted a better you'd not find one! We gave her away afterwards.
+The captain's wife took her to bring up as her daughter. So&mdash;she
+was all right! How sorry the soldiers were to let her go!</p>
+
+<p class="hang"><i>Nan</i>. There now, daddy, and I remember when
+father was dying,&mdash;you were not living with us then. Well, he
+called Nik&iacute;ta and says, "Forgive me, Nik&iacute;ta!" he
+says, and begins to cry. (<i>Sighs</i>.) That also felt very
+sad!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Yes; there now, so it
+is....</p>
+
+<p class="hang"><i>Nan</i>. Daddy! Daddy, I say! There they are
+again, making a noise in the cellar! Oh gracious heavens! Oh dear!
+Oh dear! Oh, daddy! They'll do something to it! They'll make away
+with it, and it's so little! Oh, oh!</p>
+
+<p class="indent">[<i>Covers up her head and cries.</i></p>
+
+<p class="hang"><i>M&iacute;tritch</i> (<i>listening</i>). Really
+they're up to some villainy, blow them to shivers! Oh, these women
+are vile creatures! One can't say much for men either; but
+women!... They are like wild beasts, and stick at nothing!</p>
+
+<p class="hang"><i>Nan</i> (<i>rising</i>). Daddy; I say,
+daddy!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Well, what now?</p>
+
+<p class="hang"><i>Nan</i>. The other day a traveller stayed the
+night; he said that when an infant died its soul goes up straight
+to heaven. Is that true?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Who can tell? I suppose so.
+Well?</p>
+
+<p class="hang"><i>Nan</i>. Oh, it would be best if I died too.</p>
+
+<p class="indent">[<i>Whimpers.</i></p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Then you'd be off the
+list!</p>
+
+<p class="hang"><i>Nan</i>. Up to ten one's an infant, and maybe
+one's soul would go to God. Else one's sure to go to the bad!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. And how to the bad? How
+should the likes of you not go to the bad? Who teaches you? What do
+you see? What do you hear? Only vileness! I, though I've not been
+taught much, still know a thing or two. I'm not quite like a
+peasant woman. A peasant woman, what is she? Just mud! There are
+many millions of the likes of you in Russia, and all as blind as
+moles&mdash;knowing nothing! All sorts of spells: how to stop the
+cattle-plague with a plough, and how to cure children by putting
+them under the perches in the hen-house! That's what they know!</p>
+
+<p class="hang"><i>Nan</i>. Yes, mother also did that!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Yes,&mdash;there it is,&mdash;just
+so! So many millions of girls and women, and all like beasts in a
+forest! As she grows up, so she dies! Never sees anything; never
+hears anything. A peasant,&mdash;he may learn something at the pub, or
+maybe in prison, or in the army,&mdash;as I did. But a woman? Let alone
+about God, she doesn't even know rightly what Friday it is! Friday!
+Friday! But ask her what's Friday? She don't know! They're like
+blind puppies, creeping about and poking their noses into the
+dungheap.... All they know are their silly songs. Ho, ho, ho, ho!
+But what they mean by ho-ho, they don't know themselves!</p>
+
+<p class="hang"><i>Nan</i>. But I, daddy, I do know half the Lord's
+Prayer!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. A lot you know! But what
+Can one expect of you? Who teaches you? Only a tipsy peasant&mdash;with
+the strap perhaps! That's all the teaching you get! I don't know
+who'll have to answer for you. For a recruit, the drill-sergeant or
+the corporal has to answer; but for the likes of you there's no one
+responsible! Just as the cattle that have no herdsman are the most
+mischievous, so with you women&mdash;you are the stupidest class! The
+most foolish class is yours!</p>
+
+<p class="hang"><i>Nan</i>. Then what's one to do?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. That's what one has to
+do.... You just cover up your head and sleep! Oh Lord!</p>
+
+<p class="indent">[<i>Silence. The cricket chirps.</i></p>
+
+<p class="hang"><i>Nan</i> (<i>jumps up</i>). Daddy! Some one's
+screaming awfully! Blest if some one isn't screaming! Daddy
+darling, it's coming here!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Cover up your head, I tell
+you!</p>
+
+<p class="indent">[<i>Enter</i> NIK&Iacute;TA, followed by
+MATRY&Oacute;NA.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. What have they done with me?
+What have they done with me?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Have a drop, honey; have a
+drop of drink! What's the matter?</p>
+
+<p class="indent">[<i>Fetches the spirits and sets the bottle
+before him.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Give it here! Perhaps the
+drink will help me!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Mind! They're not asleep!
+Here you are, have a drop!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. What does it all mean? Why
+did you plan it? You might have taken it somewhere!</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>whispers</i>). Sit still
+a bit and drink a little more, or have a smoke. It will ease your
+thoughts!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. My own mother! My turn seems
+to have come! How it began to whimper, and how the little bones
+crunched ... krr.... I'm not a man now!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Eh, now, what's the use of
+talking so silly! Of course it does seem fearsome at night, but
+wait till the daylight comes, and a day or two passes, and you'll
+forget to think of it!</p>
+
+<p class="indent">[<i>Goes up to</i> NIK&Iacute;TA <i>and puts her
+hand on his shoulder.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Go away from me! What have
+you done with me?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Come, come, sonny! Now,
+really, what's the matter with you?</p>
+
+<p class="indent">[<i>Takes his hand.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Go away from me! I'll kill
+you! It's all one to me now! I'll kill you!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Oh, oh, how frightened he's
+got! You should go and have a sleep now!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. I have nowhere to go; I'm
+lost!</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>shaking her head</i>).
+Oh, oh, I'd better go and tidy things up. He'll sit and rest a bit,
+and it will pass!</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="indent">[NIK&Iacute;TA <i>sits with his face in his
+hands.</i> M&Iacute;TRITCH <i>and</i> NAN <i>seem stunned.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. It's whining! It's whining!
+It is really&mdash;there, there, quite plain! She'll bury it, really she
+will! (<i>Runs to the door</i>.) Mother, don't bury it, it's
+alive....</p>
+
+<p class="indent">[<i>Enter</i> MATRY&Oacute;NA.</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>whispers</i>). Now then,
+what is it? Heaven help you! Why won't you get to rest? How can it
+be alive? All its bones are crushed!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Give me more drink.</p>
+
+<p class="indent">[<i>Drinks.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Now go, sonny. You'll fall
+asleep now all right.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>stands listening</i>).
+Still alive ... there ... it's whining! Don't you hear?...
+There!</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>whispers</i>). No! I
+tell you!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Mother! My own mother! I've
+ruined my life! What have you done with me? Where am I to go?</p>
+
+<p class="indent">[<i>Runs out of the hut;</i> MATRY&Oacute;NA
+<i>follows him.</i></p>
+
+<p class="hang"><i>Nan</i>. Daddy dear, darling, they've smothered
+it!</p>
+
+<p class="hang"><i>M&iacute;tritch</i> (<i>angrily</i>). Go to
+sleep, I tell you! Oh dear, may the frogs kick you! I'll give it to
+you with the broom! Go to sleep, I tell you!</p>
+
+<p class="hang"><i>Nan</i>. Daddy, my treasure! Something is
+catching hold of my shoulders, something is catching hold with its
+paws! Daddy dear ... really, really ... I must go! Daddy, darling!
+let me get up on the oven with you! Let me, for Heaven's sake!
+Catching hold ... catching hold! Oh!</p>
+
+<p class="indent">[<i>Runs to the stove.</i></p>
+
+<p class="hang"><i>M&iacute;tritch</i>. See how they've frightened
+the girl.... What vile creatures they are! May the frogs kick them!
+Well then, climb up. <i>Nan</i> (<i>climbs on oven</i>). But don't
+you go away! <i>M&iacute;tritch</i>. Where should I go to? Climb
+up, climb up! Oh Lord! Gracious Nicholas! Holy Mother!... How they
+have frightened the girl. (<i>Covers her up</i>.) There's a little
+fool&mdash;really a little fool! How they've frightened her; really,
+they are vile creatures! The deuce take 'em!</p>
+
+<p class="hang">CURTAIN</p>
+
+<h4>END OF VARIATION</h4>
+
+<hr>
+
+<h3><a name="act5">ACT V</a></h3>
+
+<h4>SCENE I</h4>
+
+<p class="hang"><i>In front of scene a stack-stand, to the left a
+thrashing ground, to the right a barn. The barn doors are open.
+Straw is strewn about in the doorway. The hut with yard and
+out-buildings is seen in the background, whence proceed sounds of
+singing and of a tambourine. Two</i> GIRLS <i>are walking past the
+barn towards the hut.</i></p>
+
+<p class="hang"><i>First Girl</i>. There, you see we've managed to
+pass without so much as getting our boots dirty! But to come by the
+street is terribly muddy! (<i>Stop and wipe their boots on the
+straw.</i> FIRST GIRL <i>looks at the straw and sees something</i>
+.) What's that?</p>
+
+<p class="hang"><i>Second Girl</i> (<i>looks where the straw lies
+and sees some one</i>). It's M&iacute;tritch, their laborer. Just
+look how drunk he is!</p>
+
+<p class="hang"><i>First Girl</i>. Why, I thought be didn't
+drink.</p>
+
+<p class="hang"><i>Second Girl</i>. It seems he didn't, until it
+was going around. <i>First Girl</i>. Just see! He must have come to
+fetch some straw. Look! he's got a rope in his hand, and he's
+fallen asleep.</p>
+
+<p class="hang"><i>Second Girl</i> (<i>listening</i>). They're
+still singing the <a name="d9-r">praises.</a><sup><a href="#d9">9</a>
+</sup> So I s'pose the bride and bridegroom have not yet
+been blessed! They say Akoul&iacute;na didn't even
+<a name="d10-r">lament!</a><sup><a href="#d10">10</a></sup></p>
+
+<p class="hang"><i>First Girl</i>. Mammie says she is marrying
+against her will. Her stepfather threatened her, or else she'd not
+have done it for the world! Why, you know what they've been saying
+about her?</p>
+
+<p class="hang"><i>Mar&iacute;na</i> (<i>catching up the</i>
+GIRLS). How d'you you do, lassies?</p>
+
+<p class="hang"><i>Girls</i>. How d'you do?</p>
+
+<p class="hang"><i>Mar&iacute;na</i>. Going to the wedding, my
+dears?</p>
+
+<p class="hang"><i>First Girl</i>. It's nearly over! We've come
+just to have a look.</p>
+
+<p class="hang"><i>Mar&iacute;na</i>. Would you call my old man for
+me? Simon, from Zo&uacute;evo; but surely you know him?</p>
+
+<p class="hang"><i>First Girl</i>. To be sure we do; he's a
+relative of the bridegroom's, I think?</p>
+
+<p class="hang"><i>Mar&iacute;na</i>. Of course; he's my old man's
+nephew, the bridegroom is.</p>
+
+<p class="hang"><i>Second Girl</i>. Why don't you go yourself?
+Fancy not going to a wedding!</p>
+
+<p class="hang"><i>Mar&iacute;na</i>. I have no mind for it, and no
+time either. It's time for us to be going home. We didn't mean to
+come to the wedding. We were taking oats to town. We only stopped
+to feed the horse, and they made my old man go in.</p>
+
+<p class="hang"><i>First Girl</i>. Where did you put up then? At
+Fy&oacute;doritch's?</p>
+
+<p class="hang"><i>Mar&iacute;na</i>. Yes. Well then, I'll stay
+here and you go and call him, my dear&mdash;my old man. Call him, my
+pet, and say "Your missis, Mar&iacute;na, says you must go now!"
+His mates are harnessing.</p>
+
+<p class="hang"><i>First Girl</i>. Well, all right&mdash;if you won't go
+in yourself.</p>
+
+<p class="indent">[<i>The</i> GIRLS <i>go away towards the house
+along a footpath. Sounds of songs and tambourine.</i></p>
+
+<p class="hang"><i>Mar&iacute;na</i> (<i>alone, stands
+thinking</i>). I might go in, but I don't like to, because I have
+not met him since that day he threw me over. It's more than a year
+now. But I'd have liked to have a peep and see how he lives with
+his An&iacute;sya. People say they don't get on. She's a coarse
+woman, and with a character of her own. I should think he's
+remembered me more than once. He's been caught by the idea of a
+comfortable life and has changed me for it. But, God help him, I
+don't cherish ill-will! Then it hurt! Oh dear, it was pain! But now
+it's worn away and been forgotten. But I'd like to have seen him.
+(<i>Looks towards hut and sees</i> NIK&Iacute;TA.) Look there! Why,
+he is coming here! Have the girls told him? How's it he has left
+his guests? I'll go away! (NIK&Iacute;TA <i>approaches, hanging his
+head down, swinging his arms, and muttering</i>.) And how sullen he
+looks!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>sees and recognises
+MAR&Iacute;NA</i>). Mar&iacute;na, dearest friend, little
+Mar&iacute;na, what do you want?</p>
+
+<p class="hang"><i>Mar&iacute;na</i>. I have come for my old
+man.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Why didn't you come to the
+wedding? You might have had a look round, and a laugh at my
+expense!</p>
+
+<p class="hang"><i>Mar&iacute;na</i>. What have I to laugh at? I've
+come for my husband.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Ah, Mar&iacute;na dear!</p>
+
+<p class="indent">[<i>Tries to embrace her.</i></p>
+
+<p class="hang"><i>Mar&iacute;na</i> (<i>steps angrily aside</i>).
+You'd better drop that sort of thing, Nik&iacute;ta! What has been
+is past! I've come for my husband. Is he in your house?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. So I must not remember the
+past? You won't let me?</p>
+
+<p class="hang"><i>Mar&iacute;na</i>. It's no use recalling the
+past! What used to be is over now!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. And can never come back, you
+mean?</p>
+
+<p class="hang"><i>Mar&iacute;na</i>. And will never come back! But
+why have you gone away? You, the master,&mdash;and to go away from the
+feast!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>sits down on the
+straw</i>). Why have I gone away? Eh, if you knew, if you had any
+idea.... I'm dull, Mar&iacute;na, so dull that I wish my eyes would
+not see! I rose from the table and left them, to get away from the
+people. If I could only avoid seeing any one!</p>
+
+<p class="hang"><i>Mar&iacute;na</i> (<i>coming nearer to him</i>).
+How's that?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. This is how it is: when I
+eat, it's there! When I drink, it's there! When I sleep, it's
+there! I'm so sick of it&mdash;so sick! But it's chiefly because I'm all
+alone that I'm so sick, Mar&iacute;na. I have no one to share my
+trouble.</p>
+
+<p class="hang"><i>Mar&iacute;na</i>. You can't live your life
+without trouble, Nik&iacute;ta. However, I've wept over mine and
+wept it away.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. The former, the old trouble!
+Ah, dear friend, you've wept yours away, and I've got mine up to
+there!</p>
+
+<p class="indent">[<i>Puts his hand to his throat.</i></p>
+
+<p class="hang"><i>Mar&iacute;na</i>. But why?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Why, I'm sick of my whole
+life! I am sick of myself! Ah, Mar&iacute;na, why did you not know
+how to keep me? You've ruined me, and yourself too! Is this
+life?</p>
+
+<p class="hang"><i>Mar&iacute;na</i> (<i>stands by the barn crying,
+but restrains herself</i>). I do not complain of my life,
+Nik&iacute;ta! God grant every one a life like mine. I do not
+complain. I confessed to my old man at the time, and he forgave me.
+And he does not reproach me. I'm not discontented with my life. The
+old man is quiet, and is fond of me, and I keep his children
+clothed and washed! He is really kind to me. Why should I complain?
+It seems God willed it so. And what's the matter with your life?
+You are rich....</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. My life!... It's only that I
+don't wish to disturb the wedding feast, or I'd take this rope here
+(<i>takes hold of the rope on the straw</i>) and throw it across
+that rafter there. Then I'd make a noose and stretch it out, and
+I'd climb on to that rafter and jump down with my head in the
+noose! That's what my life is!</p>
+
+<p class="hang"><i>Mar&iacute;na</i>. That's enough! Lord help
+you!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. You think I'm joking? You
+think I'm drunk? I'm not drunk! To-day even drink takes no hold on
+me! I'm devoured by misery! Misery is eating me up completely, so
+that I care for nothing! Oh little Mar&iacute;na, it's only with
+you I ever lived! Do you remember how we used to while away the
+nights together at the railway?</p>
+
+<p class="hang"><i>Mar&iacute;na</i>. Don't you rub the sores,
+Nik&iacute;ta! I'm bound legally now, and you too. My sin has been
+forgiven, don't disturb...</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. What shall I do with my
+heart? Where am I to turn to?</p>
+
+<p class="hang"><i>Mar&iacute;na</i>. What's there to be done?
+You've got a wife. Don't go looking at others, but keep to your
+own! You loved An&iacute;sya, then go on loving her!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Oh, that An&iacute;sya, she's
+gall and wormwood to me, but she's round my feet like rank
+weeds!</p>
+
+<p class="hang"><i>Mar&iacute;na</i>. Whatever she is, still she's
+your wife.... But what's the use of talking; you'd better go to
+your visitors, and send my husband to me.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Oh dear, if you knew the
+whole business... but there's no good talking!</p>
+
+<p class="indent">[<i>Enter</i> MAR&Iacute;NA'S <i>husband, red and
+tipsy, and</i> NAN.</p>
+
+<p class="hang"><i>Mar&iacute;na's Husband</i>. Mar&iacute;na!
+Missis! My old woman! are you here?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. There's your husband calling
+you. Go!</p>
+
+<p class="hang"><i>Mar&iacute;na</i>. And you?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. I? I'll lie down here for a
+bit!</p>
+
+<p class="indent">[<i>Lies down on the straw.</i></p>
+
+<p class="hang"><i>Husband</i>. Where is she then?</p>
+
+<p class="hang"><i>Nan</i>. There she is, near the barn.</p>
+
+<p class="hang"><i>Husband</i>. What are you standing there for?
+Come to the feast! The hosts want you to come and do them honor!
+The wedding party is just going to start, and then we can go
+too.</p>
+
+<p class="hang"><i>Mar&iacute;na</i> (<i>going towards her
+husband</i>). I didn't want to go in.</p>
+
+<p class="hang"><i>Husband</i>. Come on, I tell you! You'll drink a
+glass to our nephew Peter's health, the rascal! Else the hosts
+might take offense! There's plenty of time for our business.</p>
+
+<p class="indent">[MAR&Iacute;NA'S <i>husband puts his arm around
+her, and goes reeling out with her.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>rises and sits down on the
+straw</i>). Ah, now that I've seen her, life seems more sickening
+than ever! It was only with her that I ever really lived! I've
+ruined my life for nothing! I've done for myself! (<i>Lies
+down</i>.) Where can I go? If mother earth would but open and
+swallow me!</p>
+
+<p class="hang"><i>Nan</i> (<i>sees</i> NIK&Iacute;TA, <i>and runs
+towards him</i>). Daddy, I say, daddy! They're looking for you! Her
+godfather and all of them have already blessed her. Truly they
+have, they're getting cross!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>aside</i>). Where can I go
+to?</p>
+
+<p class="hang"><i>Nan</i>. What? What are you saying?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. I'm not saying anything!
+Don't bother!</p>
+
+<p class="hang"><i>Nan</i>. Daddy! Come, I say! (NIK&Iacute;TA
+<i>is silent</i>, NAN <i>pulls him by the hand</i>.) Dad, go and
+bless them! My word, they're angry, they're grumbling!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>drags away his hand</i>).
+Leave me alone!</p>
+
+<p class="hang"><i>Nan</i>. Now then!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>threatens her with the
+rope</i>). Go, I say! I'll give it you!</p>
+
+<p class="hang"><i>Nan</i>. Then I'll send mother!</p>
+
+<p class="indent">[<i>Runs away.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>rises</i>). How can I go?
+How can I take the holy ic&oacute;n in my hands? How am I to look
+her in the face! (<i>Lies down again</i>.) Oh, if there were a hole
+in the ground, I'd jump in! No one should see me, and I should see
+no one! (<i>Rises again</i>.) No, I shan't go.... May they all go
+to the devil, I shan't go! (<i>Takes the rope and makes a noose,
+and tries it on his neck</i>.) That's the way!</p>
+
+<p class="indent">[<i>Enter</i> MATRY&Oacute;NA. NIK&Iacute;TA
+<i>sees his mother, takes the rope off his neck, and again lies
+down in the straw.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>comes in hurriedly</i>).
+Nik&iacute;ta! Nik&iacute;ta, I say! He don't even answer!
+Nik&iacute;ta, what's the matter? Have you had a drop too much?
+Come, Nik&iacute;ta dear; come, honey! The people are tired of
+waiting.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Oh dear, what have you done
+with me? I'm a lost man!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. But what is the matter
+then? Come, my own; come, give them your blessing, as is proper and
+honorable, and then it'll all be over! Why, the people are
+waiting!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. How can I give blessings?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Why, in the usual way!
+Don't you know?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. I know, I know! But who is it
+I am to bless? What have I done to her?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. What have you done? Eh, now
+he's going to remember it! Why, who knows anything about it? Not a
+soul! And the girl is going of her own accord.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Yes, but how?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Because she's afraid, of
+course. But still she's going. Besides, what's to be done now? She
+should have thought sooner! Now she can't refuse. And his kinsfolks
+can't take offense either. They saw the girl twice, and get money
+with her too! It's all safe and sound!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Yes, but what's in the
+cellar?</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>laughs</i>). In the
+cellar? Why, cabbages, mushrooms, potatoes, I suppose! Why remember
+the past?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. I'd be only too glad to
+forget it; but I can't! When I let my mind go, it's just as if I
+heard.... Oh, what have you done with me?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Now, what are you
+humbugging for?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>turns face downward</i>).
+Mother! Don't torment me! I've got it up to there!</p>
+
+<p class="indent">[<i>Puts his hand to his throat.</i></p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Still it has to be done! As
+it is, people are talking. "The master's gone away and won't come;
+he can't make up his mind to give his blessing." They'll be putting
+two and two together. As soon as they see you're frightened they'll
+begin guessing. "The thief none suspect who walks bold and erect!"
+But you'll be getting out of the frying-pan into the fire! Above
+all, lad, don't show it; don't lose courage, else they'll find out
+all the more!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Oh dear! You have snared me
+into a trap!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. That'll do, I tell you;
+come along! Come in and give your blessing, as is right and
+honorable;&mdash;and there's an end of the matter!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>lies face down</i>). I
+can't!</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>aside</i>). What has
+come over him? He seemed all right, and suddenly this comes over
+him! It seems he's bewitched! Get up, Nik&iacute;ta! See! There's
+An&iacute;sya coming; she's left her guests!</p>
+
+<p class="indent">[AN&Iacute;SYA <i>enters, dressed up, red and
+tipsy.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i>. Oh, how nice it is, mother!
+So nice, so respectable! And how the people are pleased.... But
+where is he?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Here, honey, he's here;
+he's laid down on the straw and there he lies! He won't come!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>looking at his wife</i>).
+Just see, she's tipsy too! When I look at her my heart seems to
+turn! How can one live with her? (<i>Turns on his face</i>.) I'll
+kill her some day! It'll be worse then!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Only look, how he's got all
+among the straw! Is it the drink? (<i>Laughs</i>.) I'd not mind
+lying down there with you, but I've no time! Come, I'll lead you!
+It is so nice in the house! It's a treat to look on! A concertina!
+And the women singing so well! All tipsy! Everything so
+respectable, so nice!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. What's nice?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. The wedding&mdash;such a jolly
+wedding! They all say it's quite an uncommon fine wedding. All so
+respectable, so nice! Come along! We'll go together! I have had a
+drop, but I can give you a hand yet!</p>
+
+<p class="indent">[<i>Takes his hand.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. (<i>pulls it back with
+disgust</i>). Go alone! I'll come!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. What, are you humbugging for?
+We've got rid of all the bother, we've got rid of her as came
+between us; now we have nothing to do but to live and be merry! And
+all so respectable, and quite legal! I'm so pleased! I have no
+words for it! It's just as if I were going to marry you over again!
+And oh, the people, they <i>are</i> pleased! They're all thanking
+us! And the guests are all of the best: Iv&aacute;n
+Mos&eacute;vitch is there, and the Police Officer; they've also
+been singing songs of praise!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Then you should have stayed
+with them! What have you come for?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. True enough, I must go back!
+Else what does it look like! The hosts both go and leave the
+visitors! And the guests are all of the best!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>gets up and brushes the
+straw off himself</i>). Go, and I'll come at once!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Just see! He listens to the
+young bird, but wouldn't listen to the old one! He would not hear
+me, but he follows his wife at once! (MATRY&Oacute;NA <i>and</i>
+AN&Iacute;SYA <i>turn to go.</i>) Well, are you coming?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. I'll come directly! You go
+and I'll follow! I'll come and give my blessing! (<i>The women
+stop</i>.) Go on! I'll follow! Now then, go! (<i>Exit women. Sits
+down and takes his boots off</i>.) Yes, I'm going! A likely thing!
+No, you'd better look at the rafter for me! I'll fix the noose and
+jump with it from the rafter, then you can look for me! And the
+rope is here just handy. (<i>Ponders</i>.) I'd have got over it,
+over any sorrow&mdash;I'd have got over that. But this now&mdash;here it is,
+deep in my heart, and I can't get over it! (<i>Looks towards the
+yard</i>.) Surely she's not coming back? (<i>Imitates</i>
+AN&Iacute;SYA.) "So nice, so nice. I'd lie down here with you." Oh,
+the baggage! Well, then, here I am! Come and cuddle when they've
+taken me down from the rafter! There's only one way!</p>
+
+<p class="indent">[<i>Takes the rope and pulls it.</i></p>
+
+<p class="indent">[M&Iacute;TRITCH, who is tipsy, sits up and won't
+let go of the rope.</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Shan't give it up! Shan't
+give it to no one! I'll bring it myself! I said I'd bring the
+straw&mdash;and so I will! Nik&iacute;ta, is that you? (<i>Laughs</i>.)
+Oh, the devil! Have you come to get the straw?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Give me the rope!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. No, you wait a bit! The
+peasants sent me! I'll bring it.... (<i>Rises to his feet and
+begins getting the straw together, but reels for a time, then
+falls</i>.) It has beaten me. It's stronger....</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Give me the rope!</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Didn't I say I won't! Oh,
+Nik&iacute;ta, you're as stupid as a hog! (<i>Laughs</i>.) I love
+you, but you're a fool! You see that I'm drunk ... devil take you!
+You think I need you?... You just look at me; I'm a Non ... fool,
+can't say it&mdash;Non-commissioned Officer of Her Majesty's very First
+Regiment of Grenadier Guards! I've served Tsar and country, loyal
+and true! But who am I? You think I'm a warrior? No, I'm not a
+warrior; I'm the very least of men, a poor lost orphan! I swore not
+to drink, and now I had a smoke, and.... Well then, do you think
+I'm afraid of you? No fear; I'm afraid of no man! I've taken to
+drink, and I'll drink! Now I'll go it for a fortnight; I'll go it
+hard! I'll drink my last shirt; I'll drink my cap; I'll pawn my
+passport; and I'm afraid of no one! They flogged me in the army to
+stop me drinking! They switched and switched! "Well," they say,
+"will you leave off?" "No," says I! Why should I be afraid of them?
+Here I am! Such as I am, God made me! I swore off drinking, and
+didn't drink. Now I've took to drink, and I'll drink! And I fear no
+man! 'Cos I don't lie; but just as.... Why should one mind
+them&mdash;such muck as they are! "Here you are," I say; that's me. A
+priest told me, the devil's the biggest bragger! "As soon," says
+he, "as you begin to brag, you get frightened; and as soon as you
+fear men then the hoofed one just collars you and pushes you where
+he likes!" But as I don't fear men, I'm easy! I can spit in the
+devil's beard, and at the sow his mother! He can't do me no harm!
+There, put that in your pipe!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>crossing himself</i>).
+True enough! What was I about?</p>
+
+<p class="indent">[<i>Throws down the rope.</i></p>
+
+<p class="hang"><i>M&iacute;tritch</i>. What?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>rises</i>). You tell me
+not to fear men?</p>
+
+<p class="hang"><i>M&iacute;tritch</i>. Why fear such muck as they
+are? You look at 'em in the bath-house! All made of one paste! One
+has a bigger belly, another a smaller; that's all the difference
+there is! Fancy being afraid of 'em! Deuce take 'em!</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>from the yard</i>).
+Well, are you coming?</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Ah! Better so! I'm
+coming!</p>
+
+<p class="indent">[<i>Goes towards yard.</i></p>
+
+<h4>SCENE II</h4>
+
+<p class="hang"><i>Interior of hut, full of people, some sitting
+round tables and others standing. In the front corner</i>
+AKOUL&Iacute;NA <i>and the</i> BRIDEGROOM. On one of the tables an
+Icon and a loaf of rye-bread. Among the visitors are MAR&Iacute;NA,
+her husband, and a POLICE OFFICER, also a HIRED DRIVER, <i>the</i>
+MATCHMAKER, and the BEST MAN. <i>The women are singing.</i>
+AN&Iacute;SYA <i>carries round the drink. The singing
+stops.</i></p>
+
+<p class="hang"><i>The Driver</i>. If we are to go, let's go! The
+church ain't so near.</p>
+
+<p class="hang"><i>The Best Man</i>. All right; you wait a bit till
+the step-father has given his blessing. But where is he?</p>
+
+<p class="hang"><i>An&iacute;sya</i>. He is coming&mdash;coming at once,
+dear friends! Have another glass, all of you; don't refuse!</p>
+
+<p class="hang"><i>The Matchmaker</i>. Why is he so long? We've
+been waiting such a time!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. He's coming; coming directly,
+coming in no time! He'll be here before one could plait a girl's
+hair who's had her hair cropped! Drink, friends! (<i>Offers the
+drink</i>.) Coming at once! Sing again, my pets, meanwhile!</p>
+
+<p class="hang"><i>The Driver</i>. They've sung all their songs,
+waiting here!</p>
+
+<p class="indent">[<i>The women sing.</i> NIK&Iacute;TA <i>and</i>
+AK&Iacute;M <i>enter during the singing.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>holds his father's arm and
+pushes him in before him</i>). Go, father; I can't do without
+you!</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. I don't like&mdash;I mean what d'ye
+call it....</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>to the women</i>). Enough!
+Be quiet! (<i>Looks round the hut</i>.) Mar&iacute;na, are you
+there?</p>
+
+<p class="hang"><i>The Matchmaker</i>. Go, take the ic&oacute;n,
+and give them your blessing!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Wait a while! (<i>Looks
+round</i>.) Akoul&iacute;na, are you there?</p>
+
+<p class="hang"><i>Matchmaker</i>. What are you calling everybody
+for? Where should she be? How queer he seems!</p>
+
+<p class="hang"><i>An&iacute;sya</i>. Gracious goodness! Why, he's
+barefoot!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Father, you are here! Look at
+me! Christian Commune, you are all here, and I am here! I
+am....</p>
+
+<p class="indent">[<i>Falls on his knees.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i>. Nik&iacute;ta, darling,
+what's the matter with you? Oh, my head, my head!</p>
+
+<p class="hang"><i>Matchmaker</i>. Here's a go!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. I did say he was taking too
+much of that French wine! Come to your senses; what are you
+about?</p>
+
+<p class="indent">[<i>They try to lift him; he takes no heed of
+them, but looks in front of him.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Christian Commune! I have
+sinned, and I wish to confess!</p>
+
+<p class="hang"><i>Matry&oacute;na</i> (<i>shakes him by the
+shoulder</i>). Are you mad? Dear friends, he's gone crazy! He must
+be taken away!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>shakes her off</i>). Leave
+me alone! And you, father, hear me! And first, Mar&iacute;na, look
+here! (<i>Bows to the ground to her and rises</i>.) I have sinned
+towards you! I promised to marry you, I tempted you, and forsook
+you! Forgive me, in Christ's name!</p>
+
+<p class="indent">[<i>Again bows to the ground before her.</i></p>
+
+<p class="hang"><i>An&iacute;sya</i>. And what are you drivelling
+about? It's not becoming! No one wants to know! Get up! It's like
+your impudence!</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. Oh, oh, he's bewitched! And
+however did it happen? It's a spell! Get up! what nonsense are you
+jabbering?</p>
+
+<p class="indent">[<i>Pulls him.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>shakes his head</i>).
+Don't touch me! Forgive me my sin towards you, Mar&iacute;na!
+Forgive me, for Christ's sake!</p>
+
+<p class="indent">[MAR&Iacute;NA <i>covers her face with her hands
+in silence.</i></p>
+
+<p class="hang">An&iacute;sya. Get up, I tell you! Don't be so
+impudent! What are you thinking about&mdash;to recall it? Enough humbug!
+It's shameful! Oh my poor head! He's quite crazy!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>pushes his wife away and
+turns to</i> AKOUL&Iacute;NA). Akoul&iacute;na, now I'll speak to
+you! Listen, Christian Commune! I'm a fiend, Akoul&iacute;na! I
+have sinned against you! Your father died no natural death! He was
+poisoned!</p>
+
+<p class="hang"><i>An&iacute;sya</i> (<i>screams</i>). Oh my head!
+What's he about?</p>
+
+<p class="hang"><i>Matry&oacute;na</i>. The man's beside himself!
+Lead him away!</p>
+
+<p class="indent">[<i>The folk come up and try to seize
+him.</i></p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>motions them back with his
+arms</i>). Wait! You lads, what d'ye call it, wait, I mean!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Akoul&iacute;na, I poisoned
+him! Forgive me, in Christ's name!</p>
+
+<p class="hang"><i>Akoul&iacute;na</i> (<i>jumps up</i>). He's
+telling lies! I know who did it!</p>
+
+<p class="hang"><i>Matchmaker</i>. What are you about? You sit
+still!</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Oh Lord, what sins, what
+sins!</p>
+
+<p class="hang"><i>Police Officer</i>. Seize him, and send for the
+Elder! We must draw up an indictment and have witnesses to it! Get
+up and come here!</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>to</i> POLICE OFFICER). Now
+you&mdash;with the bright buttons&mdash;I mean, you wait! Let him, what d'ye
+call it, speak out, I mean!</p>
+
+<p class="hang"><i>Police Officer</i>. Mind, old man, and don't
+interfere! I have to draw up an indictment!</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Eh, what a fellow you are;
+wait, I say! Don't talk, I mean, about, what d'ye call it,
+'ditements' Here God's work is being done.... A man is confessing,
+I mean! And you, what d'ye call it ... 'ditements!</p>
+
+<p class="hang"><i>Police Officer</i>. The Elder!</p>
+
+<p class="hang"><i>Ak&iacute;m</i>. Let God's work be done, I mean,
+and then you. I mean you, do your business!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. And, Akoul&iacute;na, my sin
+is great towards you; I seduced you; forgive me in Christ's
+name!</p>
+
+<p class="indent">[<i>Bows to the ground before her.</i></p>
+
+<p class="hang"><i>Akoul&iacute;na</i> (<i>leaves the table</i>).
+Let me go! I shan't be married! He told me to, but I shan't
+now!</p>
+
+<p class="hang"><i>Police Officer</i>. Repeat what you have
+said.</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Wait, sir, let me finish!</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>with rapture</i>). Speak, my
+son! Tell everything&mdash;you'll feel better! Confess to God, don't
+fear men! God&mdash;God! It is He!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. I poisoned the father, dog
+that I am, and I ruined the daughter! She was in my power, and I
+ruined her, and her baby!</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. True, that's true!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. I smothered the baby in the
+cellar with a board! I sat on it and smothered it&mdash;and its bones
+crunched! (<i>Weeps</i>.) And I buried it! I did it, all alone!</p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. He raves! I told him
+to!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Don't shield me! I fear no
+one now! Forgive me, Christian Commune!</p>
+
+<p class="indent">[<i>Bows to the ground.</i></p>
+
+<p class="indent">[<i>Silence.</i></p>
+
+<p class="hang"><i>Police Officer</i>. Bind him! The marriage is
+evidently off!</p>
+
+<p class="indent">[<i>Men come up with their belts.</i></p>
+
+<p class="hang"><i>Nik&iacute;ta</i>. Wait, there's plenty of time!
+(<i>Bows to the ground before his father</i>.) Father, dear father,
+forgive me too,&mdash;fiend that I am! You told me from the first, when
+I took to bad ways, you said then, "If a claw is caught, the bird
+is lost!" I would not listen to your words, dog that I was, and it
+has turned out as you said! Forgive me, for Christ's sake!</p>
+
+<p class="hang"><i>Ak&iacute;m</i> (<i>rapturously</i>). God will
+forgive you, my own son! (<i>Embraces him</i>.) You have had no
+mercy on yourself; He will show mercy on you! God&mdash;God! It is
+He!</p>
+
+<p class="indent">[<i>Enter</i> ELDER.</p>
+
+<p class="hang"><i>Elder</i>. There are witnesses enough here.</p>
+
+<p class="hang"><i>Police Officer</i>. We will have the examination
+at once.</p>
+
+<p class="indent">[NIK&Iacute;TA <i>is bound.</i></p>
+
+<p class="hang"><i>Akoul&iacute;na</i>. (<i>goes and stands by his
+side</i>). I shall tell the truth! Ask me!</p>
+
+<p class="hang"><i>Nik&iacute;ta</i> (<i>bound</i>). No need to
+ask! I did it all myself. The design was mine, and the deed was
+mine. Take me where you like. I will say no more!</p>
+
+<p class="hang">CURTAIN</p>
+
+<hr>
+
+<h4>FOOTNOTES FOR<i> THE POWER OF DARKNESS</i></h4>
+
+<a name="d1">1.</a>&nbsp;&nbsp;&nbsp;&nbsp; It is
+customary to place a dying person under the ic&oacute;n. One or
+more ic&oacute;ns hang in the hut of each Orthodox peasant. (<a href="#d1-r">Return</a>)
+<p class="hang">
+
+<a name="d2">2.</a>&nbsp;&nbsp;&nbsp;
+Peasant weddings are usually in autumn. They are forbidden in Lent,
+and soon after Easter the peasants become too busy to marry till
+harvest is over. (<a href="#d2-r">Return</a>)
+(<a href="#f19">Return to <i>FRUITS OF CULTURE</i></a>)
+</p>
+<p class="hang">
+
+<a name="d3">3.</a>&nbsp;&nbsp;&nbsp; A formal request for
+forgiveness is customary among Russians, but it is often no mere
+formality. Nik&iacute;ta's first reply is evasive; his second
+reply, "God will forgive you," is the correct one sanctioned by
+custom. (<a href="#d3-r">Return</a>) </p>
+<p class="hang">
+
+<a name="d4">4.</a>&nbsp;&nbsp;&nbsp; Loud public
+wailing of this kind is customary, and considered indispensable,
+among the peasants. (<a href="#d4-r">Return</a>) </p>
+<p class="hang">
+
+<a name="d5">5.</a>&nbsp;&nbsp;&nbsp; Where not otherwise mentioned
+in the stage directions, it is always
+the winter half of the hut that is referred to as "the hut." The
+summer half is not heated, and not used in winter under ordinary
+circumstances. (<a href="#d5-r">Return</a>) </p>
+<p class="hang">
+
+<a name="d6">6.</a>&nbsp;&nbsp;&nbsp; The Foundlings' Hospital in
+Moscow, where 80 to 90 percent of the children die. (<a href="#d6-r">Return</a>)
+</p>
+<p class="hang">
+
+<a name="d7">7.</a>&nbsp;&nbsp;&nbsp; Nan calls M&iacute;tritch
+"daddy" merely as a term of endearment. (<a href="#d7-r">Return</a>)
+</p>
+<p class="hang">
+
+<a name="d8">8.</a>&nbsp;&nbsp;&nbsp; Probably Kurds (<a href="#d8-r">Return</a>)
+</p>
+<p class="hang">
+
+<a name="d9">9.</a>&nbsp;&nbsp;&nbsp; This refers to the songs
+customary at the wedding of Russian peasants, praising the bride
+and bridegroom. (<a href="#d9-r">Return</a>) </p>
+<p class="hang">
+
+<a name="d10">10.</a>&nbsp;&nbsp;&nbsp; It is etiquette for a bride to bewail the
+approaching loss of her maidenhood. (<a href="#d10-r">Return</a>)</p>
+
+<h4>END OF <i>THE POWER OF DARKNESS</i></h4>
+
+<hr>
+
+<p>&nbsp;</p>
+
+<h1><a name="fruits">FRUITS OF CULTURE</a></h1>
+
+<h3>CHARACTERS</h3>
+
+<p class="hang">LEON&Iacute;D FY&Oacute;DORITCH ZVEZD&Iacute;NTSEF. <i>A retired
+Lieutenant of the Horse Guards. Owner of more than 60,000 acres of
+land in various provinces. A fresh-looking, bland, agreeable
+gentleman of 60. Believes in Spiritualism, and likes to astonish
+people with his wonderful stories.</i></p>
+
+<p class="hang">ANNA P&Aacute;VLOVNA ZVEZD&Iacute;NTSEVA. <i>Wife of
+Leon&iacute;d. Stout; pretends to be young; quite taken up with the
+conventionalities of life; despises her husband, and blindly
+believes in her doctor. Very irritable.</i></p>
+
+<p class="hang">BETSY. <i>Their daughter. A young woman of 20, fast, tries to be
+mannish, wears a pince-nez, flirts and giggles. Speaks very quickly
+and distinctly.</i></p>
+
+<p class="hang">VAS&Iacute;LY LEON&Iacute;DITCH ZVEZD&Iacute;NTSEF. <i>Their
+son, aged 25; has studied law, but has no definite occupation.
+Member of the Cycling Club, Jockey Club, and of the Society for
+Promoting the Breeding of Hounds. Enjoys perfect health, and has
+imperturbable self-assurance. Speaks loud and abruptly. Is either
+perfectly serious&mdash;almost morose, or is noisily gay and laughs
+loud. Is nicknamed Vovo.</i></p>
+
+<p class="hang">ALEX&Eacute;Y VLAD&Iacute;MIROVITCH KROUGOSV&Eacute;TLOF. <i>A
+professor and scientist of about 50, with quiet and pleasantly
+self-possessed manners, and quiet, deliberate, harmonious speech.
+Likes to talk. Is mildly disdainful of those who do not agree with
+him. Smokes much. Is lean and active.</i></p>
+
+<p class="hang">THE DOCTOR. <i>About 40. Healthy, fat, red-faced, loud-voiced,
+and rough; with a self-satisfied smile constantly on his
+lips.</i></p>
+
+<p class="hang">M&Aacute;RYA KONSTANT&Iacute;NOVNA. <i>A girl of 20, from the
+Conservatoire, teacher of music. Wears a fringe, and is
+super-fashionably dressed. Obsequious, and gets easily
+confused.</i></p>
+
+<p class="hang">PETR&Iacute;STCHEF. <i>About 28; has taken his degree in
+philology, and is looking out for a position. Member of the same
+clubs as Vas&iacute;ly Leon&iacute;ditch, and also of the Society
+for the Organisation of Calico <a name="f1-r">Balls</a>.</i><sup>
+<a href="#f1">1</a></sup> <i>Is bald-headed, quick in movement and
+speech, and very polite.</i></p>
+
+<p class="hang">THE BARONESS. <i>A pompous lady of about 50, slow in her
+movements, speaks with monotonous intonation.</i></p>
+
+<p class="hang">THE PRINCESS. <i>A society woman, a visitor.</i></p>
+
+<p class="hang">HER DAUGHTER. <i>An affected young society woman, a
+visitor.</i></p>
+
+<p class="hang">THE COUNTESS. <i>An ancient dame, with false hair and teeth.
+Moves with great difficulty.</i></p>
+
+<p class="hang">GROSSMAN. <i>A dark, nervous, lively man of Jewish type. Speaks
+very loud.</i></p>
+
+<p class="hang">THE FAT LADY: M&Aacute;RYA VAS&Iacute;LYEVNA TOLBO&Uacute;HINA.
+<i>A very distinguished, rich, and kindly woman, acquainted with
+all the notable people of the last and present generations. Very
+stout. Speaks hurriedly, trying to be heard above every one else.
+Smokes.</i></p>
+
+<p class="hang">BARON KL&Iacute;NGEN (<i>nicknamed</i> KOKO). <i>A graduate of
+Petersburg University. Gentleman of the Bedchamber, Attach&eacute;
+to an Embassy. Is perfectly correct in his deportment, and
+therefore enjoys peace of mind and is quietly gay.</i></p>
+
+<p class="hang">TWO SILENT LADIES.</p>
+
+<p class="hang">SERG&Eacute;Y IV&Aacute;NITCH SAH&Aacute;TOF. <i>About 50, an
+ex-Assistant Minister of State. An elegant gentleman, of wide
+European culture, engaged in nothing and interested in everything.
+His carriage is dignified and at times even severe.</i></p>
+
+<p class="hang">THEODORE IV&Aacute;NITCH. <i>Personal attendant on Zvezd&iacute;ntsef,
+aged about 60. A man of some education and fond of information.
+Uses his pince-nez and pocket-handkerchief too much, unfolding the
+latter very slowly. Takes an interest in politics. Is kindly and
+sensible.</i></p>
+
+<p class="hang">GREGORY. <i>A footman, about 28, handsome, profligate, envious,
+and insolent.</i> </p>
+
+<p class="hang">JACOB. <i>Butler, about 40, a bustling, kindly
+man, to whom the interests of his family in the village are
+all-important.</i></p>
+
+<p class="hang">SIMON. <i>The butler's assistant, about 20, a healthy, fresh,
+peasant lad, fair, beardless as yet; calm and smiling.</i></p>
+
+<p class="hang">THE COACHMAN. <i>A man of about 35, a dandy. Has moustaches but
+no beard. Rude and decided.</i></p>
+
+<p class="hang">A DISCHARGED MAN-COOK. <i>About 45, dishevelled, unshaved,
+bloated, yellow and trembling. Dressed in a ragged, light
+summer-overcoat and dirty trousers. Speaks hoarsely, ejecting the
+words abruptly.</i></p>
+
+<p class="hang">THE SERVANTS' COOK. <i>A talkative, dissatisfied woman of
+30.</i></p>
+
+<p class="hang">THE DOORKEEPER. <i>A retired soldier.</i></p>
+
+<p class="hang">T&Aacute;NYA (TATY&Aacute;NA M&Aacute;RKOVNA). <i>Lady's-maid,
+19, energetic, strong, merry, with quickly-changing moods. At
+moments, when strongly excited, she shrieks with joy.</i></p>
+
+<p class="hang">FIRST PEASANT. <i>About 60. Has served as village Elder.
+Imagines that he knows how to treat gentlefolk, and likes to hear
+himself talk.</i></p>
+
+<p class="hang">SECOND PEASANT. <i>About 45, head of a family. A man of few
+words. Rough and truthful. The father of Simon.</i></p>
+
+<p class="hang">THIRD PEASANT. <i>About 70. Wears shoes of plaited bast. Is
+nervous, restless, hurried, and tries to cover his confusion by
+much talking.</i></p>
+
+<p class="hang">FIRST FOOTMAN (<i>in attendance on the Countess</i>). <i>An old
+man, with old-fashioned manners, and proud of his place.</i></p>
+
+<p class="hang">SECOND FOOTMAN. <i>Of enormous size, strong, and rude.</i></p>
+
+<p class="hang">A PORTER FROM A FASHIONABLE DRESSMAKER'S SHOP. <i>A fresh-faced
+man in dark-blue long coat. Speaks firmly, emphatically, and
+clearly.</i></p>
+
+<p>&nbsp;</p>
+
+<p class="hang"><i>The action takes place in Moscow, in Zvesd&iacute;ntsef's
+house.</i></p>
+
+<h3>ACT I</h3>
+
+<p class="hang"><i>The entrance hall of a wealthy house in Moscow.
+There are three doors: the front door, the door of</i>
+LEON&Iacute;D FY&Oacute;DORITCH'S <i>study, and the door of</i>
+VAS&Iacute;LY LEON&Iacute;DITCH'S <i>room. A staircase leads up to
+the other rooms; behind it is another door leading to the servants'
+quarters.</i></p>
+
+<h4>SCENE I</h4>
+
+<p class="hang"><i>Gregory</i> (<i>looks at himself in the glass
+and arranges his hair, etc</i>.). I am sorry about those moustaches
+of mine! "Moustaches are not becoming to a footman," she says! And
+why? Why, so that any one might see you're a footman,&mdash;else my
+looks might put her darling son to shame. He's a likely one!
+There's not much fear of his coming anywhere near me, moustaches or
+no moustaches! (<i>Smiling into the glass</i>.) And what a lot of
+'em swarm round me. And yet I don't care for any of them as much as
+for that T&aacute;nya. And she only a lady's-maid! Ah well, she's
+nicer than any young lady. (<i>Smiles</i>.) She's a duck!
+(<i>Listening</i>.) Ah, here she comes. (<i>Smiles</i>.) Yes,
+that's her, clattering with her little heels. Oh!</p>
+
+<p class="indent">[<i>Enter</i> T&Aacute;NYA, carrying a cloak and
+boots.</p>
+
+<p class="hang"><i>Gregory</i>. My respects to you, Taty&aacute;na
+M&aacute;rkovna.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. What are you always looking in
+the glass for? Do you think yourself so good-looking?</p>
+
+<p class="hang"><i>Gregory</i>. Well, and are my looks not
+agreeable?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. So, so; neither agreeable nor
+disagreeable, but just betwixt and between! Why are all those
+cloaks hanging there?</p>
+
+<p class="hang"><i>Gregory</i>. I am just going to put them away,
+your lady-ship! (<i>Takes down a fur cloak and, wrapping it round
+her, embraces her</i>.) I say, T&aacute;nya, I'll tell you
+something....</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Oh, get away, do! What do you
+mean by it? (<i>Pulls herself angrily away</i>.) Leave me alone, I
+tell you!</p>
+
+<p class="hang"><i>Gregory</i> (<i>looks cautiously around</i>).
+Then give me a kiss!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Now, really, what are you
+bothering for? I'll give you such a kiss!</p>
+
+<p class="indent">[<i>Raises her hand to strike.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i> (<i>off the
+scene, rings and then shouts</i>). Gregory!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. There now, go! Vas&iacute;ly
+Leon&iacute;ditch is calling you.</p>
+
+<p class="hang"><i>Gregory</i>. He'll wait! He's only just opened
+his eyes! I say, why don't you love me?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. What sort of loving have you
+imagined now? I don't love anybody.</p>
+
+<p class="hang"><i>Gregory</i>. That's a fib. You love Simon! You
+have found a nice one to love&mdash;a common, dirty-pawed peasant,
+a butler's assistant!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Never mind; such as he is, you
+are jealous of him!</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i> (<i>off the
+scene</i>). Gregory!</p>
+
+<p class="hang"><i>Gregory</i>. All in good time.... Jealous
+indeed! Of what? Why, you have only just begun to get licked into
+shape, and who are you tying yourself up with? Now, wouldn't it be
+altogether a different matter if you loved me?.... I say,
+T&aacute;nya....</p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>angrily and severely</i>).
+You'll get nothing from me, I tell you!</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i> (<i>off the
+scene</i>). Gregory!</p>
+
+<p class="hang"><i>Gregory</i>. You're mighty particular, ain't
+you?</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i> (<i>off the
+scene, shouts persistently, monotonously, and with all his
+might</i>) Gregory! Greg&mdash;ory! Gregory!</p>
+
+<p class="indent">[T&Aacute;NYA <i>and</i> GREGORY
+<i>laugh</i>.</p>
+
+<p class="hang"><i>Gregory</i>. You should have seen the girls that
+have been sweet on me.</p>
+
+<p class="indent">[<i>Bell rings.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i>. Well then, go to them, and
+leave me alone!</p>
+
+<p class="hang"><i>Gregory</i>. You are a silly, now I think of it.
+I'm not Simon!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Simon means marriage, and not
+tomfoolery!</p>
+
+<p class="indent">&nbsp;[<i>Enter</i> PORTER, c<i>arrying a large
+cardboard box.</i></p>
+
+<p class="hang"><i>Porter</i>. Good morning!</p>
+
+<p class="hang"><i>Gregory</i>. Good morning! Where are you
+from?</p>
+
+<p class="hang"><i>Porter</i>. From Bourdey's. I've brought a
+dress, and here's a note for the lady.</p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>taking the note</i>). Sit
+down, and I'll take it in.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="indent">[VAS&Iacute;LY LEON&Iacute;DITCH <i>looks out of
+the door in shirt-sleeves and slippers.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>.
+Gregory!</p>
+
+<p class="hang"><i>Gregory</i>. Yes, sir.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Gregory!
+Don't you hear me call?</p>
+
+<p class="hang"><i>Gregory</i>. I've only just come, sir.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Hot water,
+and a cup of tea.</p>
+
+<p class="hang"><i>Gregory</i>. Yes, sir; Simon will bring them
+directly.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. And who is
+this? Ah, from Bourdier?</p>
+
+<p class="hang"><i>Porter</i>. Yes, sir.</p>
+
+<p class="hang">[<i>Exeunt</i> VAS&Iacute;LY LEON&Iacute;DITCH <i>and</i>
+GREGORY. Bell rings. T&Aacute;NYA <i>runs in at the sound of the
+bell and opens the front door.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>to</i> PORTER). Please wait
+a little. <i>Porter</i>. I am waiting.</p>
+
+<p class="indent">[SAH&Aacute;TOF <i>enters at front door.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i>. I beg your pardon, but the
+footman has just gone away. This way, sir. Allow me, please.</p>
+
+<p class="indent">[<i>Takes his fur cloak.</i></p>
+
+<p class="hang"><i>Sah&aacute;tof</i> (<i>adjusting his
+clothes</i>). Is Leon&iacute;d Fy&oacute;doritch at home? Is he
+up?</p>
+
+<p class="indent">[<i>Bell rings.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i>. Oh yes, sir. He's been up a
+long time.</p>
+
+<p class="indent">[DOCTOR <i>enters and looks around for the
+footman. Sees</i> SAH&Aacute;TOF <i>and addresses him in an offhand
+manner.</i></p>
+
+<p class="hang"><i>Doctor</i>. Ah, my respects to you!</p>
+
+<p class="hang"><i>Sah&aacute;tof</i> (<i>looks fixedly at
+him</i>). The Doctor, I believe?</p>
+
+<p class="hang"><i>Doctor</i>. And I thought you were abroad!
+Dropped in to see Leon&iacute;d Fy&oacute;doritch?</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Yes. And you? Is any one
+ill?</p>
+
+<p class="hang"><i>Doctor</i> (<i>laughing</i>). Not exactly ill
+but, you know.... It's awful with these ladies! Sits up at cards
+till three every morning, and pulls her waist into the shape of a
+wine-glass. And the lady is flabby and fat, and carries the weight
+of a good many years on her back.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Is this the way you state
+your diagnosis to Anna P&aacute;vlovna? I should hardly think it
+quite pleases her!</p>
+
+<p class="hang"><i>Doctor</i> (<i>laughing</i>). Well, it's the
+truth. They do all these tricks&mdash;and then come derangements of
+the digestive organs, pressure on the liver, nerves, and all sorts
+of things, and one has to come and patch them up. It's just awful!
+(<i>Laughs</i>.) And you? You are also a spiritualist, it
+seems?</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. I? No, I am not also a
+spiritualist.... Good morning!</p>
+
+<p class="indent">[<i>Is about to go, but is stopped by the</i>
+DOCTOR.</p>
+
+<p class="hang"><i>Doctor</i>. No! But I can't myself, you know,
+positively deny the possibility of it, when a man like
+Krougosv&eacute;tlof is connected with it all. How can one? Is he
+not a professor,&mdash;a European celebrity? There must be
+something in it. I should like to see for myself, but I never have
+the time. I have other things to do.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Yes, yes! Good morning.</p>
+
+<p class="indent">[<i>Exit, bowing slightly.</i></p>
+
+<p class="hang"><i>Doctor</i> (<i>to</i> T&aacute;nya). Is Anna
+P&aacute;vlovna up?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. She's in her bedroom, but
+please come up.</p>
+
+<p class="indent">[DOCTOR <i>goes upstairs.</i></p>
+
+<p class="indent">[THEODORE IV&Aacute;NITCH <i>enters with a
+newspaper In his hand.</i></p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>to</i> PORTER). What is it you
+want?</p>
+
+<p class="hang"><i>Porter</i>. I'm from Bourdey's. I brought a
+dress and a note, and was told to wait.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Ah, from
+Bourdey's! (<i>To</i> T&aacute;nya.) Who came in just now?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. It was Serg&eacute;y
+Iv&aacute;nitch Sah&aacute;tof and the Doctor. They stood talking
+here a bit. It was all about spiritalism.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>correcting
+her</i>). Spirit<i>u</i>alism.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Yes, that's just what I
+said&mdash;spiritalism. Have you heard how well it went off last
+time, Theodore Iv&aacute;nitch? (<i>Laughs</i>). There was knocks,
+and things flew about!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. And how do
+<i>you</i> know?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Miss Elizabeth told me.</p>
+
+<p class="indent">[JACOB <i>runs in with a tumbler of tea on a
+tray.</i></p>
+
+<p class="hang"><i>Jacob</i> (<i>to the</i> PORTER). Good
+morning!</p>
+
+<p class="hang"><i>Porter</i> (<i>disconsolately</i>). Good
+morning!</p>
+
+<p class="indent">[JACOB <i>knocks at</i> VAS&Iacute;LY
+LEON&Iacute;DITCH'S <i>door.</i></p>
+
+<p class="indent">[GREGORY <i>enters.</i></p>
+
+<p class="hang"><i>Gregory</i>. Give it here.</p>
+
+<p class="hang"><i>Jacob</i>. You didn't bring back all yesterday's
+tumblers, nor the tray Vas&iacute;ly Leon&iacute;ditch had. And
+it's me that have to answer for them!</p>
+
+<p class="hang"><i>Gregory</i>. The tray is full of cigars.</p>
+
+<p class="hang"><i>Jacob</i>. Well, put them somewhere else. It's
+me who's answerable for it.</p>
+
+<p class="hang"><i>Gregory</i>. I'll bring it back! I'll bring it
+back!</p>
+
+<p class="hang"><i>Jacob</i>. Yes, so you say, but it is not where
+it ought to be. The other day, just as the tea had to be served, it
+was not to be found.</p>
+
+<p class="hang"><i>Gregory</i>. I'll bring it back, I tell you.
+What a fuss!</p>
+
+<p class="hang"><i>Jacob</i>. It's easy for you to talk. Here am I
+serving tea for the third time, and now there's the lunch to get
+ready. One does nothing but rush about the livelong day. Is there
+any one in the house who has more to do than me? Yet they are never
+satisfied with me.</p>
+
+<p class="hang"><i>Gregory</i>. Dear me! Who could wish for any one
+more satisfactory? You're such a fine fellow!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Nobody is good enough for you!
+You alone....</p>
+
+<p class="hang"><i>Gregory</i> (<i>to</i> T&Aacute;NYA). No one
+asked your opinion!</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Jacob</i>. Ah, well, I don't mind.
+Taty&aacute;na M&aacute;rkovna, did the mistress say anything about
+yesterday?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. About the lamp, you mean?</p>
+
+<p class="hang"><i>Jacob</i>. And how it managed to drop out of my
+hands, the Lord only knows! Just as I began rubbing it, and was
+going to take hold of it in another place, out it slips and goes
+all to pieces. It's just my luck! It's easy for that Gregory
+Mih&aacute;ylitch to talk&mdash;a single man like him! But when one
+has a family, one has to consider things: they have to be fed. I
+don't mind work.... So she didn't say anything? The Lord be
+thanked!... Oh, Theodore Iv&aacute;nitch, have you one spoon or
+two?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. One. Only one!</p>
+
+<p class="indent">[<i>Reads newspaper.</i></p>
+
+<p class="indent">[<i>Exit</i> JACOB.</p>
+
+<p class="indent">[<i>Bell rings. Enter</i> GREGORY <i>carrying a
+tray and the</i> DOORKEEPER.</p>
+
+<p class="hang"><i>Doorkeeper</i> (<i>to</i> GREGORY). Tell the
+master some peasants have come from the village.</p>
+
+<p class="hang"><i>Gregory</i> (<i>pointing to</i> THEODORE
+IV&Aacute;NITCH). Tell the major-domo here, it's his business. I
+have no time.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i>. Where are these peasants
+from?</p>
+
+<p class="hang"><i>Doorkeeper</i>. From Koursk, I think.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. (<i>shrieks with delight</i>).
+It's them.... It's Simon's father come about the land! I'll go and
+meet them!</p>
+
+<p class="indent">[<i>Runs off.</i></p>
+
+<p class="hang"><i>Doorkeeper</i>. Well, then what shall I say to
+them? Shall they come in here? They say they've come about the
+land&mdash;the master knows, they say.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Yes, they want to
+purchase some land. All right! But he has a visitor now, so you had
+better tell them to wait.</p>
+
+<p class="hang"><i>Doorkeeper</i>. Where shall they wait?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Let them wait
+outside. I'll send for them when the time comes.</p>
+
+<p class="indent">[<i>Exit</i> DOORKEEPER.</p>
+
+<p class="indent">[<i>Enter</i> T&Aacute;NYA, followed by three
+PEASANTS.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. To the right. In here! In
+here!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. I did not want
+them brought in here!</p>
+
+<p class="hang"><i>Gregory</i>. Forward minx!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Oh, Theodore Iv&aacute;nitch,
+it won't matter, they'll stand in this corner.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. They'll dirty the
+floor.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. They've scraped their shoes,
+and I'll wipe the floor up afterwards. (<i>To</i> PEASANTS.) Here,
+stand just here.</p>
+
+<p class="indent">[PEASANTS <i>come forward, carrying presents tied
+in cotton handkerchiefs: cake, eggs and embroidered towels. They
+look around for an ic&oacute;n before which to cross themselves;
+not finding one, they cross themselves, looking at the
+staircase.</i></p>
+
+<p class="hang"><i>Gregory</i> (<i>to</i> THEODORE
+IV&Aacute;NITCH). There now, Theodore Iv&aacute;nitch, they say
+Pironnet's boots are an elegant shape. But those there are ever so
+much better.</p>
+
+<p class="indent">[<i>Pointing to the third</i> PEASANT'S <i>bast
+shoes.</i></p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Why will you
+always be ridiculing people?</p>
+
+<p class="indent">[<i>Exit</i> GREGORY.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>rises and goes
+up to the</i> PEASANTS). So you are from Koursk? And have come to
+arrange about buying some land?</p>
+
+<p class="hang"><i>First Peasant</i>. Just so. We might say, it is
+for the completion of the purchase of the land we have come. How
+could we announce ourselves to the master?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Yes, yes, I know.
+You wait a bit and I'll go and inform him.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="indent">[<i>The</i> PEASANTS <i>look around; they are
+embarrassed where to put their presents.</i></p>
+
+<p class="hang"><i>First Peasant</i>. There now, couldn't we have
+what d'you call it? Something to present these here things on? To
+do it in a genteel way, like,&mdash;a little dish or something.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. All right, directly; put them
+down here for the present.</p>
+
+<p class="indent">[<i>Puts bundles on settle.</i></p>
+
+<p class="hang"><i>First Peasant</i>. There now,&mdash;that
+respectable gentleman that was here just now,&mdash;what might be
+his station?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. He's the master's valet.</p>
+
+<p class="hang"><i>First Peasant</i>. I see. So he's also in
+service. And you, now, are you a servant too?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. I am lady's-maid. Do you know,
+I also come from D&eacute;men! I know you, and you, but I don't
+know him.</p>
+
+<p class="indent">[<i>Pointing to third</i> PEASANT.</p>
+
+<p class="hang"><i>Third Peasant</i>. Them two you know, but me you
+don't know?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. You are Ef&iacute;m
+Ant&oacute;nitch.</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. And you are Simon's father,
+Zachary Trif&aacute;nitch.</p>
+
+<p class="hang"><i>Second Peasant</i>. Right!</p>
+
+<p class="hang"><i>Third Peasant</i>. And let me tell you, I'm
+Mitry Vl&aacute;sitch Tchilikin. Now do you know?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Now I shall know you too!</p>
+
+<p class="hang"><i>Second Peasant</i>. And who may you be?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. I am Aks&iacute;nya's, the
+soldier's wife's, orphan.</p>
+
+<p class="hang"><i>First and Third Peasants</i> (<i>with
+surprise</i>). Never!</p>
+
+<p class="hang"><i>Second Peasant</i>. The proverb says true: "Buy
+a penny pig, put it in the rye, And you'll have a wonderful fat
+porker by-and-by."</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it! She's got the
+resemblance of a duchess!</p>
+
+<p class="hang"><i>Third Peasant</i>. That be so truly. Oh
+Lord!</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i> (<i>off the
+scene, rings, and then shouts</i>). Gregory! Gregory!</p>
+
+<p class="hang"><i>First Peasant</i>. Now who's that, for example,
+disturbing himself in such a way, if I may say so?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. That's the young master.</p>
+
+<p class="hang"><i>Third Peasant</i>. Oh Lord! Didn't I say we'd
+better wait outside until the time comes?</p>
+
+<p class="indent">[<i>Silence.</i></p>
+
+<p class="hang"><i>Second Peasant</i>. Is it you, Simon wants to
+marry?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Why, has he been writing?</p>
+
+<p class="indent">[<i>Hides her face in her apron.</i></p>
+
+<p class="hang"><i>Second Peasant</i>. It's evident he's written!
+But it's a bad business he's imagined here. I see the lad's got
+spoilt!</p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>quickly</i>). No, he's not
+at all spoilt! Shall I send him to you?</p>
+
+<p class="hang"><i>Second Peasant</i>. Why send him? All in good
+time. Where's the hurry?</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>
+(<i>desperately, behind scene</i>). Gregory! Where the devil are
+you?...</p>
+
+<p class="indent">[<i>Enters from his room in shirt-sleeves,
+adjusting his pince-nez.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Is every
+one dead?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. He's not here, sir.... I'll
+send him to you at once.</p>
+
+<p class="indent">[<i>Moves towards the back door.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. I could
+hear you talking, you know. How have these scarecrows sprung up
+here? Eh? What?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. They're peasants from the
+Koursk village, sir.</p>
+
+<p class="indent">[PEASANTS <i>bow.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. And who is
+this? Oh yes, from Bourdier.</p>
+
+<p class="indent">[VAS&Iacute;LY LEON&Iacute;DITCH <i>pays no
+attention to the</i> PEASANTS' <i>bow.</i> T&Aacute;NYA
+<i>meets</i> GREGORY <i>at the doorway and remains on the
+scene.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i> (<i>to</i>
+GREGORY). I told you the other boots.... I can't wear these!</p>
+
+<p class="hang"><i>Gregory</i>. Well, the others are also
+there.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. But where
+is <i>there</i>?</p>
+
+<p class="hang"><i>Gregory</i>. Just in the same place!</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. They're
+not!</p>
+
+<p class="hang"><i>Gregory</i>. Well, come and see.</p>
+
+<p class="indent">[<i>Exeunt</i> GREGORY <i>and</i> VAS&Iacute;LY
+LEON&Iacute;DITCH.</p>
+
+<p class="hang"><i>Third Peasant</i>. Say, now, might we not in the
+meantime just go and wait, say, in some lodging-house or
+somewhere?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. No, no, wait a little. I'll go
+and bring you some plates to put the presents on.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="indent">[<i>Enter</i> SAH&Aacute;TOF <i>and</i>
+LEON&Iacute;D FY&Oacute;DORITCH, followed by THEODORE
+IV&Aacute;NITCH.</p>
+
+<p class="indent">[<i>The</i> PEASANTS <i>take up the presents, and
+pose themselves.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i> (<i>to</i>
+PEASANTS). Presently, presently! Wait a bit! (<i>Points to</i>
+PORTER.) Who is this?</p>
+
+<p class="hang"><i>Porter</i>. From Bourdey's.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Ah, from
+Bourdier.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i> (<i>smiling</i>). Well, I
+don't deny it: still you understand that, never having seen it, we,
+the uninitiated, have some difficulty in believing.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. You say you
+find it difficult to believe! We do not ask for faith; all we
+demand of you is to investigate! How can I help believing in this
+ring? Yet this ring came from there!</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. From <i>there?</i> What do
+you mean? From where?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. From the
+other world. Yes!</p>
+
+<p class="hang"><i>Sah&aacute;tof</i> (<i>smiling</i>). That's very
+interesting&mdash;very interesting!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Well,
+supposing we admit that I'm a man carried away by an idea, as you
+think, and that I am deluding myself. Well, but what of
+Alex&eacute;y Vlad&iacute;miritch Krougosv&eacute;tlof&mdash;he is
+not just an ordinary man, but a distinguished professor, and yet he
+admits it to be a fact. And not he alone. What of Crookes? What of
+Wallace?</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. But I don't deny anything. I
+only say it is very interesting. It would be interesting to know
+how Krougosv&eacute;tlof explains it!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. He has a
+theory of his own. Could you come to-night?&mdash;he is sure to be
+here. First we shall have Grossman&mdash;you know, the famous
+thought-reader?</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Yes, I have heard of him but
+have never happened to meet him.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Then you
+must come! We shall first have Grossman, then Kaptch&iacute;tch,
+and our mediumistic s&eacute;ance.... (<i>To</i> THEODORE
+IV&Aacute;NITCH.) Has the man returned from Kaptch&iacute;tch?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Not yet, sir.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Then how am I to know?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Never mind,
+come in any case! If Kaptchitch can't come we shall find our own
+medium. M&aacute;rya Ign&aacute;tievna is a medium&mdash;not such a
+good one as Kaptch&iacute;tch, but still....</p>
+
+<p class="indent">[T&Aacute;NYA <i>enters with plates for the
+presents, and stands listening.</i></p>
+
+<p class="hang"><i>Sah&aacute;tof</i> (<i>smiling</i>). Oh, yes,
+yes. But here is one puzzling point:&mdash;how is it that the
+mediums are always of the, so-called, educated class, such as
+Kaptch&iacute;tch and M&aacute;rya Ign&aacute;tievna? If there were
+such a special force, would it not be met with also among the
+common people&mdash;the peasants?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Oh yes, and
+it is! That is very common. Even here in our own house we have a
+peasant whom we discovered to be a medium. A few days ago we called
+him in&mdash;a sofa had to be moved, during a
+s&eacute;ance&mdash;and we forgot all about him. In all probability
+he fell asleep. And, fancy, after our s&eacute;ance was over and
+Kaptch&iacute;tch had come to again, we suddenly noticed
+mediumistic phenomena in another part of the room, near the
+peasant: the table gave a jerk and moved!</p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>aside</i>). That was when I
+was getting out from under it!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. It is quite
+evident he also is a medium. Especially as he is very like Home in
+appearance. You remember Home&mdash;a fair-haired na&iuml;f sort of
+fellow?</p>
+
+<p class="hang"><i>Sah&aacute;tof</i> (<i>shrugging his
+shoulders</i>). Dear me, this is very interesting, you know. I
+think you should try him.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. So we will!
+And he is not alone; there are thousands of mediums, only we do not
+know them. Why, only a short time ago a bedridden old woman moved a
+brick wall!</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Moved a brick ... a brick
+wall?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Yes, yes.
+She was lying in bed, and did not even know she was a medium. She
+just leant her arm against the wall, and the wall moved!</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. And did not cave in?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. And did not
+cave in.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Very strange! Well, then,
+I'll come this evening.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Pray, do.
+We shall have a s&eacute;ance in any case.</p>
+
+<p class="indent">[SAHATOF <i>puts on his outdoor things;</i>
+LEON&Iacute;D FY&Oacute;DORITCH <i>sees him to the door.</i></p>
+
+<p class="hang"><i>Porter</i> (<i>to</i> T&Aacute;NYA). Do tell
+your mistress! Am I to spend the night here?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Wait a little; she's going to
+drive out with the young lady, so she'll soon be coming
+downstairs.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i> (<i>comes up
+to the</i> PEASANTS, who bow and offer him their presents). That's
+not necessary!</p>
+
+<p class="hang"><i>First Peasant</i> (<i>smiling</i>). Oh, but
+this-here is our first duty, it is! It's also the Commune's orders
+that we should do it!</p>
+
+<p class="hang"><i>Second Peasant</i>. That's always been the
+proper way.</p>
+
+<p class="hang"><i>Third Peasant</i>. Say no more about it! 'Cause
+as we are much satisfied.... As our parents, let's say, served,
+let's say, your parents, so we would like the same with all our
+hearts ... and not just anyhow!</p>
+
+<p class="indent">[<i>Bows.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. But what is
+it about? What do you want?</p>
+
+<p class="hang"><i>First Peasant</i>. It's to your honor we've
+come....</p>
+
+<p class="indent">[<i>Enter</i> PETR&Iacute;STCHEF <i>briskly, in
+fur-lined overcoat.</i></p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. Is Vas&iacute;ly
+Leon&iacute;ditch awake yet?</p>
+
+<p class="indent">[<i>Seeing</i> LEON&Iacute;D FY&Oacute;DORITCH,
+<i>bows, moving only his head.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. You have
+come to see my son?</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. I? Yes, just to see Vovo
+for a moment.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Step in,
+step in.</p>
+
+<p class="indent">[PETR&Iacute;STCHEF <i>takes off his overcoat and
+walks in briskly. Exit.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i> (<i>to</i>
+PEASANTS). Well, what is it you want?</p>
+
+<p class="hang"><i>Second Peasant</i>. Please accept our
+presents!</p>
+
+<p class="hang"><i>First Peasant</i> (<i>smiling</i>). That's to
+say, the peasants' offerings.</p>
+
+<p class="hang"><i>Third Peasant</i>. Say no more about it; what's
+the good? We wish you the same as if you were our own father! Say
+no more about it!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. All right.
+Here, Theodore, take these.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>to</i>
+PEASANTS). Give them here.</p>
+
+<p class="indent">[<i>Takes the presents.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Well, what
+is the business?</p>
+
+<p class="hang"><i>First Peasant</i>. We've come to your
+honor....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. I see you
+have; but what do you want?</p>
+
+<p class="hang"><i>First Peasant</i>. It's about making a move
+towards completing the sale of the land. It comes to this....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Do you mean
+to buy the land?</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it. It comes to
+this.... I mean the buying of the property of the land. The Commune
+has given us, let's say, the power of atturning, to enter, let's
+say, as is lawful, through the Government bank, with a stamp for
+the lawful amount.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. You mean
+that you want to buy the land through the land-bank.</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it. Just as you
+offered it to us last year. It comes to this, then, the whole sum
+in full for the buying of the property of the land is 32,864
+roubles.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. That's all
+right, but how about paying up?</p>
+
+<p class="hang"><i>First Peasant</i>. As to the payment, the
+Commune offers just as it was said last year&mdash;to pay in
+'stalments, and your receipt of the ready money by lawful
+regulations, 4000 roubles in <a name="f2-r">full.</a>
+<sup><a href="#f2">2</a></sup></p>
+
+<p class="hang"><i>Second Peasant</i>. Take 4000 now, and wait for
+the rest of the money.</p>
+
+<p class="hang"><i>Third Peasant</i> (<i>unwrapping a parcel of
+money</i>). And about this be quite easy. We should pawn our own
+selves rather than do such a thing just anyhow say, but in this
+way, let's say, as it ought to be done.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. But did I
+not write and tell you that I should not agree to it unless you
+brought the whole sum?</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it. It would be
+more agreeable, but it is not in our possibilities, I mean.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Well then,
+the thing can't be done!</p>
+
+<p class="hang"><i>First Peasant</i>. The Commune, for example,
+relied its hopes on that, that you made the offer last year to sell
+it in easy 'stalments....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. That was
+last year. I would have agreed to it then, but now I can't.</p>
+
+<p class="hang"><i>Second Peasant</i>. But how's that? We've been
+depending on your promise&mdash;we've got the papers ready and have
+collected the money!</p>
+
+<p class="hang"><i>Third Peasant</i>. Be merciful, master! We're
+short of land; we'll say nothing about cattle, but even a hen,
+let's say, we've no room to keep. (<i>Bows</i>.) Don't wrong us,
+master!</p>
+
+<p class="indent">[<i>Bows.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Of course
+it's quite true, that I agreed last year to let you have the land
+for payment by instalments, but now circumstances are such that it
+would be inconvenient.</p>
+
+<p class="hang"><i>Second Peasant</i>. Without this land we cannot
+live!</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it. Without land
+our lives must grow weaker and come to a decline.</p>
+
+<p class="hang"><i>Third Peasant</i> (<i>bowing</i>). Master, we
+have so little land, let's not talk about the cattle, but even a
+chicken, let's say, we've no room for. Master, be merciful, accept
+the money, master!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>
+(<i>examining the document</i>). I quite understand, and should
+like to help you. Wait a little; I will give you an answer in
+half-an-hour.... Theodore, say I am engaged and am not to be
+disturbed.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Yes, sir.</p>
+
+<p class="indent">[<i>Exit</i> LEON&Iacute;D FYODORITCH.</p>
+
+<p class="indent">[<i>The</i> PEASANTS <i>look dejected.</i></p>
+
+<p class="hang"><i>Second Peasant</i>. Here's a go! "Give me the
+whole sum," he says. And where are we to get it from?</p>
+
+<p class="hang"><i>First Peasant</i>. If he had not given us hopes,
+for example. As it is we felt quite insured it would be as was said
+last year.</p>
+
+<p class="hang"><i>Third Peasant</i>. Oh, Lord! and I had begun
+unwrapping the money. (<i>Begins wrapping up the bundle of
+bank-notes again</i>.) What are we to do now?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. What is your
+business, then?</p>
+
+<p class="hang"><i>First Peasant</i>. Our business, respected sir,
+depends in this. Last year he made us the offer of our buying the
+land in 'stalments. The Commune entered upon these terms and gave
+us the powers of atturning, and now d'you see he makes the offering
+that we should pay the whole in full! And as it turns out, the
+business is no ways convenient for us.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. What is the whole
+sum?</p>
+
+<p class="hang"><i>First Peasant</i>. The whole sum in readiness is
+4000 roubles, you see.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Well, what of
+that? Make an effort and collect more.</p>
+
+<p class="hang"><i>First Peasant</i>. Such as it is, it was
+collected with much effort. We have, so to say, in this sense, not
+got ammunition enough.</p>
+
+<p class="hang"><i>Second Peasant</i>. You can't get blood out of a
+stone.</p>
+
+<p class="hang"><i>Third Peasant</i>. We'd be glad with all our
+hearts, but we have swept even this together, as you might say,
+with a broom.</p>
+
+<p class="indent">[VAS&Iacute;LY LEON&Iacute;DITCH <i>and</i>
+PETR&Iacute;STCHEF <i>appear in the doorway both smoking
+cigarettes.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. I have told
+you already I'll do my best, so, of course, I will do all that is
+possible! Eh, what?</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. You must just understand
+that if you do not get it, the devil only knows what a mess we
+shall be in!</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. But I've
+already said I'll do my best, and so I will. Eh, what?</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. Nothing. I only say, get
+some at any cost; I will wait.</p>
+
+<p class="indent">[<i>Exit into</i> VAS&Iacute;LY
+LEON&Iacute;DITCH'S <i>room, closing door.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i> (<i>waving
+his arm</i>). It's a deuce of a go!</p>
+
+<p class="indent">[<i>The</i> PEASANTS <i>bow.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i> (<i>looking
+at</i> PORTER, <i>to</i> THEODORE IV&Aacute;NITCH). Why don't you
+attend to this fellow from Bourdier? He hasn't come to take
+lodgings with us, has he? Just look, he is asleep! Eh, what?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. The note he
+brought has been sent in, and he has been told to wait until Anna
+P&aacute;vlovna comes down.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i> (<i>looks
+at</i> PEASANTS <i>and notices the money</i>). And what is this?
+Money? For whom? Is it for us? (<i>To</i> THEODORE
+IV&Aacute;NITCH.) Who are they?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. They are peasants
+from Koursk. They are buying land.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Has it been sold
+them?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. No, they have not
+yet come to any agreement. They are too stingy?</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Eh? Well,
+we must try and persuade them. (<i>To the</i> PEASANTS.) Here, I
+say, are you buying land? Eh?</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it. We have made
+an offering as how we should like to acquire the possession of the
+land.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Then you
+should not be so stingy, you know. Just let me tell you how
+necessary land is to peasants! Eh, what? It's very necessary, isn't
+it?</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it. The land
+appears as the very first and foremost necessity to a peasant.
+That's just it.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Then why be
+so stingy? Just you think what land is! Why, one can sow wheat on
+it in rows! I tell you, you could get eighty bushels of wheat, at a
+rouble and a half a bushel&mdash;that would be 120 roubles. Eh,
+what? Or else mint! I tell you, you could collar 400 roubles off an
+acre by sowing mint!</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it. All sorts of
+products one could put into action if one had the right
+understanding.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Mint!
+Decidedly mint! I have learnt about it, you know. It's all printed
+in books. I can show them you. Eh, what?</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it, all concerns
+are clearer to you through your books. That's learnedness, of
+course.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Then pay up
+and don't be stingy! (<i>To</i> THEODORE IV&Aacute;NITCH.) Where's
+papa?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. He gave orders not
+to be disturbed just now.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Oh, I
+suppose he's consulting a spirit whether to sell the land or not?
+Eh, what?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. I can't say. All I
+know is that be went away undecided about it.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. What d'you
+think, Theodore Iv&aacute;nitch, is he flush of cash? Eh, what?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. I don't know. I
+hardly think so. But what does it matter to you? You drew a good
+sum not more than a week ago.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. But didn't
+I pay for those dogs? And now, you know, there's our new Society,
+and Petr&iacute;stchef has been chosen, and I had borrowed money
+from Petr&iacute;stchef and must pay the subscription both for him
+and for myself. Eh, what?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. And what is this
+new Society? A Cycling Club?</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. No. Just
+let me tell you. It is quite a new Society. It is a very serious
+Society, you know. And who do you think is President? Eh, what?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. What's the object
+of this new Society?</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. It is a
+"Society to Promote the Breeding of Pure-Bred Russian Hounds." Eh,
+what? And I'll tell you, they're having the first meeting and a
+lunch, to-day. And I've no money. I'll go to him and have a
+try!</p>
+
+<p class="indent">[<i>Exit through study door.</i></p>
+
+<p class="hang"><i>First Peasant</i> (<i>to</i> THEODORE
+IV&Aacute;NITCH). And who might he be, respected sir?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>smiles</i>).
+The young master.</p>
+
+<p class="hang"><i>Third Peasant</i>. The heir, so to say. Oh,
+Lord! (<i>Puts away the money</i>.) I'd better hide it
+meanwhile.</p>
+
+<p class="hang"><i>First Peasant</i>. And we were told he was in
+military service, in the cav'rely, for example.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. No, as an only son
+he is exempt from military service.</p>
+
+<p class="hang"><i>Third Peasant</i>. Left for to keep his parents,
+so to say! That's right!</p>
+
+<p class="hang"><i>Second Peasant</i> (<i>shaking his head</i>).
+He's the right sort. He'll feed them finely!</p>
+
+<p class="hang"><i>Third Peasant</i>. Oh, Lord!</p>
+
+<p class="indent">[<i>Enter</i> VAS&Iacute;LY LEON&Iacute;DITCH,
+followed by LEON&Iacute;D FY&Oacute;DORITCH.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. That's
+always the way. It's really surprising! First I'm asked why I have
+no occupation, and now when I have found a field and am occupied,
+when a Society with serious and noble aims has been founded, I
+can't even have 300 roubles to go on with!...</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. I tell you
+I can't do it, and I can't! I haven't got it.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Why, you
+have just sold some land.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. In the
+first place I have not sold it! And above all, do leave me in
+peace! Weren't you told I was engaged?</p>
+
+<p class="indent">[<i>Exit, slamming door.</i></p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. I told you this
+was not the right moment.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Well, I
+say! Here's a position to be in! I'll go and see mamma&mdash;that's
+my only hope. He's going crazy over his spiritualism and forgets
+everything else.</p>
+
+<p class="indent">[<i>Goes upstairs.</i></p>
+
+<p class="indent">[THEODORE IV&Aacute;NITCH <i>takes newspaper and
+is just going to sit down, when</i> BETSY <i>and</i> M&Aacute;RYA
+KONSTANT&Iacute;NOVNA, followed by GREGORY, <i>come down the
+stairs.</i></p>
+
+<p class="hang"><i>Betsy</i>. Is the carriage ready?</p>
+
+<p class="hang"><i>Gregory</i>. Just coming to the door.</p>
+
+<p class="hang"><i>Betsy</i> (<i>to</i> M&Aacute;RYA
+KONSTANT&Iacute;NOVNA). Come along, come along, I know it is
+he.</p>
+
+<p class="hang"><i>M&aacute;rya Konstant&iacute;novna</i>. Which
+he?</p>
+
+<p class="hang"><i>Betsy</i>. You know very well whom I
+mean&mdash;Petr&iacute;stchef, of course.</p>
+
+<p class="hang"><i>M&aacute;rya Konstant&iacute;novna</i>. But
+where is he?</p>
+
+<p class="hang"><i>Betsy</i>. Sitting in Vovo's room. You'll
+see!</p>
+
+<p class="hang"><i>M&aacute;rya Konstant&iacute;novna</i>. And
+suppose it is not he?</p>
+
+<p class="indent">[<i>The</i> PEASANTS <i>and</i> PORTER
+<i>bow.</i></p>
+
+<p class="hang"><i>Betsy</i> (<i>to</i> PORTER). You brought a
+dress from Bourdier's?</p>
+
+<p class="hang"><i>Porter</i>. Yes, Miss. May I go?</p>
+
+<p class="hang"><i>Betsy</i>. Well, I don't know. Ask my
+mother.</p>
+
+<p class="hang"><i>Porter</i>. I don't know whose it is, Miss; I
+was ordered to bring it here and receive the money.</p>
+
+<p class="hang"><i>Betsy</i>. Well, then, wait.</p>
+
+<p class="hang"><i>M&aacute;rya Konstant&iacute;novna</i>. Is it
+still that costume for the charade?</p>
+
+<p class="hang"><i>Betsy</i>. Yes, a charming costume. But mamma
+won't take it or pay for it.</p>
+
+<p class="hang"><i>M&aacute;rya Konstant&iacute;novna</i>. But why
+not?</p>
+
+<p class="hang"><i>Betsy</i>. You'd better ask mamma. She doesn't
+grudge Vovo 500 roubles for his dogs, but 100 is too much for a
+dress. I can't act dressed like a scarecrow. (<i>Pointing to</i>
+PEASANTS.) And who are these?</p>
+
+<p class="hang"><i>Gregory</i>. Peasants who have come to buy some
+land or other.</p>
+
+<p class="hang"><i>Betsy</i>. And I thought they were the beaters.
+Are you not beaters?</p>
+
+<p class="hang"><i>First Peasant</i>. No, no, lady. We have come to
+see Leon&iacute;d Fy&oacute;doritch about the signing into our
+possession of the title-deeds to some land.</p>
+
+<p class="hang"><i>Betsy</i>. Then how is it? Vovo was expecting
+some beaters who were to come to-day. Are you sure you are not the
+beaters? (<i>The</i> PEASANTS <i>are silent</i>.) How stupid they
+are! (<i>Goes to</i> VAS&Iacute;LY LEON&Iacute;DITCH'S
+<i>door</i>.) Vovo?</p>
+
+<p class="indent">[<i>Laughs.</i></p>
+
+<p class="hang"><i>M&aacute;rya Konstant&iacute;novna</i>. But we
+met him just now upstairs!</p>
+
+<p class="hang"><i>Betsy</i>. Why need you remember that? Vovo, are
+you there?</p>
+
+<p class="indent">[PETR&Iacute;STCHEF <i>enters.</i></p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. Vovo is not here, but I
+am prepared to fulfil on his behalf anything that may be required.
+How do you do? How do you do, M&aacute;rya
+Konstant&iacute;novna?</p>
+
+<p class="indent">[<i>Shakes hands long and violently with</i>
+BETSY, <i>and then with</i> M&Aacute;RYA KONSTANT&Iacute;NOVNA.</p>
+
+<p class="hang"><i>Second Peasant</i>. See, it's as if he were
+pumping water!</p>
+
+<p class="hang"><i>Betsy</i>. You can't replace him,&mdash;still
+you're better than nobody. (<i>Laughs</i>.) What are these affairs
+of yours with Vovo?</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. What affairs? Our
+affairs are fie-nancial that is, our business is fie! It's also
+nancial, and besides it is financial.</p>
+
+<p class="hang"><i>Betsy</i>. What does nancial mean?</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. What a question! It
+means nothing, that's just the point.</p>
+
+<p class="hang"><i>Betsy</i>. No, no, you have missed fire.</p>
+
+<p class="indent">[<i>Laughs.</i></p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. One can't always hit the
+mark, you know. It's something like a lottery. Blanks and blanks
+again, and at last you win!</p>
+
+<p class="indent">[THEODORE IV&Aacute;NITCH <i>goes into the
+study.</i></p>
+
+<p class="hang"><i>Betsy</i>. Well, this was blank then; but tell
+me, were you at the Merg&aacute;sofs' last night?</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. Not exactly at the
+<i>M&egrave;re</i> G&aacute;sof's, but rather at the
+<i>P&egrave;re</i> G&aacute;sof's, or better still, at the
+<i>Fils</i> G&aacute;sof's.</p>
+
+<p class="hang"><i>Betsy</i>. You can't do without puns. It's an
+illness. And were the <a name="f3-r">Gypsies there?</a>
+<sup><a href="#f3">3</a></sup></p>
+
+<p class="indent">[<i>Laughs.</i></p>
+
+<p class="hang"><i>Petr&iacute;stchef</i> (<i>sings</i>). "On their
+aprons silken threads, little birds with golden heads!"....</p>
+
+<p class="hang"><i>Betsy</i>. Happy mortals! And we were yawning at
+Fofo's.</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i> (<i>continues to
+sing</i>). "And she promised and she swore, she would ope' her ...
+her ... her...." how does it go on, M&aacute;rya
+Konstant&iacute;novna?</p>
+
+<p class="hang"><i>M&aacute;rya Konstant&iacute;novna</i>. "Closet
+door."</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. How? What? How,
+M&aacute;rya Konstant&iacute;novna?</p>
+
+<p class="hang"><i>Betsy</i>. <i>Cessez, vous devenez
+<a name="f4-r">impossible!</a></i>
+<sup><a href="#f4">4</a></sup></p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. <i>J'ai cess&eacute;,
+j'ai b&eacute;b&eacute;, <a name="f5-r">j'ai
+d&eacute;d&eacute;....</a></i><sup><a href="#f5">5</a></sup></p>
+
+<p class="hang"><i>Betsy</i>. I see the only way to rid ourselves
+of your wit is to make you sing! Let us go into Vovo's room, his
+guitar is there. Come, M&aacute;rya Konstant&iacute;novna,
+come!</p>
+
+<p class="indent">[<i>Exeunt</i> BETSY, M&Aacute;RYA
+KONSTANT&Iacute;NOVNA, <i>and</i> PETR&Iacute;STCHEF.</p>
+
+<p class="hang"><i>First Peasant</i>. Who be they?</p>
+
+<p class="hang"><i>Gregory</i>. One is our young lady, the other is
+a girl who teaches her music.</p>
+
+<p class="hang"><i>First Peasant</i>. Administrates learning, so to
+say. And ain't she smart? A reg'lar picture!</p>
+
+<p class="hang"><i>Second Peasant</i>. Why don't they marry her?
+She is old enough, I should say.</p>
+
+<p class="hang"><i>Gregory</i>. Do you think it's the same as among
+you peasants,&mdash;marry at fifteen?</p>
+
+<p class="hang"><i>First Peasant</i>. And that man, for example, is
+he also in the musitional line?</p>
+
+<p class="hang"><i>Gregory</i> (<i>mimicking him</i>).
+"Musitional," indeed! You don't understand anything!</p>
+
+<p class="hang"><i>First Peasant.</i> That's just so. And
+stupidity, one might say, is our ignorance.</p>
+
+<p class="hang"><i>Third Peasant.</i> Oh, Lord!</p>
+
+<p class="indent">[<i>Gypsy songs and guitar accompaniment are
+heard from</i> VAS&Iacute;LY LEON&Iacute;DITCH'S <i>room.</i></p>
+
+<p class="indent">[<i>Enter</i> SIMON, <i>followed by</i>
+T&Aacute;NYA, <i>who watches the meeting between father and
+son.</i></p>
+
+<p class="hang"><i>Gregory</i> (<i>to</i> SIMON). What do you
+want?</p>
+
+<p class="hang"><i>Simon</i>. I have been to Mr.
+Kaptch&iacute;tch.</p>
+
+<p class="hang"><i>Gregory</i>. Well, and what's the answer?</p>
+
+<p class="hang"><i>Simon</i>. He sent word he couldn't possibly
+come to-night.</p>
+
+<p class="hang"><i>Gregory</i>. All right, I'll let them know.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Simon</i> (<i>to his father</i>). How d'you do,
+father! My respects to Daddy Ef&iacute;m and Daddy M&iacute;try!
+How are all at home?</p>
+
+<p class="hang"><i>Second Peasant</i>. Very well, Simon.</p>
+
+<p class="hang"><i>First Peasant</i>. How d'you do, lad?</p>
+
+<p class="hang"><i>Third Peasant</i>. How d'you do, sonny?</p>
+
+<p class="hang"><i>Simon</i> (<i>smiles</i>). Well, come along,
+father, and have some tea.</p>
+
+<p class="hang"><i>Second Peasant</i>. Wait till we've finished our
+business. Don't you see we are not ready yet?</p>
+
+<p class="hang"><i>Simon</i>. Well, I'll wait for you by the
+porch.</p>
+
+<p class="indent">[<i>Wishes to go away.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>running after him</i>). I
+say, why didn't you tell him anything?</p>
+
+<p class="hang"><i>Simon</i>. How could I before all those people?
+Give me time, I'll tell him over our tea.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="indent">[THEODORE IV&Aacute;NITCH <i>enters and sits down
+by the window.</i></p>
+
+<p class="hang"><i>First Peasant</i>. Respected sir, how's our
+business proceeding?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Wait a bit, he'll
+be out presently, he's just finishing.</p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>to</i> THEODORE
+IV&Aacute;NITCH). And how do you know, Theodore Iv&aacute;nitch, he
+is finishing?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. I know that when
+he has finished questioning, he reads the question and answer
+aloud.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Can one really talk with
+spirits by means of a saucer?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. It seems so.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. But supposing they tell him to
+sign, will he sign?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Of course he
+will.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. But they do not speak with
+words?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Oh, yes. By means
+of the alphabet. He notices at which letter the saucer stops.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Yes, but at a si-ance?....</p>
+
+<p class="indent">[<i>Enter</i> LEON&Iacute;D
+FY&Oacute;DORITCH.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Well,
+friends, I can't do it! I should be very glad to, but it is quite
+impossible. If it were for ready money it would be a different
+matter.</p>
+
+<p class="hang"><i>First Peasant</i>. That's just so. What more
+could any one desire? But the people are so inpennycuous&mdash;it
+is quite impossible!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Well, I
+can't do it, I really can't. Here is your document; I can't sign
+it.</p>
+
+<p class="hang"><i>Third Peasant</i>. Show some pity, master; be
+merciful!</p>
+
+<p class="hang"><i>Second Peasant</i>. How can you act so? It is
+doing us a wrong.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Nothing
+wrong about it, friends. I offered it you in summer, but then you
+did not agree; and now I can't agree to it.</p>
+
+<p class="hang"><i>Third Peasant</i>. Master, be merciful! How are
+we to get along? We have so little land. We'll say nothing about
+the cattle; a hen, let's say, there's no room to let a hen run
+about.</p>
+
+<p class="indent">[LEON&Iacute;D FY&Oacute;DORITCH <i>goes up to
+the door and stops. Enter, descending the staircase,</i> ANNA
+P&Aacute;VLOVNA <i>and</i> DOCTOR, <i>followed by</i> VAS&Iacute;LY
+LEON&Iacute;DITCH, <i>who is in a merry and playful mood and is
+putting some bank-notes into his purse.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>tightly laced, and
+wearing a bonnet</i>). Then I am to take it?</p>
+
+<p class="hang"><i>Doctor</i>. If the symptoms recur you must
+certainly take it, but above all, you must behave better. How can
+you expect thick syrup to pass through a thin little hair tube,
+especially when we squeeze the tube? It's impossible; and so it is
+with the biliary duct. It's simple enough.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. All right, all
+right!</p>
+
+<p class="hang"><i>Doctor</i>. Yes. "All right, all right," and you
+go on in the same old way. It won't do, madam&mdash;it won't do.
+Well, good-bye!</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. No, not good-bye, only
+<i>au revoir!</i> For I still expect you to-night. I shall not be
+able to make up my mind without you.</p>
+
+<p class="hang"><i>Doctor</i>. All right, if I have time I'll pop
+in.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>noticing the</i>
+PEASANTS). What's this? What? What people are these?</p>
+
+<p class="indent">[PEASANTS <i>bow.</i></p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. These are peasants
+from Koursk, come to see Leon&iacute;d Fy&oacute;doritch about the
+sale of some land.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. I see they are
+peasants, but who let them in?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>.
+Leon&iacute;d Fy&oacute;doritch gave the order. He has just been
+speaking to them about the sale of the land.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. What sale? There is no
+need to sell any. But above all, how can one let in people from the
+street into the house? One can't let people in from the street! One
+can't let people into the house who have spent the night heaven
+knows where!... (<i>Getting more and more excited</i>.) I daresay
+every fold of their clothes is full of microbes&mdash;of
+scarlet-fever microbes, of smallpox microbes, of diphtheria
+microbes! Why, they are from Koursk Government, where there is an
+epidemic of diphtheria ... Doctor! Doctor! Call the doctor
+back!</p>
+
+<p class="indent">[LEON&Iacute;D FY&Oacute;DORITCH <i>goes into his
+room and shuts the door.</i> GREGORY <i>goes to recall the</i>
+DOCTOR.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i> (<i>smokes
+at the</i> PEASANTS). Never mind, mamma; if you like I'll fumigate
+them so that all the microbes will go to pot! Eh, what?</p>
+
+<p class="indent">[ANNA P&Aacute;VLOVNA <i>remains severely silent,
+awaiting the</i> DOCTOR'S <i>return.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i> (<i>to</i>
+PEASANTS). And do you fatten pigs? There's a first-rate
+business!</p>
+
+<p class="hang"><i>First Peasant</i>. That's just so. We do go in
+for the pig-fattening line now and then.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. This
+kind?...</p>
+
+<p class="indent">[<i>Grunts like a pig.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Vovo, Vovo, leave
+off!</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Isn't it
+like? Eh, what?</p>
+
+<p class="hang"><i>First Peasant</i>. That's just so. It's very
+resemblant.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Vovo, leave off, I
+tell you!</p>
+
+<p class="hang"><i>Second Peasant</i>. What's it all about?</p>
+
+<p class="hang"><i>Third Peasant</i>. I said, we'd better go to
+some lodging meanwhile!</p>
+
+<p class="indent">[<i>Enter</i> DOCTOR <i>and</i> GREGORY.</p>
+
+<p class="hang"><i>Doctor</i>. What's the matter? What's
+happened?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Why, you're always
+saying I must not get excited. Now, how is it possible to keep
+calm? I do not see my own sister for two months, and am careful
+about any doubtful visitor&mdash;and here are people from Koursk,
+straight from Koursk, where there is an epidemic of diphtheria,
+right in my house!</p>
+
+<p class="hang"><i>Doctor</i>. These good fellows you mean, I
+suppose?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Of course. Straight
+from a diphtheric place!</p>
+
+<p class="hang"><i>Doctor</i>. Well, of course, if they come from
+an infected place it is rash; but still there is no reason to
+excite yourself so much about it.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. But don't you yourself
+advise carefulness?</p>
+
+<p class="hang"><i>Doctor</i>. Of course, of course. Still, why
+excite yourself?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. How can I help it? Now
+we shall have to have the house completely disinfected.</p>
+
+<p class="hang"><i>Doctor</i>. Oh, no! Why completely? That would
+cost 300 roubles or more. I'll arrange it cheaply and well for you.
+Take, to a large bottle of water....</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Boiled?</p>
+
+<p class="hang"><i>Doctor</i>. It's all the same. Boiled would be
+better. To one bottle of water take a tablespoon of salicylic acid,
+and have everything they have come in contact with washed with the
+solution. As to the fellows themselves, they must be off, of
+course. That's all. Then you're quite safe. And it would do no harm
+to sprinkle some of the same solution through a spray&mdash;two or
+three tumblers&mdash;you'll see how well it will act. No danger
+whatever.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. T&aacute;nya! Where is
+T&aacute;nya?</p>
+
+<p class="indent">[<i>Enter</i> T&Aacute;NYA.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Did you call, M'm?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. You know that big
+bottle in my dressing-room?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Out of which we sprinkled the
+laundress yesterday?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Well, of course! What
+other bottle could I mean? Well, then, take that bottle and first
+wash with soap the place where they have been standing, and then
+with....</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Yes, M'm; I know how.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. And then take the
+spray.... However, I had better do that myself when I get back.</p>
+
+<p class="hang"><i>Doctor</i>. Well, then, do so, and don't be
+afraid! Well, <i>au revoir</i> till this evening.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. And they must be off!
+Not a trace of them must remain! Get out, get out! Go&mdash;what
+are you looking at?</p>
+
+<p class="hang"><i>First Peasant</i>. That's just so. It's because
+of our stupidity, as we were instructed....</p>
+
+<p class="hang"><i>Gregory</i> (<i>pushes the</i> PEASANTS
+<i>out</i>). There, there; be off!</p>
+
+<p class="hang"><i>Second Peasant</i>. Let me have my handkerchief
+back!</p>
+
+<p class="indent">[<i>The handkerchief in which the presents were
+wrapped.</i></p>
+
+<p class="hang"><i>Third Peasant</i>. Oh, Lord, oh, Lord! didn't I
+say&mdash;some lodging-house meanwhile!</p>
+
+<p class="indent">[GREGORY <i>pushes him out. Exeunt</i>
+PEASANTS.</p>
+
+<p class="hang"><i>Porter</i> (<i>who has repeatedly tried to say
+something</i>).&mdash;Will there be any answer?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Ah, from Bourdier?
+(<i>Excitedly</i>.) None! None! You can take it back. I told her I
+never ordered such a costume, and I will not allow my daughter to
+wear it!</p>
+
+<p class="hang"><i>Porter</i>. I know nothing about it. I was
+sent....</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Go, go, take it back!
+I will call myself about it!</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>
+(<i>solemnly</i>). Sir Messenger from Bourdier, depart!</p>
+
+<p class="hang"><i>Porter</i>. I might have been told that long
+ago. I have sat here nearly five hours!</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Ambassador
+from Bourdier, begone!</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Cease, please!</p>
+
+<p class="indent">[<i>Exit</i> PORTER.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Betsy! Where is she? I
+always have to wait for her.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i> (<i>shouting
+at the top of his voice</i>). Betsy! Petr&iacute;stchef! Come
+quick, quick, quick! Eh? What?</p>
+
+<p class="indent">[<i>Enter</i> PETR&Iacute;STCHEF, BETSY,
+<i>and</i> M&Aacute;RYA KONSTANT&Iacute;NOVNA.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. You always keep one
+waiting!</p>
+
+<p class="hang"><i>Betsy</i>. On the contrary, I was waiting for
+you!</p>
+
+<p class="indent">[PETR&Iacute;STCHEF <i>bows with his head only,
+then kisses</i> ANNA P&Aacute;VLOVNA'S <i>hand.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. How d'you do!
+(<i>To</i> BETSY.) You always have an answer ready!</p>
+
+<p class="hang"><i>Betsy</i>. If you are upset, mamma, I had better
+not go.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Are we going or
+not?</p>
+
+<p class="hang"><i>Betsy</i>. Well, let us go; it can't be
+helped.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Did you see the man
+from Bourdier?</p>
+
+<p class="hang"><i>Betsy</i>. Yes, and I was very glad. I ordered
+the costume, and am going to wear it when it is paid for.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. I am not going to pay
+for a costume that is indecent!</p>
+
+<p class="hang"><i>Betsy</i>. Why has it become indecent? First it
+was decent, and now you have a fit of prudery.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Not prudery at all! If
+the bodice were completely altered, then it would do.</p>
+
+<p class="hang"><i>Betsy</i>. Mamma, that is quite impossible.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Well, get dressed.</p>
+
+<p class="indent">[<i>They sit down.</i> GREGORY <i>puts on their
+over-shoes for them.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>.
+M&aacute;rya Konstant&iacute;novna, do you notice a vacuum in the
+hall?</p>
+
+<p class="hang"><i>M&aacute;rya Konstant&iacute;novna</i>. What is
+it?</p>
+
+<p class="indent">[<i>Laughs in anticipation.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Bourdier's
+man has gone! Eh, what? Good, eh?</p>
+
+<p class="indent">[<i>Laughs loudly.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Well, let us go.
+(<i>Goes out of the door, but returns at once</i>.)
+T&aacute;nya!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Yes, M'm?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Don't let Frisk catch
+cold while I am away. If she wants to be let out, put on her little
+yellow cloak. She is not quite well to-day.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Yes, M'm.</p>
+
+<p class="indent">[<i>Exeunt</i> ANNA P&Aacute;VLOVNA, BETSY,
+<i>and</i> GREGORY.</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. Well, have you got
+it?</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Not without
+trouble, I can tell you! First I rushed at the gov'nor; he began to
+bellow and turned me out. Off to the mater&mdash;I got it out of
+her. It's here! (<i>Slaps his breast pocket</i>.) If once I make up
+my mind, there's no getting away from me. I have a deadly grip! Eh,
+what? And d'you know, my wolf-hounds are coming to-day.</p>
+
+<p class="indent">[PETR&Iacute;STCHEF <i>and</i> VAS&Iacute;LY
+LEON&Iacute;DITCH <i>put on their outdoor things and go out.</i>
+T&Aacute;NYA <i>follows.</i></p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>alone</i>).
+Yes, nothing but unpleasantness. How is it they can't live in
+peace? But one must say the new generation are not&mdash;the thing.
+And as to the women's dominion!... Why, Leon&iacute;d
+Fy&oacute;doritch just now was going to put in a word, but seeing
+what a frenzy she was in&mdash;slammed the door behind him. He is a
+wonderfully kind-hearted man. Yes, wonderfully kind. What's this?
+Here's T&aacute;nya bringing them back again!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Come in, come in, grand-dads,
+never mind!</p>
+
+<p class="indent">[<i>Enter</i> T&Aacute;NYA <i>and the</i>
+PEASANTS.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Why have you
+brought them back?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Well, Theodore
+Iv&aacute;nitch, we must do something about their business. I shall
+have to wash the place anyhow.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. But the business
+will not come off, I see that already.</p>
+
+<p class="hang"><i>First Peasant</i>. How could we best put our
+affair into action, respected sir? Your reverence might take a
+little trouble over it, and we should give you full thankings from
+the Commune for your trouble.</p>
+
+<p class="hang"><i>Third Peasant</i>. Do try, honey! We can't live!
+We have so little land. Talk of cattle&mdash;why, we have no room
+to keep a hen!</p>
+
+<p class="indent">[<i>They bow.</i></p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. I am sorry for
+you, friends, but I can't think of any way to help you. I
+understand your case very well, but he has refused. So what can one
+do? Besides, the lady is also against it. Well, give me your
+papers&mdash;I'll try and see what I can do, but I hardly hope to
+succeed.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="indent">[T&Aacute;NYA <i>and the three</i> PEASANTS
+<i>sigh.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i>. But tell me, grand-dads, what
+is it that is wanted?</p>
+
+<p class="hang"><i>First Peasant</i>. Why, only that he should put
+his signature to our document.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. That the master should sign?
+Is that all?</p>
+
+<p class="hang"><i>First Peasant</i>. Yes, only lay his signature
+on the deed and take the money, and there would be an end of the
+matter.</p>
+
+<p class="hang"><i>Third Peasant</i>. He only has to write and
+sign, as the peasants, let's say, desire, so, let's say, I also
+desire. That's the whole affair&mdash;if he'd only take it and sign
+it, it's all done.</p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>considering</i>). He need
+only sign the paper and it's done?</p>
+
+<p class="hang"><i>First Peasant</i>. That's just so. The whole
+matter is in dependence on that, and nothing else. Let him sign,
+and we ask no more.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Just wait and see what
+Theodore Iv&aacute;nitch will say. If he cannot persuade the
+master, I'll try something.</p>
+
+<p class="hang"><i>First Peasant</i>. Get round him, will you?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. I'll try.</p>
+
+<p class="hang"><i>Third Peasant</i>. Ay, the lass is going to
+bestir herself. Only get the thing settled, and the Commune will
+bind itself to keep you all your life. See there, now!</p>
+
+<p class="hang"><i>First Peasant</i>. If the affair can be put into
+action, truly we might put her in a gold frame.</p>
+
+<p class="hang"><i>Second Peasant</i>. That goes without
+saying!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. I can't promise for certain,
+but as the saying is: "An attempt is no sin, if you try...."</p>
+
+<p class="hang"><i>First Peasant</i>. "You may win." That's just
+so.</p>
+
+<p class="indent">[<i>Enter</i> THEODORE IV&Aacute;NITCH.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. No, friends, it's
+no go! He has not done it, and he won't do it. Here, take your
+document. You may go.</p>
+
+<p class="hang"><i>First Peasant</i> (<i>gives</i> T&Aacute;NYA
+<i>the paper</i>). Then it's on you we pin all our reliance, for
+example.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Yes, yes! You go into the
+street, and I'll run out to you in a minute and have a word with
+you.</p>
+
+<p class="indent">[<i>Exeunt</i> PEASANTS.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Theodore Iv&aacute;nitch, dear
+Theodore Iv&aacute;nitch, ask the master to come out and speak to
+me for a moment. I have something to say to him.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. What next?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. I must, Theodore
+Iv&aacute;nitch. Ask him, do; there's nothing wrong about it, on my
+sacred word.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. But what do you
+want with him?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. That's a little secret. I will
+tell you later on, only ask him.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>smiling</i>). I
+can't think what you are up to! All right, I'll go and ask him.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i>. I'll do it! Didn't he say
+himself that there is that power in Simon? And I know how to
+manage. No one found me out that time, and now I'll teach Simon
+what to do. If it doesn't succeed it's no great matter. After all
+it's not a sin.</p>
+
+<p class="indent">[<i>Enter</i> LEON&Iacute;D FY&Oacute;DORITCH,
+<i>followed by</i> THEODORE IV&Aacute;NITCH.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>
+(<i>smiling</i>). Is this the petitioner? Well, what is your
+business?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. It's a little secret,
+Leon&iacute;d Fy&oacute;doritch; let me tell it you alone.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. What is it?
+Theodore, leave us for a minute.</p>
+
+<p class="indent">[<i>Exit</i> THEODORE IV&Aacute;NITCH.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. As I have grown up and lived
+in your house, Leon&iacute;d Fy&oacute;doritch, and as I am very
+grateful to you for everything, I shall open my heart to you as to
+a father. Simon, who is living in your house, wants to marry
+me.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. So that's
+it!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. I open my heart to you as to a
+father! I have no one to advise me, being an orphan.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Well, and
+why not? He seems a nice lad.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Yes, that's true. He would be
+all right; there is only one thing I have my doubts about. It's
+something about him that I have noticed and can't make out ...
+perhaps it is something bad.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. What is it?
+Does he drink?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. God forbid! But since I know
+that there is such a thing as spiritalism....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Ah, you
+know that?</p>
+
+<p class="hang"><i>T&aacute;nya.</i> Of course! I understand it very well.
+Some, of course, through ignorance, don't understand it.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Well, what
+then?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. I am very much afraid for
+Simon. It does happen to him.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. What
+happens to him?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Something of a kind like
+spiritalism. You ask any of the servants. As soon as he gets drowsy
+at the table, the table begins to tremble, and creak like that:
+<i>tuke,</i> ... <i>tuke!</i> All the servants have heard it.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Why, it's
+the very thing I was saying to Serg&eacute;y Iv&aacute;nitch this
+morning! Yes?...</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Or else ... when was it?...
+Oh, yes, last Wednesday. We sat down to dinner, and the spoon just
+jumps into his hand of itself!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Ah, that is
+interesting! Jumps into his hand? When he was drowsing?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. That I didn't notice. I think
+he was, though.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Yes?...</p>
+
+<p class="hang"><i>T&aacute;nya</i>. And that's what I'm afraid of,
+and what I wanted to ask you about. May not some harm come of it?
+To live one's life together, and him having such a thing in
+him!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>
+(<i>smiling</i>). No, you need not be afraid, there is nothing bad
+in that. It only proves him to be a <i>medium</i>&mdash;simply a
+medium. I knew him to be a medium before this.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. So that's what it is! And I
+was afraid!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. No, there's
+nothing to be afraid of. (<i>Aside</i>.) That's capital!
+Kaptch&iacute;tch can't come, so we will test him to-night....
+(<i>To</i> T&Aacute;NYA.) No, my dear, don't be afraid, he will be
+a good husband and ... that is only a kind of special power, and
+every one has it, only in some it is weaker and in others
+stronger.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Thank you, sir. Now I shan't
+think any more about it; but I was so frightened.... What a thing
+it is, our want of education!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. No, no,
+don't be frightened.... Theodore!</p>
+
+<p class="indent">[<i>Enter</i> THEODORE IV&Aacute;NITCH.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. I am going
+out now. Get everything ready for to-night's s&eacute;ance.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. But Mr.
+Kaptch&iacute;tch is not coming.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. That does
+not matter. (<i>Puts on overcoat</i>.) We shall have a trial
+s&eacute;ance with our own medium.</p>
+
+<p class="indent">[<i>Exit.</i> THEODORE IV&Aacute;NITCH <i>goes
+out with him.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>alone</i>). He believes it!
+He believes it! (<i>Shrieks and jumps with joy</i>.) He really
+believes it! Isn't it wonderful! (<i>Shrieks</i>.) Now I'll do it,
+if only Simon has pluck for it!</p>
+
+<p class="indent">[THEODORE IV&Aacute;NITCH <i>returns.</i></p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Well, have you
+told him your secret?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. I'll tell you, too, only later
+on.... But I have a favor to ask of you, too, Theodore
+Iv&aacute;nitch.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Yes? What is
+it?</p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>shyly</i>). You have been a
+second father to me, and I will open my heart before you as before
+God.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Don't beat about
+the bush, but come straight to the point.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. The point is ... well, the
+point is, that Simon wants to marry me.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Is that it? I
+thought I noticed....</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Well, why should I hide it? I
+am an orphan, and you know yourself how matters are in these town
+establishments. Every one comes bothering; there's that Gregory
+Mih&aacute;ylitch, for instance, he gives me no peace. And also
+that other one ... you know. They think I have no soul, and am only
+here for their amusement.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Good girl, that's
+right! Well, what then?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Well, Simon wrote to his
+father; and he, his father, sees me to-day, and says: "He's
+spoilt"&mdash;he means his son. Theodore Iv&aacute;nitch
+(<i>bows</i>), take the place of a father to me, speak to the old
+man,&mdash;to Simon's father! I could take them into the kitchen,
+and you might come in and speak to the old man!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>smiling</i>).
+Then I am to turn match-maker&mdash;am I? Well, I can do that.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Theodore Iv&aacute;nitch,
+dearest, be a father to me, and I'll pray for you all my life
+long.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. All right, all
+right, I'll come later on. Haven't I promised?</p>
+
+<p class="indent">[<i>Takes up newspaper.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i>. You are a second father to
+me!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. All right, all
+right.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Then I'll rely on you.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>alone, shaking
+his head</i>). A good affectionate girl. To think that so many like
+her perish! Get but once into trouble and she'll go from hand to
+hand until she sinks into the mire, and can never be found again!
+There was that dear little Nataly. She, too, was a good girl,
+reared and cared for by a mother. (<i>Takes up paper</i>.) Well,
+let's see what tricks Ferdinand is up to in Bulgaria.</p>
+
+<p class="hang">CURTAIN</p>
+
+<h3>ACT II</h3>
+
+<p class="hang"><i>Evening of the same day. The scene represents
+the interior of the servants' kitchen. The</i> PEASANTS <i>have
+taken off their outer garments and sit drinking tea at the table,
+and perspiring.</i> THEODORE IV&Aacute;NITCH <i>is smoking a cigar
+at the other side of the stage. The discharged</i> COOK <i>is lying
+on the brick oven, and is unseen during the early part of the
+scene.</i></p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. My advice is,
+don't hinder him! If it's his wish and hers, in Heaven's name, let
+him do it. She is a good, honest girl. Never mind her being a bit
+dressy; she can't help that, living in town: she is a good girl all
+the same.</p>
+
+<p class="hang"><i>Second Peasant</i>. Well, of course, if it is
+his wish, let him! <i>He'll</i> have to live with her, not me. But
+she's certainly uncommon spruce. How's one to take her into one's
+hut? Why, she'll not let her mother-in-law so much as pat her on
+the head.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. That does not
+depend on the spruceness, but on character. If her nature is good,
+she's sure to be docile and respectful.</p>
+
+<p class="hang"><i>Second Peasant</i>. Ah, well, we'll have her if
+the lad's bent on having her. After all, it's a bad job to live
+with one as one don't care for. I'll consult my missus, and then
+may Heaven bless them!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Then let's shake
+hands on it!</p>
+
+<p class="hang"><i>Second Peasant</i>. Well, it seems it will have
+to come off.</p>
+
+<p class="hang"><i>First Peasant</i>. Eh, Zachary! fortune's
+a-smiling on you! You've come to accomplish a piece of business,
+and just see what a duchess of a daughter-in-law you've obtained.
+All that's left to be done is to have a drink on it, and then it
+will be all in order.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. That's not at all
+necessary.</p>
+
+<p class="indent">[<i>An awkward silence.</i></p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. I know something
+of your way of life, too, you know. I am even thinking of
+purchasing a bit of land, building a cottage, and working on the
+land myself somewhere; maybe in your neighborhood.</p>
+
+<p class="hang"><i>Second Peasant</i>. A very good thing, too.</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it. When one has
+got the money one can get all kinds of pleasure in the country.</p>
+
+<p class="hang"><i>Third Peasant</i>. Say no more about it! Country
+life let's say, is freer in every way, not like the town!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. There now, would
+you let me join your Commune if I settled among you?</p>
+
+<p class="hang"><i>Second Peasant</i>. Why not? If you stand drink
+for the Elders, they'll accept you soon enough!</p>
+
+<p class="hang"><i>First Peasant</i>. And if you open a
+public-house, for example, or an inn, why, you'd have such a life
+you'd never need to die! You might live like a king, and no
+mistake.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Well, we'll see. I
+should certainly like to have a few quiet years in my old age.
+Though my life here is good enough, and I should be sorry to leave.
+Leon&iacute;d Fy&oacute;doritch is an exceedingly kind-hearted
+man.</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it. But how about
+our business? Is it possible that he is going to leave it without
+any termination?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. He'd do it
+willingly.</p>
+
+<p class="hang"><i>Second Peasant</i>. It seems he's afraid of his
+wife.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. It's not that he's
+afraid, but they don't hit things off together.</p>
+
+<p class="hang"><i>Third Peasant</i>. But you should try, father!
+How are we to live else? We've so little land....</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. We'll see what
+comes of T&aacute;nya's attempt. She's taken the business into her
+hands now!</p>
+
+<p class="hang"><i>Third Peasant</i> (<i>takes a sip of tea</i>).
+Father, be merciful. We've so little land. A hen, let's say, we've
+no room for a hen, let alone the cattle.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. If the business
+depended on me.... (<i>To</i> SECOND PEASANT.) Well, friend, so
+we've done our bit of match-making! It's agreed then about
+T&aacute;nya?</p>
+
+<p class="hang"><i>Second Peasant</i>. I've given my word, and I'll
+not go back on it without a good reason. If only our business
+succeeds!</p>
+
+<p class="indent">[<i>Enter</i> SERVANTS' COOK, <i>who looks up at
+the oven, makes a sign, and then begins to speak animatedly to</i>
+THEODORE IV&Aacute;NITCH.</p>
+
+<p class="hang"><i>Servants' Cook</i>. Just now Simon was called
+upstairs from the front kitchen! The master and that other
+bald-headed one who calls up spirits with him, ordered him to sit
+down and take the place of Kaptch&iacute;tch!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. You don't say
+so!</p>
+
+<p class="hang"><i>Servants' Cook</i>. Yes, Jacob told
+T&aacute;nya.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Extraordinary!</p>
+
+<p class="indent">[<i>Enter</i> COACHMAN.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. What do you
+want?</p>
+
+<p class="hang"><i>Coachman</i> (<i>to</i> THEODORE
+IV&Aacute;NITCH). You may just tell them I never agreed to live
+with a lot of dogs! Let any one who likes do it, but I will never
+agree to live among dogs!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. What dogs?</p>
+
+<p class="hang"><i>Coachman</i>. Three dogs have been sent into our
+room by Vas&iacute;ly Leon&iacute;ditch! They've messed it all
+over. They're whining, and if one comes near them they
+bite&mdash;the devils! They'd tear you to pieces if you didn't
+mind. I've a good mind to take a club and smash their legs for
+them!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. But when did they
+come?</p>
+
+<p class="hang"><i>Coachman</i>. Why, to-day, from the Dog Show;
+the devil knows what kind they are, but they're an expensive sort.
+Are we or the dogs to live in the coachmen's quarters? You just go
+and ask!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Yes, that will
+never do. I'll go and ask about it.</p>
+
+<p class="hang"><i>Coachman</i>. They'd better be brought here to
+Louk&eacute;rya.</p>
+
+<p class="hang"><i>Servants' Cook</i> (<i>angrily</i>). People have
+to eat here, and you'd like to lock dogs in here! As it is....</p>
+
+<p class="hang"><i>Coachman</i>. And I've got the liveries, and the
+sledge-covers and the harness there, and they expect things kept
+clean! Perhaps the porter's lodge might do.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. I must ask
+Vas&iacute;ly Leon&iacute;ditch.</p>
+
+<p class="hang"><i>Coachman</i> (<i>angrily</i>). He'd better hang
+the brutes round his neck and lug them about with him! But no fear:
+he'd rather ride on horseback himself. It's he as spoilt. Beauty
+without rhyme or reason. That was a horse!... Oh, dear! what a
+life!</p>
+
+<p class="indent">[<i>Exit, slamming door.</i></p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. That's not right!
+Certainly not right! (<i>To</i> PEASANTS.) Well, then, it's time we
+were saying good-bye, friends.</p>
+
+<p class="hang"><i>Peasants</i>. Good-bye!</p>
+
+<p class="indent">[<i>Exit</i> THEODORE IV&Aacute;NITCH.</p>
+
+<p class="indent">[<i>As soon as he is gone a sound of groaning is
+heard from the top of the oven.</i></p>
+
+<p class="hang"><i>Second Peasant</i>. He's sleek, that one; looks
+like a general.</p>
+
+<p class="hang"><i>Servants' Cook</i>. Rather! Why he has a room
+all to himself; he gets his washing, his tea and sugar, and food
+from the master's table.</p>
+
+<p class="hang"><i>Discharged Cook</i> (<i>on the oven</i>). Why
+shouldn't the old beggar live well? He's lined his pockets all
+right!</p>
+
+<p class="hang"><i>Second Peasant</i>. Who's that up there, on the
+oven?</p>
+
+<p class="hang"><i>Servants' Cook</i>. Oh, it's only a man.</p>
+
+<p class="indent">[<i>Silence.</i></p>
+
+<p class="hang"><i>First Peasant</i>. Well, and you, too, as I
+noticed a while since when you were supping, have capital food to
+eat.</p>
+
+<p class="hang"><i>Servants' Cook</i>. We can't complain. She's not
+mean about the food. We have wheat bread every Sunday, and fish
+when a holiday happens to be a fast-day, too, and those who like
+may eat meat.</p>
+
+<p class="hang"><i>Second Peasant</i>. And does any one tuck into
+flesh on fast-days?</p>
+
+<p class="hang"><i>Servants' Cook</i>. Oh, they nearly all do! Only
+the old coachman&mdash;not the one who was here just now but the
+old one&mdash;and Simon, and I and the housekeeper, fast&mdash;all
+the others eat meat.</p>
+
+<p class="hang"><i>Second Peasant</i>. And the master himself?</p>
+
+<p class="hang"><i>Servants' Cook</i>. Catch him! Why, I bet he's
+forgotten there is such a thing as fasting!</p>
+
+<p class="hang"><i>Third Peasant</i>. Oh, Lord!</p>
+
+<p class="hang"><i>First Peasant</i>. That's the gentlefolks' way:
+they have got it all out of their books. 'Cos of their intelex!</p>
+
+<p class="hang"><i>Third Peasant</i>. Shouldn't wonder if they feed
+on wheat bread every day!</p>
+
+<p class="hang"><i>Servants' Cook</i>. Wheat bread, indeed! Much
+they think of wheat bread! You should see what food they eat. No
+end of different things!</p>
+
+<p class="hang"><i>First Peasant</i>. In course gentlefolks' food
+is of an airial kind.</p>
+
+<p class="hang"><i>Servants' Cook</i>. Airial, of course, but all
+the same they're good at stuffing themselves, they are!</p>
+
+<p class="hang"><i>First Peasant</i>. Have healthy appekites, so to
+say.</p>
+
+<p class="hang"><i>Servants' Cook</i>. 'Cos they always rinse it
+down! All with sweet wines, and spirits, and fizzy liquors. They
+have a different one to suit every kind of food. They eat and rinse
+it down, and eat and rinse it down, they do.</p>
+
+<p class="hang"><i>First Peasant</i>. And so the food's floated
+down in proportion, so to say.</p>
+
+<p class="hang"><i>Servants' Cook</i>. Ah, yes, they are good at
+stuffing! It's awful! You see, it's not just sitting down, eating,
+then saying grace and going away&mdash;they're always at it!</p>
+
+<p class="hang"><i>Second Peasant</i>. Like pigs with their feet in
+the trough!</p>
+
+<p class="indent">[<i>Peasants laugh.</i></p>
+
+<p class="hang"><i>Servants' Cook</i>. As soon as, by God's grace,
+they have opened their eyes, the samov&aacute;r is brought
+in&mdash;tea, coffee, chocolate. Hardly is the second
+samov&aacute;r emptied, a third has to be set. Then lunch, then
+dinner, then again coffee. They've hardly left off, then comes tea,
+and all sorts of tit-bits and sweetmeats&mdash;there's never an end
+to it! They even lie in bed and eat!</p>
+
+<p class="hang"><i>Third Peasant</i>. There now; that's good.</p>
+
+<p class="indent">[<i>Laughs.</i></p>
+
+<p class="hang"><i>First and Second Peasants</i>. What are you
+about?</p>
+
+<p class="hang"><i>Third Peasant</i>. If I could only live a single
+day like that!</p>
+
+<p class="hang"><i>Second Peasant</i>. But when do they do their
+work?</p>
+
+<p class="hang"><i>Servants' Cook</i>. Work indeed! What is their
+work? Cards and piano&mdash;that's all their work. The young lady
+used to sit down to the piano as soon as she opened her eyes, and
+off she'd go! And that other one who lives here, the teacher,
+stands and waits. "When will the piano be free?" When one has
+finished, off rattles the other, and sometimes they'd put two
+pianos near one another and four of 'em would bust out at once.
+Bust out in such a manner, you could hear 'em down here!</p>
+
+<p class="hang"><i>Third Peasant</i>. Oh, Lord!</p>
+
+<p class="hang"><i>Servants' Cook</i>. Well, and that's all the
+work they do! Piano or cards! As soon as they have met
+together&mdash;cards, wine, smoking, and so on, all night long. And
+as soon as they are up: eating again!</p>
+
+<p class="indent">[<i>Enter</i> SIMON.</p>
+
+<p class="hang"><i>Simon</i>. Hope you're enjoying your tea!</p>
+
+<p class="hang"><i>First Peasant</i>. Come and join us.</p>
+
+<p class="hang"><i>Simon</i>. (<i>comes up to the table</i>). Thank
+you kindly.</p>
+
+<p class="indent">[<i>First</i> PEASANT <i>pours out a cup of tea
+for him.</i></p>
+
+<p class="hang"><i>Second Peasant</i>. Where have you been?</p>
+
+<p class="hang"><i>Simon</i>. Upstairs.</p>
+
+<p class="hang"><i>Second Peasant</i>. Well, and what was being
+done there?</p>
+
+<p class="hang"><i>Simon</i>. Why, I couldn't make it out at all! I
+don't know how to explain it.</p>
+
+<p class="hang"><i>Second Peasant</i>. But what was it?</p>
+
+<p class="hang"><i>Simon</i>. I can't explain it. They have been
+trying some kind of strength in me. I can't make it out.
+T&aacute;nya says, "Do it, and we'll get the land for our peasants;
+he'll sell it them."</p>
+
+<p class="hang"><i>Second Peasant</i>. But how is she going to
+manage it?</p>
+
+<p class="hang"><i>Simon</i>. I can't make it out, and she won't
+say. She says, "Do as I tell you," and that's all.</p>
+
+<p class="hang"><i>Second Peasant</i>. But what is it you have to
+do?</p>
+
+<p class="hang"><i>Simon</i>. Nothing just now. They made me sit
+down, put out the lights and told me to sleep. And T&aacute;nya had
+hidden herself there. They didn't see her, but I did.</p>
+
+<p class="hang"><i>Second Peasant</i>. Why? What for?</p>
+
+<p class="hang"><i>Simon</i>. The Lord only knows&mdash;I can't
+make it out.</p>
+
+<p class="hang"><i>First Peasant</i>. Naturally, it is for the
+distraction of time.</p>
+
+<p class="hang"><i>Second Peasant</i>. Well, it's clear you and I
+can make nothing of it. You had better tell me whether you have
+taken all your wages yet.</p>
+
+<p class="hang"><i>Simon</i>. No, I've not drawn any. I have
+twenty-eight roubles to the good, I think.</p>
+
+<p class="hang"><i>Second Peasant</i>. That's all right! Well, if
+God grants that we get the land, I'll take you home, Simon.</p>
+
+<p class="hang"><i>Simon</i>. With all my heart!</p>
+
+<p class="hang"><i>Second Peasant</i>. You've got spoilt, I should
+say. You'll not want to plough?</p>
+
+<p class="hang"><i>Simon</i>. Plough? Only give me the chance!
+Plough or mow,&mdash;I'm game. Those are things one doesn't
+forget.</p>
+
+<p class="hang"><i>First Peasant</i>. But it don't seem very
+desirous after town life, for example? Eh!</p>
+
+<p class="hang"><i>Simon</i>. It's good enough for me. One can live
+in the country, too.</p>
+
+<p class="hang"><i>First Peasant</i>. And Daddy M&iacute;try here
+is already on the look-out for your place; he's hankering after a
+life of luckshury!</p>
+
+<p class="hang"><i>Simon</i>. Eh, Daddy M&iacute;try, you'd soon
+get sick of it. It seems easy enough when one looks at it, but
+there's a lot of running about that takes it out of one.</p>
+
+<p class="hang"><i>Servants' Cook</i>. You should see one of their
+balls, Daddy M&iacute;try, then you would be surprised!</p>
+
+<p class="hang"><i>Third Peasant</i>. Why, do they eat all the
+time?</p>
+
+<p class="hang"><i>Servants' Cook</i>. My eye! You should have seen
+what we had here awhile ago. Theodore Iv&aacute;nitch took me
+upstairs and I peeped in. The ladies&mdash;awful! Dressed up!
+Dressed up, bless my heart, and all bare down to here, and their
+arms bare.</p>
+
+<p class="hang"><i>Third Peasant</i>. Oh, Lord!</p>
+
+<p class="hang"><i>Second Peasant</i>. Faugh! How beastly!</p>
+
+<p class="hang"><i>First Peasant</i>. I take it the climate allows
+of that sort of thing!</p>
+
+<p class="hang"><i>Servants' Cook</i>. Well, daddy, so I peeped in.
+Dear me, what it was like! All of 'em in their natural skins! Would
+you believe it: old women&mdash;our mistress, only think, she's a
+grandmother, and even she'd gone and bared her shoulders.</p>
+
+<p class="hang"><i>Third Peasant</i>. Oh, Lord!</p>
+
+<p class="hang"><i>Servants' Cook</i>. And what next? The music
+strikes up, and each man of 'em went up to his own, catches hold of
+her, and off they go twirling round and round!</p>
+
+<p class="hang"><i>Second Peasant</i>. The old women, too?</p>
+
+<p class="hang"><i>Servants' Cook</i>. Yes, the old ones, too.</p>
+
+<p class="hang"><i>Simon</i>. No, the old ones sit still.</p>
+
+<p class="hang"><i>Servants' Cook</i>. Get along,&mdash;I've seen
+it myself!</p>
+
+<p class="hang"><i>Simon</i>. No, they don't.</p>
+
+<p class="hang"><i>Discharged Cook</i> (<i>in a hoarse voice,
+looking down from the oven</i>). That's the Polka-Mazurka. You
+fools don't understand what dancing is. The way they dance....</p>
+
+<p class="hang"><i>Servants' Cook</i>. Shut up, you dancer! And
+keep quiet&mdash;there's some one coming.</p>
+
+<p class="indent">[<i>Enter</i> GREGORY<i>; old</i> COOK <i>hides
+hurriedly.</i></p>
+
+<p class="hang"><i>Gregory</i> (<i>to</i> SERVANTS' COOK). Bring
+some sour cabbage.</p>
+
+<p class="hang"><i>Servants' Cook</i>. I am only just up from the
+cellar, and now I must go down again! Who is it for?</p>
+
+<p class="hang"><i>Gregory</i>. For the young ladies. Be quick, and
+send it up with Simon. I can't wait!</p>
+
+<p class="hang"><i>Servants' Cook</i>. There now, they tuck into
+sweetmeats till they are full up, and then they crave for sour
+cabbage!</p>
+
+<p class="hang"><i>First Peasant</i>. That's to make a
+clearance.</p>
+
+<p class="hang"><i>Servants' Cook</i>. Of course, and as soon as
+there is room inside, they begin again!</p>
+
+<p class="indent">[<i>Takes basin, and exit.</i></p>
+
+<p class="hang"><i>Gregory</i> (<i>at</i> PEASANTS). Look at them,
+how they've established themselves down here! Mind, if the mistress
+finds it out she'll give it you hot, like she did this morning!</p>
+
+<p class="indent">[<i>Exit, laughing.</i></p>
+
+<p class="hang"><i>First Peasant</i>. That's just it, she did raise
+a storm that time&mdash;awful!</p>
+
+<p class="hang"><i>Second Peasant</i>. That time it looked as if
+the master was going to step in, but seeing that the missus was
+about to blow the very roof off the house, he slams the door. Have
+your own way, thinks he.</p>
+
+<p class="hang"><i>Third Peasant</i> (<i>waving his arm</i>). It's
+the same everywhere. My old woman, let's say, she kicks up such a
+rumpus sometimes&mdash;it's just awful! Then I just get out of the
+hut. Let her go to Jericho! She'll give you one with the poker if
+you don't mind. Oh, Lord!</p>
+
+<p class="indent">[JACOB <i>enters hurriedly with a
+prescription.</i></p>
+
+<p class="hang"><i>Jacob</i>. Here, Simon, you run to the chemist's
+and get these powders for the mistress!</p>
+
+<p class="hang"><i>Simon</i>. But master told me not to go out.</p>
+
+<p class="hang"><i>Jacob</i>. You've plenty of time; your business
+won't begin till after their tea. Hope you are enjoying your
+tea!</p>
+
+<p class="hang"><i>First Peasant</i>. Thanks, come and join us.</p>
+
+<p class="indent">[<i>Exit</i> SIMON.</p>
+
+<p class="hang"><i>Jacob</i>. I haven't time. However, I'll just
+have one cup for company's sake.</p>
+
+<p class="hang"><i>First Peasant</i>. And we've just been having a
+conversation as to how your mistress carried on so haughty this
+morning.</p>
+
+<p class="hang"><i>Jacob</i>. Oh, she's a reg'lar fury! So
+hot-tempered, that she gets quite beside herself. Sometimes she
+even bursts out crying.</p>
+
+<p class="hang"><i>First Peasant</i>. Now, there's a thing I wanted
+to ask you about. What, for example, be these mikerots she was
+illuding to erewhile? "They've infested the house with mikerots,
+with mikerots," she says. What is one to make of these same
+mikerots?</p>
+
+<p class="hang"><i>Jacob</i>. Mikerogues, you mean! Well, it seems
+there is such a kind of bugs; all illnesses come from them, they
+say. So she says there are some of 'em on you. After you were gone,
+they washed and washed and sprinkled the place where you had stood.
+There's a kind of physic as kills these same bugs, they say.
+<i>Second Peasant</i>. Then where have we got these bugs on us?</p>
+
+<p class="hang"><i>Jacob</i> (<i>drinking his tea</i>). Why, they
+say they're so small that one can't see 'em even through a
+glass.</p>
+
+<p class="hang"><i>Second Peasant</i>. Then how does she know I've
+got 'em on me? Perhaps there's more of that muck on her than on
+me!</p>
+
+<p class="hang"><i>Jacob</i>. There now, you go and ask her!</p>
+
+<p class="hang"><i>Second Peasant</i>. I believe it's humbug.</p>
+
+<p class="hang"><i>Jacob</i>. Of course it's bosh. The doctors must
+invent something, or else what are they paid for? There's one comes
+to us every day. Comes,&mdash;talks a bit,&mdash;and pockets ten
+roubles!</p>
+
+<p class="hang"><i>Second Peasant</i>. Nonsense!</p>
+
+<p class="hang"><i>Jacob</i>. Why, there's one as takes a
+hundred!</p>
+
+<p class="hang"><i>First Peasant</i>. A hundred? Humbug!</p>
+
+<p class="hang"><i>Jacob</i>. A hundred. Humbug, you say? Why, if
+he has to go out of town, he'll not do it for less than a thousand!
+"Give a thousand," he says, "or else you may kick the bucket for
+what I care!"</p>
+
+<p class="hang"><i>Third Peasant</i>. Oh, Lord!</p>
+
+<p class="hang"><i>Second Peasant</i>. Then does he know some
+charm?</p>
+
+<p class="hang"><i>Jacob</i>. I suppose he must. I served at a
+General's outside Moscow once: a cross, terrible proud old fellow
+he was&mdash;just awful. Well, this General's daughter fell ill.
+They send for that doctor at once. "A thousand roubles, then I'll
+come." Well, they agreed, and he came. Then they did something or
+other he didn't like, and he bawled out at the General and says,
+"Is this the way you show your respect for me? Then I'll not attend
+her!" And, oh, my! The old General forgot all his pride, and starts
+wheedling him in every way not to chuck up the job!</p>
+
+<p class="hang"><i>First Peasant</i>. And he got the thousand?</p>
+
+<p class="hang"><i>Jacob</i>. Of course!</p>
+
+<p class="hang"><i>Second Peasant</i>. That's easy got money. What
+wouldn't a peasant do with such a sum!</p>
+
+<p class="hang"><i>Third Peasant</i>. And I think it's all bosh.
+That time my foot was festering I had it doctored ever so long. I
+spent nigh on five roubles on it,&mdash;then I gave up doctoring,
+and it got all right!</p>
+
+<p class="indent">[DISCHARGED COOK <i>on the oven coughs.</i></p>
+
+<p class="hang"><i>Jacob</i>. Ah, the old crony is here again!</p>
+
+<p class="hang"><i>First Peasant</i>. Who might that man be?</p>
+
+<p class="hang"><i>Jacob</i>. He used to be our master's cook. He
+comes to see Louk&eacute;rya.</p>
+
+<p class="hang"><i>First Peasant</i>. Kitchen-master, as one might
+say. Then, does he live here?</p>
+
+<p class="hang"><i>Jacob</i>. No, they won't allow that. He's here
+one day, there another. If he's got a copper he goes to a
+dosshouse; but when he has drunk all, he comes here.</p>
+
+<p class="hang"><i>Second Peasant</i>. How did he come to this?</p>
+
+<p class="hang"><i>Jacob</i>. Simply grew weak. And what a man he
+used to be&mdash;like a gentleman! Went about with a gold watch;
+got forty roubles a month wages. And now look at him! He'd have
+starved to death long ago if it hadn't been for
+Louk&eacute;rya.</p>
+
+<p class="indent">[<i>Enter</i> SERVANTS' COOK <i>with the sour
+cabbage.</i></p>
+
+<p class="hang"><i>Jacob</i> (<i>to</i> SERVANTS' COOK). I see
+you've got Paul Petr&oacute;vitch here again?</p>
+
+<p class="hang"><i>Servants' Cook</i>. And where's he to go to? Is
+he to go and freeze?</p>
+
+<p class="hang"><i>Third Peasant</i>. What liquor does.... Liquor,
+let's say....</p>
+
+<p class="indent">[<i>Clicks his tongue sympathetically.</i></p>
+
+<p class="hang"><i>Second Peasant</i>. Of course. A firm man's firm
+as a rock; a weak man's weaker than water.</p>
+
+<p class="hang"><i>Discharged Cook</i> (<i>gets off the oven with
+trembling hands and legs</i>). Louk&eacute;rya, I say, give us a
+drop!</p>
+
+<p class="hang"><i>Servants' Cook</i>. What are you up to? I'll
+give you such a drop!...</p>
+
+<p class="hang"><i>Discharged Cook</i>. Have you no conscience? I'm
+dying! Brothers, a copper....</p>
+
+<p class="hang"><i>Servants' Cook</i>. Get back on the oven, I tell
+you!</p>
+
+<p class="hang"><i>Discharged Cook</i>. Half a glass only, cook,
+for Heaven's sake! I say, do you understand? I ask you in the name
+of Heaven, now!</p>
+
+<p class="hang"><i>Servants' Cook</i>. Come along, here's some tea
+for you.</p>
+
+<p class="hang"><i>Discharged Cook</i>. Tea; what is tea? Weak,
+sloppy stuff. A little v&oacute;dka&mdash;just one little drop....
+Louk&eacute;rya!</p>
+
+<p class="hang"><i>Third Peasant</i>. Poor old soul, what agony it
+is!</p>
+
+<p class="hang"><i>Second Peasant</i>. You'd better give him
+some.</p>
+
+<p class="hang"><i>Servants' Cook</i> (<i>gets out a bottle and
+fills a wine-glass</i>). Here you are; you'll get no more.</p>
+
+<p class="hang"><i>Discharged Cook</i> (<i>clutches hold of it and
+drinks, trembling all over</i>). Louk&eacute;rya, Cook! I am
+drinking, and you must understand....</p>
+
+<p class="hang"><i>Servants' Cook</i>. Now, then, stop your
+chatter! Get on to the oven, and let not a breath of you be
+heard!</p>
+
+<p class="indent">[<i>The old</i> COOK <i>meekly begins to climb
+up, muttering something to himself.</i></p>
+
+<p class="hang"><i>Second Peasant</i>. What it is, when a man gives
+way to his weakness!</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it&mdash;human
+weakness.</p>
+
+<p class="hang"><i>Third Peasant</i>. That goes without saying.</p>
+
+<p class="indent">[<i>The</i> DISCHARGED COOK <i>settles down,
+muttering all the time.</i></p>
+
+<p class="indent">[<i>Silence.</i></p>
+
+<p class="hang"><i>Second Peasant</i>. I want to ask you something:
+that girl of Aks&iacute;nya's as comes from our village and is
+living here. How is she? What is she like? How is she
+living&mdash;I mean, does she live honest?</p>
+
+<p class="hang"><i>Jacob</i>. She's a nice girl; one can say
+nothing but good of her.</p>
+
+<p class="hang"><i>Servants' Cook</i>. I'll tell you straight,
+daddy; I know this here establishment out and out, and if you mean
+to have T&aacute;nya for your son's wife&mdash;be quick about it,
+before she comes to grief, or else she'll not escape!</p>
+
+<p class="hang"><i>Jacob</i>. Yes, that's true. A while ago we had
+a girl here, Nataly. She was a good girl too. And she was lost
+without rhyme or reason. No better than that chap!</p>
+
+<p class="indent">[<i>Pointing to the old</i> COOK.</p>
+
+<p class="hang"><i>Servants' Cook</i>. There's enough to dam a
+mill-pool, with the likes of us, as perish! 'Cos why, every one is
+tempted by the easy life and the good food. And see there,&mdash;as
+soon as one has tasted the good food she goes and slips. And once
+she's slipped, they don't want her, but get a fresh one in her
+place. So it was with dear little Nataly; she also slipped, and
+they turned her out. She had a child and fell ill, and died in the
+hospital last spring. And what a girl she used to be!</p>
+
+<p class="hang"><i>Third Peasant</i>. Oh, Lord! People are weak;
+they ought to be pitied.</p>
+
+<p class="hang"><i>Discharged Cook</i>. Those devils pity? No fear!
+(<i>He hangs his legs down from the oven</i>.) I have stood
+roasting myself by the kitchen range for thirty years, and now that
+I am not wanted, I may go and die like a dog.... Pity
+indeed!...</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it. It's the old
+circumstances.</p>
+
+<p class="hang"><i>Second Peasant</i>.</p>
+
+<p class="follow">While they drank and they fed, you were "curly
+head."<br>
+ When they'd finished the prog, 'twas "Get out, mangy dog!"</p>
+
+<p class="hang"><i>Third Peasant</i>. Oh Lord!</p>
+
+<p class="hang"><i>Discharged Cook</i>. Much you know. What is
+"Sautey a la Bongmont"? What is "Bavassary"? Oh, the things I could
+make! Think of it! The Emperor tasted my work, and now the devils
+want me no longer. But I am not going to stand it!</p>
+
+<p class="hang"><i>Servants' Cook</i>. Now, then, stop that noise,
+mind.... Get up right into the corner, so that no one can see you,
+or else Theodore Iv&aacute;nitch or some one may come in, and both
+you and me'll be turned out!</p>
+
+<p class="indent">[<i>Silence.</i></p>
+
+<p class="hang"><i>Jacob</i>. And do you know my part of the
+country? I'm from Voznes&eacute;nsky.</p>
+
+<p class="hang"><i>Second Peasant</i>. Not know it? Why, it's no
+more'n ten miles from our village; not <i>that</i> across the ford!
+Do you cultivate any land there?</p>
+
+<p class="hang"><i>Jacob</i>. My brother does, and I send my wages.
+Though I live here, I am dying for a sight of home.</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it.</p>
+
+<p class="hang"><i>Second Peasant</i>. Then An&iacute;sim is your
+brother?</p>
+
+<p class="hang"><i>Jacob</i>. Own brother. He lives at the farther
+end of the village.</p>
+
+<p class="hang"><i>Second Peasant</i>. Of course, I know; his is
+the third house.</p>
+
+<p class="indent">[<i>Enter</i> T&Aacute;NYA, running.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Jacob, what are you doing,
+amusing yourself here? She is calling you!</p>
+
+<p class="hang"><i>Jacob</i>. I'm coming; but what's up?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Frisk is barking; it's hungry.
+And she's scolding you. "How cruel he is," she says. "He's no
+feeling," she says. "It's long past Frisk's dinner-time, and he has
+not brought her food!"</p>
+
+<p class="indent">[<i>Laughs.</i></p>
+
+<p class="hang"><i>Jacob</i> (<i>rises to go</i>). Oh, she's cross?
+What's going to happen now, I wonder?</p>
+
+<p class="hang"><i>Servants' Cook</i>. Here, take the cabbage with
+you.</p>
+
+<p class="hang"><i>Jacob</i>. All right, give it here.</p>
+
+<p class="indent">[<i>Takes basin, and exit.</i></p>
+
+<p class="hang"><i>First Peasant</i>. Who is going to dine now?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Why, the dog! It's her dog.
+(<i>Sits down and takes up the tea-pot</i>.) Is there any more tea?
+I've brought some.</p>
+
+<p class="indent">[<i>Puts fresh tea into the tea-pot.</i></p>
+
+<p class="hang"><i>First Peasant</i>. Dinner for a dog?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Yes, of course! They prepare a
+special cutlet for her; it must not be too fat. And I do the
+washing&mdash;the dog's washing, I mean.</p>
+
+<p class="hang"><i>Third Peasant</i>. Oh Lord!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. It's like that gentleman who
+had a funeral for his dog.</p>
+
+<p class="hang"><i>Second Peasant</i>. What's that?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Why, some one told me he had a
+dog&mdash;I mean the gentleman had a dog. And it died. It was
+winter, and he went in his sledge to bury that dog. Well, he buried
+it, and on the way home he sits and cries&mdash;the gentleman does.
+Well, there was such a bitter frost that the coachman's nose keeps
+running, and he has to keep wiping it. Let me fill your cup!
+(<i>Fills it</i>.) So he keeps wiping his nose, and the gentleman
+sees it, and says, "What are you crying about?" And the coachman,
+he says, "Why, sir, how can I help it; is there another dog like
+him?"</p>
+
+<p class="indent">[<i>Laughs.</i></p>
+
+<p class="hang"><i>Second Peasant</i>. And I daresay he thinks to
+himself, "If your own self was to kick the bucket I'd not cry."</p>
+
+<p class="indent">[<i>Laughs.</i></p>
+
+<p class="hang"><i>Discharged Cook</i> (<i>from up on the
+oven</i>). That is true; that's right!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Well, the gentleman, he gets
+home and goes straight to his lady: "What a good-hearted man our
+coachman is; he was crying all the way home about poor Dash. Have
+him called.... Here, drink this glass of v&oacute;dka," he says,
+"and here's a rouble as a reward for you." That's just like her
+saying Jacob has no feelings for her dog!</p>
+
+<p class="indent">[<i>The</i> PEASANTS <i>laugh.</i></p>
+
+<p class="hang"><i>First Peasant</i>. That's the style!</p>
+
+<p class="hang"><i>Second Peasant</i>. That was a go!</p>
+
+<p class="hang"><i>Third Peasant</i>. Aye, lassie, but you've set
+us a-laughing!</p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>pouring out more tea</i>).
+Have some more! Yes, it only seems that our life is pleasant; but
+sometimes it is very disgusting,&mdash;clearing up all their
+messes! Faugh! It's better in the country. (PEASANTS <i>turn their
+cups upside-down, as a polite sign that they have had enough.</i>
+T&Aacute;NYA <i>pours out more tea</i>.) Have some more,
+Ef&iacute;m Ant&oacute;nitch. I'll fill your cup, M&iacute;try
+Vl&aacute;sitch.</p>
+
+<p class="hang"><i>Third Peasant</i>. All right, fill it, fill
+it.</p>
+
+<p class="hang"><i>First Peasant</i>. Well, dear, and what
+progression is our business making?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. It's getting on....</p>
+
+<p class="hang"><i>First Peasant</i>. Simon told us....</p>
+
+<p class="hang"><i>T&aacute;nya.</i> (<i>quickly</i>). Did he?</p>
+
+<p class="hang"><i>Second Peasant</i>. But he could not make us
+understand.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. I can't tell you now, but I'm
+doing my best&mdash;all I can! And I've got your paper here!
+(<i>Shows the paper hidden under the bib of her apron</i>.) If only
+one thing succeeds ... (<i>Shrieks</i>.) Oh, how nice it would
+be!</p>
+
+<p class="hang"><i>Second Peasant</i>. Don't lose that paper, mind.
+It has cost money.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Never fear. You only want him
+to sign it? Is that all?</p>
+
+<p class="hang"><i>Third Peasant</i>. Why, what else? Let's say
+he's signed it, and it's done! (<i>Turns his cup upside-down</i>.)
+I've had enough.</p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>aside</i>). He'll sign it;
+you'll see he will.... Have some more.</p>
+
+<p class="indent">[<i>Pours out tea.</i></p>
+
+<p class="hang"><i>First Peasant</i>. If only you get this business
+about the sale of the land settled, the Commune would pay your
+marriage expenses.</p>
+
+<p class="indent">[<i>Refuses the tea.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>pouring out tea</i>). Do
+have another cup.</p>
+
+<p class="hang"><i>Third Peasant.</i> You get it done, and we'll
+arrange your marriage, and I myself, let's say, will dance at the
+wedding. Though I've never danced in all my born days, I'll dance
+then!</p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>laughing</i>). All right,
+I'll be in hopes of it.</p>
+
+<p class="indent">[<i>Silence.</i></p>
+
+<p class="hang"><i>Second Peasant</i> (<i>examines</i>
+T&Aacute;NYA). That's all very well, but you're not fit for peasant
+work.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Who? I? Why, don't you think
+me strong enough? You should see me lacing up my mistress. There's
+many a peasant couldn't tug as hard.</p>
+
+<p class="hang"><i>Second Peasant</i>. Where do you tug her to?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Well, there's a thing made
+with bone, like&mdash;something like a stiff jacket, only up to
+here! Well, and I pull the strings just as when you saddle a
+horse&mdash;when you ... what d'ye call it? You know, when you spit
+on your hands!</p>
+
+<p class="hang"><i>Second Peasant</i>. Tighten the girths, you
+mean.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Yes, yes, that's it. And you
+know I mustn't shove against her with my knee.</p>
+
+<p class="indent">[<i>Laughs.</i></p>
+
+<p class="hang"><i>Second Peasant</i>. Why do you pull her in?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. For a reason!</p>
+
+<p class="hang"><i>Second Peasant</i>. Why, is she doing
+penance?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. No, it's for beauty's
+sake!</p>
+
+<p class="hang"><i>First Peasant</i>. That's to say, you pull in
+her paunch for appearance' sake.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Sometimes I lace her up so
+that her eyes are ready to start from her head, and she says,
+"Tighter," till my hands tingle. And you say I'm not strong!</p>
+
+<p class="indent">[PEASANTS <i>laugh and shake their heads.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i>. But here, I've been
+jabbering.</p>
+
+<p class="indent">[<i>Runs away, laughing.</i></p>
+
+<p class="hang"><i>Third Peasant</i>. Ah, the lassie has made us
+laugh!</p>
+
+<p class="hang"><i>First Peasant</i>. She's a tidy one!</p>
+
+<p class="hang"><i>Second Peasant</i>. She's not bad.</p>
+
+<p class="indent">[<i>Enter</i> SAH&Aacute;TOF <i>and</i>
+VAS&Iacute;LY LEON&Iacute;DITCH. SAH&Aacute;TOF <i>holds a teaspoon
+in his hand.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Not exactly
+a dinner, but a <i>d&eacute;jeuner dinatoire</i>. And first-rate it
+was, I tell you. Ham of sucking-pig, delicious! Roulier feeds one
+splendidly! I've only just returned. (<i>Sees</i> PEASANTS.) Ah,
+the peasants are here again!</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Yes, yes, that's all very
+well, but we came here to hide this article. Where shall we hide
+it?</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Excuse me a
+moment. (<i>To</i> SERVANTS' COOK.) Where are the dogs?</p>
+
+<p class="hang"><i>Servants' Cook</i>. In the coachman's quarters.
+You can't keep dogs in the servants' kitchen!</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Ah, in the
+coachman's quarters? All right.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. I am waiting.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Excuse me,
+please. Eh, what? Hide it? I'll tell you what. Let's put it into
+one of the peasants' pockets. That one. I say, where's your pocket?
+Eh, what?</p>
+
+<p class="hang"><i>Third Peasant</i>. What for d'ye want my pocket?
+You're a good 'un! My pocket! There's money in my pocket!</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Where's
+your bag, then?</p>
+
+<p class="hang"><i>Third Peasant</i>. What for?</p>
+
+<p class="hang"><i>Servants' Cook</i>. What d'you mean? That's the
+young master!</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i> (<i>laughs.
+To</i> SAH&Aacute;TOF). D'you know why he's so frightened? Shall I
+tell you? He's got a heap of money. Eh, what?</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Yes, yes, I see. Well, you
+talk to them a bit, and I'll put it into that bag without being
+observed, so that they should not notice and could not point it out
+to him. Talk to them.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. All right!
+(<i>To</i> PEASANTS.) Well then, old fellows, how about the land?
+Are you buying it? Eh, what?</p>
+
+<p class="hang"><i>First Peasant</i>. We have made an offering, so
+to say, with our whole heart. But there,&mdash;the business don't
+come into action nohow.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. You should
+not be so stingy! Land is an important matter! I told you about
+planting mint. Or else tobacco would also do.</p>
+
+<p class="hang"><i>First Peasant</i>. That's just it. Every kind of
+producks.</p>
+
+<p class="hang"><i>Third Peasant</i>. And you help us, master. Ask
+your father. Or else how are we to live? There's so little land. A
+fowl, let's say, there's not enough room for a fowl to run
+about.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i> (<i>having put the spoon into
+a bag belonging to the</i> THIRD PEASANT). <i>C'est fait</i>.
+Ready. Come along.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. So don't be
+stingy! Eh? Well, good-bye.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Third Peasant</i>. Didn't I say, come to some
+lodging-house? Well, supposing we'd had to give three-pence each,
+then at least we'd have been in peace. As to here, the Lord be
+merciful! "Give us the money," he says. What's that for?</p>
+
+<p class="hang"><i>Second Peasant</i>. He's drunk, I daresay.</p>
+
+<p class="indent">[PEASANTS <i>turn their cups upside-down, rise,
+and cross themselves.</i></p>
+
+<p class="hang"><i>First Peasant</i>. And d'you mind what a saying
+he threw out? Sowing mint! One must know how to understand them,
+that one must!</p>
+
+<p class="hang"><i>Second Peasant</i>. Sow mint indeed! He'd better
+bend his own back at that work, and then it's not mint he'll hanker
+after, no fear! Well, many thanks!... And now, good woman, would
+you tell us where we could lie down to sleep?</p>
+
+<p class="hang"><i>Servants' Cook</i>. One of you can lie on the
+oven, and the others on these benches.</p>
+
+<p class="hang"><i>Third Peasant</i>. Christ save you!</p>
+
+<p class="indent">[<i>Prays, crossing himself.</i></p>
+
+<p class="hang"><i>First Peasant</i>. If only by God's help we get
+our business settled! (<i>Lies down</i>.) Then to-morrow, after
+dinner, we'd be off by the train, and on Tuesday we'd be home
+again.</p>
+
+<p class="hang"><i>Second Peasant</i>. Are you going to put out the
+light?</p>
+
+<p class="hang"><i>Servants' Cook</i>. Put it out? Oh, no! They'll
+keep running down here, first for one thing then another.... You
+lie down, I'll lower it.</p>
+
+<p class="hang"><i>Second Peasant</i>. How is one to live, having
+so little land? Why, this year, I have had to buy corn since
+Christmas. And the oat-straw is all used up. I'd like to get hold
+of ten acres, and then I could take Simon back.</p>
+
+<p class="hang"><i>Third Peasant</i>. You're a man with a family.
+You'd get the land cultivated without trouble. If only the business
+comes off.</p>
+
+<p class="hang"><i>Second Peasant</i>. We must pray to the Holy
+Virgin, maybe she'll help us out. (<i>Silence, broken by sighs.
+Then footsteps and voices are heard outside. The door opens.
+Enter</i> GROSSMAN <i>hurriedly, with his eyes bandaged,
+holding</i> SAH&Aacute;TOF'S <i>hand, and followed by the</i>
+PROFESSOR <i>and the</i> DOCTOR, <i>the</i> FAT LADY <i>and</i>
+LEON&Iacute;D FY&Oacute;DORITCH, BETSY <i>and</i> PETR&Iacute;STCHEF,
+VAS&Iacute;LY LEON&Iacute;DITCH <i>and</i> M&Aacute;RYA
+KONSTANT&Iacute;NOVNA, ANNA P&Aacute;VLOVNA <i>and the</i>
+BARONESS, THEODORE IV&Aacute;NITCH <i>and</i> T&Aacute;NYA.)</p>
+
+<p class="indent">[PEASANTS <i>jump up.</i> GROSSMAN <i>comes
+forward stepping quickly, then stops.</i></p>
+
+<p class="hang"><i>Fat Lady</i>. You need not trouble yourselves; I
+have undertaken the task of observing, and am strictly fulfilling
+my duty! Mr. Sah&aacute;tof, are you not leading him?</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Of course not!</p>
+
+<p class="hang"><i>Fat Lady</i>. You must not lead him, but neither
+must you resist! (<i>To</i> LEON&Iacute;D FY&Oacute;DORITCH.) I
+know these experiments. I have tried them myself. Sometimes I used
+to feel a certain effluence, and as soon as I felt it....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. May I beg
+of you to keep perfect silence?</p>
+
+<p class="hang"><i>Fat Lady</i>. Oh, I understand so well! I have
+experienced it myself. As soon as my attention was diverted I could
+no longer....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Sh...!</p>
+
+<p class="indent">[GROSSMAN <i>goes about, searches near the</i>
+FIRST <i>and</i> SECOND PEASANTS, then approaches the THIRD, and
+stumbles over a bench.</p>
+
+<p class="hang"><i>Baroness</i>. <i>Mais dites-moi, on le
+<a name="f6-r">paye?</a></i> <sup><a href="#f6">6</a></sup></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. <i>Je ne saurais vous
+dire.</i></p>
+
+<p class="hang"><i>Baroness</i>. <i>Mais c'est un monsieur?</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. <i>Oh, oui!</i></p>
+
+<p class="hang"><i>Baroness</i>. <i>&Ccedil;a tient du miraculeux.
+N'est ce pas? Comment est-ce qu'il trouve?</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. <i>Je ne saurais vous
+dire. Mon mari vous l'expliquera.</i> (<i>Noticing</i> PEASANTS,
+<i>turns round, and sees the</i> SERVANTS' COOK.) <i>Pardon</i> ...
+what is this?</p>
+
+<p class="indent">[BARONESS <i>goes up to the group.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. (<i>to</i> SERVANTS'
+COOK). Who let the peasants in?</p>
+
+<p class="hang"><i>Servants' Cook</i>. Jacob brought them in.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Who gave Jacob the
+order?</p>
+
+<p class="hang"><i>Servants' Cook.</i> I can't say. Theodore
+Iv&aacute;nitch has seen them.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> Leon&iacute;d!</p>
+
+<p class="indent">[LEON&Iacute;D FY&Oacute;DORITCH <i>does not
+hear, being absorbed in the search, and says, Sh....</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> Theodore
+Iv&aacute;nitch! What is the meaning of this? Did you not see me
+disinfecting the whole hall, and now the whole kitchen is infected,
+all the rye bread, the milk....</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch.</i> I thought there
+would not be any danger if they came here. The men have come on
+business. They have far to go, and are from our village.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> That's the worst of
+it! They are from the Koursk village, where people are dying of
+diphtheria like flies! But the chief thing is, I ordered them out
+of the house!... Did I, or did I not? (<i>Approaches the others
+that have gathered round the</i> PEASANTS.) Be careful! Don't touch
+them&mdash;they are all infected with diphtheria!</p>
+
+<p class="indent">[<i>No one heeds her, and she steps aside in a
+dignified manner and stands quietly waiting.</i></p>
+
+<p class="hang"><i>Petr&iacute;stchef</i> (<i>sniffs loudly</i>). I don't
+know if it is diphtheria, but there is some kind of infection in
+the air. Don't you notice it?</p>
+
+<p class="hang"><i>Betsy.</i> Stop your nonsense! Vovo, which bag
+is it in?</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch.</i> That one,
+that one. He is getting near, very near!</p>
+
+<p class="hang"><i>Petr&iacute;stchef.</i> Is it spirits divine, or
+spirits of wine?</p>
+
+<p class="hang"><i>Betsy.</i> Now your cigarette comes in handy for
+once. Smoke closer, closer to me.</p>
+
+<p class="indent">[PETR&Iacute;STCHEF <i>leans over her and smokes at
+her.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch.</i> He's
+getting near, I tell you. Eh, what?</p>
+
+<p class="hang"><i>Grossman</i> (<i>searches excitedly round the
+T</i>HIRD PEASANT). It is here; I feel it is!</p>
+
+<p class="hang"><i>Fat Lady.</i> Do you feel an effluence?</p>
+
+<p class="indent">[GROSSMAN <i>stoops and finds the spoon in the
+bag.</i></p>
+
+<p class="hang"><i>All.</i> Bravo!</p>
+
+<p class="indent">[<i>General enthusiasm.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Ah! So
+that's where our spoon was. (<i>To</i> PEASANTS.) Then that's the
+sort you are!</p>
+
+<p class="hang"><i>Third Peasant</i>. What sort? I didn't take your
+spoon! What are you making out? I didn't take it, and my soul knows
+nothing about it. I didn't take it&mdash;there! Let him do what he
+likes. I knew he came here for no good. "Where's your bag?" says
+he. I didn't take it, the Lord is my witness! (<i>Crosses
+himself</i>.) I didn't take it!</p>
+
+<p class="indent">[<i>The young people group round the</i> PEASANT,
+laughing.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i> (<i>angrily
+to his son</i>). Always playing the fool! (<i>To the</i> THIRD
+PEASANT.) Never mind, friend! We know you did not take it; it was
+only an experiment.</p>
+
+<p class="hang"><i>Grossman</i> (<i>removes bandage from his eyes,
+and pretends to be coming to</i>). Can I have a little water?</p>
+
+<p class="indent">[<i>All fuss round him.</i></p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Let's go
+straight from here into the coachman's room. I've got a bitch
+<a name="f7-r">there&mdash;<i>&eacute;p&acirc;tante!</i></a>
+<sup><a href="#f7">7</a></sup></p>
+
+<p class="hang"><i>Betsy</i>. What a horrid word! Couldn't you say
+dog?</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. No. I can't
+say&mdash;Betsy is a man, <i>&eacute;p&acirc;tante</i>. I should
+have to say young woman; it's a parallel case. Eh, what?
+M&aacute;rya Konstant&iacute;novna, isn't it true? Good, eh?</p>
+
+<p class="indent">[<i>Laughs loudly.</i></p>
+
+<p class="hang"><i>M&aacute;rya Konstant&iacute;novna</i>. Well,
+let us go.</p>
+
+<p class="indent">[<i>Exeunt</i> M&Aacute;RYA
+KONSTANT&Iacute;NOVNA, BETSY, PETR&Iacute;STCHEF, <i>and</i>
+VAS&Iacute;LY LEON&Iacute;DITCH.</p>
+
+<p class="hang"><i>Fat Lady</i> (<i>to</i> GROSSMAN). Well? how are
+you? Have you rested? (GROSSMAN <i>does not answer. To</i>
+SAH&Aacute;TOF.) And you, Mr. Sah&aacute;tof, did you feel the
+effluence?</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. I felt nothing. Yes, it was
+very fine&mdash;very fine. Quite a success!</p>
+
+<p class="hang"><i>Baroness</i>.&mdash;<i>Admirable! &Ccedil;a ne
+le fait pas <a name="f8-r">souffrir?</a></i>
+<sup><a href="#f8">8</a></sup></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. <i>Pas le
+moins du monde.</i></p>
+
+<p class="hang"><i>Professor</i> (<i>to</i> GROSSMAN). May I
+trouble you? (<i>Hands him a thermometer</i>.) At the beginning of
+the experiment it was 37 decimal 2 <a name="f9-r">degrees.</a>
+<sup><a href="#f9">9</a></sup> (<i>To</i>
+DOCTOR.) That's right, I think? Would you mind feeling his pulse?
+Some loss is inevitable.</p>
+
+<p class="hang"><i>Doctor</i> (<i>to</i> GROSSMAN). Now then, sir,
+let's have your hand; we'll see, we'll see.</p>
+
+<p class="indent">[<i>Takes out his watch and feels</i> GROSSMAN'S
+<i>pulse.</i></p>
+
+<p class="hang"><i>Fat Lady</i> (<i>to</i> GROSSMAN). One moment!
+The condition you were in could not be called sleep?</p>
+
+<p class="hang"><i>Grossman</i> (<i>wearily</i>). It was
+hypnosis.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. In that case, are we to
+understand that you hypnotised yourself?</p>
+
+<p class="hang"><i>Grossman</i>. And why not? An hypnotic state may
+ensue not only in consequence of association&mdash;the sound of the
+tom-tom, for instance, in Charcot's method&mdash;but by merely
+entering an hypnogenetic zone.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Granting that, it would
+still be desirable to define what hypnotism is, more exactly?</p>
+
+<p class="hang"><i>Professor</i>. Hypnotism is a phenomenon
+resulting from the transmutation of one energy into another.</p>
+
+<p class="hang"><i>Grossman</i>. Charcot does not so define it.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. A moment, just a moment!
+That is your definition, but Li&eacute;bault told me
+himself....</p>
+
+<p class="hang"><i>Doctor</i> (<i>lets go of</i> GROSSMAN'S
+<i>pulse</i>). Ah, that's all right; well, now, the
+temperature?</p>
+
+<p class="hang"><i>Fat Lady</i> (<i>interrupting</i>). No, allow
+me! I agree with the Professor. And here's the very best proof.
+After my illness, when I lay insensible, a desire to speak came
+over me. In general I am of a silent disposition, but then I was
+overcome by this desire to speak, and I spoke and spoke, and I was
+told that I spoke in such a way that every one was astonished!
+(<i>To</i> SAH&Aacute;TOF.) But I think I interrupted you?</p>
+
+<p class="hang"><i>Sah&aacute;tof</i> (<i>with dignity</i>). Not at
+all. Pray continue.</p>
+
+<p class="hang"><i>Doctor</i>. Pulse 82, and the temperature has
+risen three-tenths of a degree.</p>
+
+<p class="hang"><i>Professor</i>. There you are! That's a proof!
+That's just as it should be. (<i>Takes out pocket-book and
+writes</i>.) 82, yes? And 37 and 5. When the hypnotic state is
+induced, it invariably produces a heightened action of the
+heart.</p>
+
+<p class="hang"><i>Doctor</i>. I can, as a medical man, bear
+witness that your prognosis was justified by the event.</p>
+
+<p class="hang"><i>Professor</i> (<i>to SAH&Aacute;TOF</i>). You
+were saying?...</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. I wished to say that
+Li&eacute;bault told me himself that the hypnotic is only one
+particular psychical state, increasing susceptibility to
+suggestion.</p>
+
+<p class="hang"><i>Professor</i>. That is so, but still the law of
+equivalents is the chief thing.</p>
+
+<p class="hang"><i>Grossman</i>. Moreover, Li&eacute;bault is far
+from being an authority, while Charcot has studied the subject from
+all sides, and has proved that hypnotism produced by a blow, a
+trauma....</p>
+
+<p class="hang"><i>All talking together&mdash;</i></p>
+
+<p class="deep_hang"><i>Sah&aacute;tof</i>. Yes, but I don't reject
+Charcot's labor. I know him also, I am only repeating what
+Li&eacute;bault told me...</p>
+
+<p class="deep_hang"><i>Grossman</i> (<i>excitedly</i>). There are
+3000 patients <i>together</i> in the Salp&ecirc;tri&egrave;re,
+and I have gone through the whole course.</p>
+
+<p class="deep_hang"><i>Professor.</i> Excuse me, gentlemen, but
+that is not the point.</p>
+
+<p class="hang"><i>Fat Lady</i> (<i>interrupting</i>). One moment,
+I will explain it to you in two words. When my husband was ill, all
+the doctors gave him up....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. However, we
+had better go upstairs again. Baroness, this way!</p>
+
+<p class="indent">[<i>Exeunt</i> GROSSMAN, SAH&Aacute;TOF,
+PROFESSOR, DOCTOR, <i>the</i> FAT LADY, <i>and</i> BARONESS,
+<i>talking loudly and interrupting each other.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>catching hold
+of</i> LEON&Iacute;D FY&Oacute;DORITCH'S <i>arm</i>). How often
+have I asked you not to interfere in household matters! You think
+of nothing but your nonsense, and the whole house is on my
+shoulders. You will infect us all!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. What? How?
+I don't understand what you mean.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. How? Why, people ill
+of diphtheria sleep in the kitchen, which is in constant
+communication with the whole house.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Yes, but
+I....</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. What, I?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. I know
+nothing about it.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. It's your duty to
+know, if you are the head of the family. Such things must not be
+done.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. But I never
+thought.... I thought....</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. It is sickening to
+listen to you!</p>
+
+<p class="indent">[LEON&Iacute;D FY&Oacute;DORITCH <i>remains
+silent.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>to</i> THEODORE
+IV&Aacute;NITCH). Turn them out at once! They are to leave my
+kitchen immediately! It is terrible! No one listens to me; they do
+it out of spite.... I turn them out from there, and they bring them
+in here! And with my illness.... (<i>Gets more and more excited,
+and at last begins to cry</i>.) Doctor! Doctor! Peter
+Petr&oacute;vitch!... He's gone too!...</p>
+
+<p class="indent">[<i>Exit, sobbing, followed by</i> LEON&Iacute;D
+FY&Oacute;DORITCH.</p>
+
+<p class="indent">[<i>All stand silent for a long time.</i></p>
+
+<p class="hang"><i>Third Peasant</i>. Botheration take them all! If
+one don't mind, the police will be after one here. And I have never
+been to law in all my born days. Let's go to some lodging-house,
+lads!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. (<i>to</i>
+T&Aacute;NYA). What are we to do?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Never mind, Theodore
+Iv&aacute;nitch, let them sleep with the coachman.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. How can we do
+that? The coachman was complaining as it is, that his place is full
+of dogs.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Well, then, the porter's
+lodge.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. And supposing it's
+found out?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. It won't be found out! Don't
+trouble about that, Theodore Iv&aacute;nitch. How can one turn them
+out now, at night? They'll not find anywhere to go to.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Well, do as you
+please. Only they must go away from here.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="indent">[PEASANTS <i>take their bags.</i></p>
+
+<p class="hang"><i>Discharged Cook</i>. Oh those damned fiends!
+It's all their fat! Fiends!</p>
+
+<p class="hang"><i>Servants' Cook</i>. You be quiet there. Thank
+goodness they didn't see you!</p>
+
+<p class="hang"><i>T&aacute;nya.</i> Well then, daddy, come along
+to the porter's lodge.</p>
+
+<p class="hang"><i>First Peasant.</i> Well, but how about our
+business? How, for example, about the applience of his hand to the
+signature? May we be in hopes?</p>
+
+<p class="hang"><i>T&aacute;nya.</i> We'll see in an hour's
+time.</p>
+
+<p class="hang"><i>Second Peasant.</i> You'll do the trick?</p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>laughs</i>). Yes, God
+willing!</p>
+
+<p class="hang">CURTAIN</p>
+
+<h3>ACT III</h3>
+
+<p class="hang"><i>Evening of the same day. The small drawing-room
+in</i> LEON&Iacute;D FY&Oacute;DORITCH'S <i>house, where the
+s&eacute;ances are always held.</i> LEON&Iacute;D FY&Oacute;DORITCH
+<i>and the</i> PROFESSOR.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Well then,
+shall we risk a s&eacute;ance with our new medium?</p>
+
+<p class="hang"><i>Professor.</i> Yes, certainly. He is a powerful
+medium, there is no doubt about it. And it is especially desirable
+that the s&eacute;ance should take place to-day with the same
+people. Grossman will certainly respond to the influence of the
+mediumistic energy, and then the connection and identity of the
+different phenomena will be still more evident. You will see then
+that, if the medium is as strong as he was just now, Grossman will
+vibrate.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Then I will
+send for Simon and ask those who wish to attend to come in.</p>
+
+<p class="hang"><i>Professor.</i> Yes, all right! I will just jot
+down a few notes.</p>
+
+<p class="indent">[<i>Takes out his note-book and writes.</i></p>
+
+<p class="indent">[<i>Enter</i> SAH&Aacute;TOF.</p>
+
+<p class="hang"><i>Sah&aacute;tof.</i> They have just settled down
+to whist in Anna P&aacute;vlovna's drawing-room, and as I am not
+wanted there&mdash;and as I am interested in your
+s&eacute;ance&mdash;I have put in an appearance here. But will
+there be a s&eacute;ance?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Yes,
+certainly!</p>
+
+<p class="hang"><i>Sah&aacute;tof.</i> In spite of the absence of
+Mr. Kaptch&iacute;tch's mediumistic powers?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch. Vous avez la
+main <a name="f10-r">heureuse.</a></i>
+<sup><a href="#f10">10</a></sup> Fancy, that very peasant whom I mentioned to
+you this morning turns out to be an undoubted medium.</p>
+
+<p class="hang"><i>Sah&aacute;tof.</i> Dear me! Yes, that is
+peculiarly interesting!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Yes, we
+tried a few preliminary experiments with him just after dinner.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. So you've had time already
+to experiment, and to convince yourself....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Yes,
+perfectly! And he turns out to be an exceptionally powerful
+medium.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i> (<i>incredulously</i>). Dear
+me!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. It turns
+out that it has long been noticed in the servants' hall. When he
+sits down to table, the spoon springs into his hand of its own
+accord! (<i>To the</i> PROFESSOR.) Had you heard about it?</p>
+
+<p class="hang"><i>Professor</i>. No, I had not heard that
+detail.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i> (<i>to the</i> PROFESSOR).
+But still, you admit the possibility of such phenomena?</p>
+
+<p class="hang"><i>Professor</i>. What phenomena?</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Well, spiritualistic,
+mediumistic, and supernatural phenomena in general.</p>
+
+<p class="hang"><i>Professor</i>. The question is, what do we
+consider supernatural? When, not a living man but a piece of stone
+attracted a nail to itself, how did the phenomena strike the first
+observers? As something natural? Or supernatural?</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Well, of course; but
+phenomena such as the magnet attracting iron always repeat
+themselves.</p>
+
+<p class="hang"><i>Professor</i>. It is just the same in this case.
+The phenomenon repeats itself and we experiment with it. And not
+only that, but we apply to the phenomena we are investigating the
+laws common to other phenomena. These phenomena seem supernatural
+only because their causes are attributed to the medium himself. But
+that is where the mistake lies. The phenomena are not caused by the
+medium, but by psychic energy acting through a medium, and that is
+a very different thing. The whole matter lies in the law of
+equivalents.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Yes, certainly, but....</p>
+
+<p class="indent">[<i>Enter</i> T&Aacute;NYA, <i>who hides behind
+the hangings.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Only
+remember that we cannot reckon on any results with certainty, with
+this medium any more than with Home or Kaptch&iacute;tch. We may
+not succeed, but on the other hand we may even have perfect
+materialisation.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Materialisation even? What
+do you mean by materialisation?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Why, I mean
+that some one who is dead&mdash;say, your father or your
+grandfather&mdash;may appear, take you by the hand, or give you
+something; or else some one may suddenly rise into the air, as
+happened to Alex&eacute;y Vlad&iacute;miritch last time.</p>
+
+<p class="hang"><i>Professor.</i> Of course, of course. But the
+chief thing is the explanation of the phenomena, and the
+application to them of general laws.</p>
+
+<p class="indent">[<i>Enter the</i> FAT LADY.</p>
+
+<p class="hang"><i>Fat Lady.</i> Anna P&aacute;vlovna has allowed
+me to join you.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Very
+pleased.</p>
+
+<p class="hang"><i>Fat Lady.</i> Oh, how tired Grossman seems! He
+could scarcely hold his cup. Did you notice (<i>to the
+PROFESSOR</i>) how pale he turned at the moment he approached the
+hiding-place? I noticed it at once, and was the first to mention it
+to Anna P&aacute;vlovna.</p>
+
+<p class="hang"><i>Professor.</i> Undoubtedly,&mdash;loss of vital
+energy.</p>
+
+<p class="hang"><i>Fat Lady.</i> Yes, it's just as I say, one
+should not abuse that sort of thing. You know, a hypnotist once
+suggested to a friend of mine, V&eacute;ra K&oacute;nshin (oh, you
+know her, of course)&mdash;well, he suggested that she should leave
+off smoking,&mdash;and her back began to ache!</p>
+
+<p class="hang"><i>Professor</i> (<i>trying to have his say</i>).
+The temperature and the pulse clearly indicate....</p>
+
+<p class="hang"><i>Fat Lady.</i> One moment! Allow me! Well, I said
+to her: it's better to smoke than to suffer so with one's nerves.
+Of course, smoking is injurious; I should like to give it up
+myself, but, do what I will, I can't! Once I managed not to smoke
+for a fortnight, but could hold out no longer.</p>
+
+<p class="hang"><i>Professor</i> (<i>again trying to speak</i>).
+Clearly proves....</p>
+
+<p class="hang"><i>Fat Lady.</i> Yes, no! Allow me, just one word!
+You say, "loss of strength." And I was also going to say that, when
+I travelled with post-horses ... the roads used to be dreadful in
+those days&mdash;you don't remember&mdash;but I have noticed that
+all our nervousness comes from railways! I, for instance, can't
+sleep while travelling; I cannot fall asleep to save my life!</p>
+
+<p class="hang"><i>Professor</i> (<i>makes another attempt, which
+the FAT LADY baffles</i>). The loss of strength....</p>
+
+<p class="hang"><i>Sah&aacute;tof</i> (<i>smiling</i>). Yes; oh
+yes!</p>
+
+<p class="indent">[LEON&Iacute;D FY&Oacute;DORITCH
+<i>rings.</i></p>
+
+<p class="hang"><i>Fat Lady</i>. I am awake one night, and another,
+and a third, and still I can't sleep!</p>
+
+<p class="indent">[<i>Enter</i> GREGORY.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Please tell
+Theodore to get everything ready for the s&eacute;ance, and send
+Simon here&mdash;Simon, the butler's assistant,&mdash;do you
+hear?</p>
+
+<p class="hang"><i>Gregory</i>. Yes, sir.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Professor</i> (<i>to SAH&Aacute;TOF</i>). The
+observation of the temperature and the pulse have shown loss of
+vital energy. The same will happen in consequence of the
+mediumistic phenomena. The law of the conservation of
+energy....</p>
+
+<p class="hang"><i>Fat Lady</i>. Oh yes, yes; I was just going to
+say that I am very glad that a simple peasant turns out to be a
+medium. That's very good. I always did say that the
+Slavophils....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Let's go
+into the drawing-room in the meantime.</p>
+
+<p class="hang"><i>Fat Lady</i>. Allow me, just one word! The
+Slavophils are right; but I always told my husband that one ought
+never to exaggerate anything! "The golden mean," you know. What is
+the use of maintaining that the common people are all perfect, when
+I have myself seen....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Won't you
+come into the drawing-room?</p>
+
+<p class="hang"><i>Fat Lady</i>. A boy&mdash;that high&mdash;who
+drank! I gave him a scolding at once. And he was grateful to me
+afterwards. They are children, and, as I always say, children need
+both love and severity!</p>
+
+<p class="indent">[<i>Exeunt all, all talking together.</i></p>
+
+<p class="indent">[T&Aacute;NYA <i>enters from behind the
+hangings.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i>. Oh, if it would only
+succeed!</p>
+
+<p class="indent">[<i>Begins fastening some threads.</i></p>
+
+<p class="indent">[<i>Enter</i> BETSY <i>hurriedly.</i></p>
+
+<p class="hang"><i>Betsy</i>. Isn't papa here? (<i>Looks
+inquiringly at T&Aacute;NYA</i>.) What are you doing here?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Oh, Miss Elizabeth, I have
+only just come; I only wished ... only came in....</p>
+
+<p class="indent">[<i>Embarrassed.</i></p>
+
+<p class="hang"><i>Betsy</i>. But they are going to have a
+s&eacute;ance here directly (<i>Notices</i> T&Aacute;NYA <i>drawing
+in the threads, looks at her, and suddenly bursts out
+laughing</i>.) T&aacute;nya! Why, it's you who do it all? Now don't
+deny it. And last time it was you too? Yes, it was, it was!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Miss Elizabeth, dearest!</p>
+
+<p class="hang"><i>Betsy</i> (<i>delighted</i>). Oh, that is a
+joke! Well, I never. But why do you do it?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Oh miss, dear miss, don't
+betray me!</p>
+
+<p class="hang"><i>Betsy</i>. Not for the world! I'm awfully glad.
+Only tell me how you manage it?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Well, I just hide, and then,
+when it's all dark, I come out and do it. That's how.</p>
+
+<p class="hang"><i>Betsy</i> (<i>pointing to threads</i>). And what
+is this for? You needn't tell me. I see; you draw....</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Miss Elizabeth, darling! I
+will confess it, but only to you. I used to do it just for fun, but
+now I mean business.</p>
+
+<p class="hang"><i>Betsy</i>. What? How? What business?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Well, you see, those peasants
+that came this morning, you saw them. They want to buy some land,
+and your father won't sell it; well, and Theodore Iv&aacute;nitch,
+he says it's the spirits as forbid him. So I have had a thought
+as....</p>
+
+<p class="hang"><i>Betsy</i>. Oh, I see! Well, you are a clever
+girl! Do it, do it.... But how will you manage it?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Well, I thought, when they put
+out the lights, I'll at once begin knocking and shying things
+about, touching their heads with the threads, and at last I'll take
+the paper about the land and throw it on the table. I've got it
+here.</p>
+
+<p class="hang"><i>Betsy</i>. Well, and then?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Why, don't you see? They will
+be astonished. The peasants had the paper, and now it's here. I
+will teach....</p>
+
+<p class="hang"><i>Betsy</i>. Why, of course! Simon is the medium
+to-day!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Well, I'll teach him....
+(<i>Laughs so that she can't continue</i>.) I'll tell him to
+squeeze with his hands any one he can get hold of! Of course, not
+your father&mdash;he'd never dare do that&mdash;but any one else;
+he'll squeeze till it's signed.</p>
+
+<p class="hang"><i>Betsy</i> (<i>laughing</i>). But that's not the
+way it is done. Mediums never do anything themselves.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Oh, never mind. It's all one;
+I daresay it'll turn out all right.</p>
+
+<p class="indent">[<i>Enter</i> THEODORE IV&Aacute;NITCH.</p>
+
+<p class="indent">[<i>Exit</i> BETSY, making signs to
+T&Aacute;NYA.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Why are you
+here?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. It's you I want, Theodore
+Iv&aacute;nitch, dear....</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Well, what is
+it?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. About that affair of mine as I
+spoke of.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>laughs</i>).
+I've made the match; yes, I've made the match. The matter is
+settled; we have shaken hands on it, only not had a drink on
+it.</p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>with a shriek</i>). Never!
+So it's all right?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Don't I tell you
+so? He says, "I shall consult the missus, and then, God
+willing...."</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Is that what he said?
+(<i>Shrieks</i>.) Dear Theodore Iv&aacute;nitch, I'll pray for you
+all the days of my life!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. All right! All
+right! Now is not the time. I've been ordered to arrange the room
+for the s&eacute;ance.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Let me help you. How's it to
+be arranged?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. How? Why, the
+table in the middle of the room&mdash;chairs&mdash;the
+guitar&mdash;the accordion. The lamp is not wanted, only
+candles.</p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>helps</i> THEODORE
+IV&Aacute;NITCH <i>to place the things</i>). Is that right? The
+guitar here, and here the inkstand. (<i>Places it</i>.) So?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Can it be true
+that they'll make Simon sit here?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. I suppose so; they've done it
+once.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Wonderful!
+(<i>Puts on his pince-nez</i>.) But is he clean?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. How should I know?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Then, I'll tell
+you what....</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Yes, Theodore
+Iv&aacute;nitch?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Go and take a
+nail-brush and some Pears' soap; you may take mine ... and go and
+cut his claws and scrub his hands as clean as possible.</p>
+
+<p class="hang"><i>T&aacute;nya.</i> He can do it himself.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch.</i> Well then, tell
+him to. And tell him to put on a clean shirt as well.</p>
+
+<p class="hang"><i>T&aacute;nya.</i> All right, Theodore
+Iv&aacute;nitch.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>sits down in an
+easy-chair</i>). They're educated and learned&mdash;Alex&eacute;y
+Vlad&iacute;miritch now, he's a professor&mdash;and yet sometimes
+one can't help doubting very much. The people's rude superstitions
+are being abolished: hobgoblins, sorcerers, witches.... But if one
+considers it, is not this equally superstitious? How is it possible
+that the souls of the dead should come and talk, and play the
+guitar? No! Some one is fooling them, or they are fooling
+themselves. And as to this business with Simon&mdash;it's simply
+incomprehensible. (<i>Looks at an album</i>.) Here's their
+spiritualistic album. How is it possible to photograph a spirit?
+But here is the likeness of a Turk and Leon&iacute;d
+Fy&oacute;doritch sitting by.... Extraordinary human weakness!</p>
+
+<p class="indent">[<i>Enter</i> LEON&Iacute;D
+FY&Oacute;DORITCH.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Is it all
+ready?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>rising
+leisurely</i>). Quite ready. (<i>Smiles</i>.) Only I don't know
+about your new medium. I hope he won't disgrace you, Leon&iacute;d
+Fy&oacute;doritch.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> No, I and
+Alex&eacute;y Vlad&iacute;miritch have tested him. He is a
+wonderfully powerful medium!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Well, I don't
+know. But is he clean enough? I don't suppose you have thought of
+ordering him to wash his hands? It might be rather
+inconvenient.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> His hands?
+Oh yes! They're not clean, you think?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. What can you
+expect? He's a peasant, and there will be ladies present, and
+M&aacute;rya Vas&iacute;levna.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> It will be
+all right.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. And then I have
+something to report to you. Timothy, the coachman, complains that
+he can't keep things clean because of the dogs.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>
+(<i>arranging the things on the table absentmindedly</i>). What
+dogs?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. The three hounds
+that came for Vas&iacute;ly Leon&iacute;ditch to-day.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>
+(<i>vexed</i>). Tell Anna P&aacute;vlovna! She can do as she likes
+about it. I have no time.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. But you know her
+weakness....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. 'Tis just
+as she likes, let her do as she pleases. As for him,&mdash;one
+never gets anything but unpleasantness from him. Besides, I am
+busy.</p>
+
+<p class="indent">[<i>Enter</i> SIMON, <i>smiling; he has a
+sleeveless peasant's coat on.</i></p>
+
+<p class="hang"><i>Simon</i>. I was ordered to come.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Yes, it's
+all right. Let me see your hands. That will do, that will do very
+well! Well, then, my good fellow, you must do just as you did
+before,&mdash;sit down, and give way to your mood. But don't think
+at all.</p>
+
+<p class="hang"><i>Simon</i>. Why should I think? The more one
+thinks, the worse it is.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Just so,
+just so, exactly! The less conscious one is, the greater is the
+power. Don't think, but give in to your mood. If you wish to sleep,
+sleep; if you wish to walk, walk. Do you understand?</p>
+
+<p class="hang"><i>Simon</i>. How could one help understanding?
+It's simple enough.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. But above
+all, don't be frightened. Because you might be surprised yourself.
+You must understand that just as we live here, so a whole world of
+invisible spirits live here also.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>improving on
+what</i> LEON&Iacute;D FY&Oacute;DORITCH <i>has said</i>).
+Invisible feelings, do you understand?</p>
+
+<p class="hang"><i>Simon</i> (<i>laughs</i>). How can one help
+understanding! It's very plain as you put it.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. You may
+rise up in the air, or something of the kind, but don't be
+frightened.</p>
+
+<p class="hang"><i>Simon</i>. Why should I be frightened? That
+won't matter at all.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Well then,
+I'll go and call them all.... Is everything ready?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. I think so.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. But the
+slates?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch.</i> They are
+downstairs. I'll bring them.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. All right
+then. So don't be afraid, but be at your ease.</p>
+
+<p class="hang"><i>Simon</i>. Had I not better take off my coat?
+One would be more easy like.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Your coat?
+Oh no. Don't take that off.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Simon</i>. She tells me to do the same again,
+and she will again shy things about. How isn't she afraid?</p>
+
+<p class="indent">[<i>Enter</i> T&Aacute;NYA <i>in her stockings and
+in a dress of the color of the wall-paper.</i> SIMON
+<i>laughs.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i>. Shsh!... They'll hear! There,
+stick these matches on your fingers as before. (<i>Sticks them
+on</i>.) Well, do you remember everything?</p>
+
+<p class="hang"><i>Simon</i> (<i>bending his fingers in, one by
+one</i>). First of all, wet the matches and wave my hands about,
+that's one. Then make my teeth chatter, like this ... that's two.
+But I've forgotten the third thing.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. And it's the third as is the
+chief thing. Don't forget as soon as the paper falls on the
+table&mdash;I shall ring the little bell&mdash;then you do like
+this.... Spread your arms out far and catch hold of some one,
+whoever it is as sits nearest, and catch hold of him. And then
+squeeze! (<i>Laughs</i>.) Whether it's a gentleman or a lady, it's
+all one, you just squeeze 'em, and don't let 'em go,&mdash;as if it
+were in your sleep, and chatter with your teeth, or else howl like
+this. (<i>Howls sotto-voce</i>.) And when I begin to play on the
+guitar, then stretch yourself as if you were waking up, you
+know.... Will you remember everything?</p>
+
+<p class="hang"><i>Simon</i>. Yes, I'll remember, but it is too
+funny.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. But mind you don't laugh.
+Still, it won't matter much if you do laugh; they'd think it was in
+your sleep. Only take care you don't really fall asleep when they
+put out the lights.</p>
+
+<p class="hang"><i>Simon</i>. No fear, I'll pinch my ears.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Well, then, Sim, darling, only
+mind do as I tell you, and don't get frightened. He'll sign the
+paper, see if he don't! They're coming!</p>
+
+<p class="hang">[<i>Gets under the sofa.</i></p>
+
+<p class="indent">[<i>Enter</i> GROSSMAN <i>and the</i> PROFESSOR,
+LEON&Iacute;D FY&Oacute;DORITCH <i>and the</i> FAT LADY, <i>the</i>
+DOCTOR, SAH&Aacute;TOF <i>and</i> ANNA P&Aacute;VLOVNA. SIMON
+<i>stands near the door.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Please come
+in, all you doubters! Though we have a new and accidentally
+discovered medium, I expect very important phenomena to-night.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. That's very, very
+interesting.</p>
+
+<p class="hang"><i>Fat Lady</i> (<i>pointing to</i> SIMON). <i>Mais
+il est tr&egrave;s <a name="f11-r">bien!</a></i>
+<sup><a href="#f11">11</a></sup></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Yes, as a butler's
+assistant, but hardly....</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Wives never have any faith
+in their husbands' work. You don't believe in anything of this
+kind?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Of course not.
+Kaptch&iacute;tch, it is true, has something exceptional about him,
+but Heaven knows what all this is about!</p>
+
+<p class="hang"><i>Fat Lady</i>. No, Anna P&aacute;vlovna, permit
+me, you can't decide it in such a way. Before I was married, I once
+had a remarkable dream. Dreams, you know, are often such that you
+don't know where they begin and where they end; it was just such a
+dream that I....</p>
+
+<p class="indent">[<i>Enter</i> VAS&Iacute;LY LEON&Iacute;DITCH
+<i>and</i> PETR&Iacute;STCHEF.</p>
+
+<p class="hang"><i>Fat Lady</i>. And much was revealed to me by
+that dream. Nowadays the young people (<i>points to</i>
+PETR&Iacute;STCHEF <i>and</i> VAS&Iacute;LY LEON&Iacute;DITCH) deny
+everything.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. But look
+here, you know&mdash;now I, for instance, never deny anything! Eh,
+what?</p>
+
+<p class="indent">[BETSY <i>and</i> M&Aacute;RYA
+KONSTANT&Iacute;NOVNA <i>enter, and begin talking to</i>
+PETR&Iacute;STCHEF.</p>
+
+<p class="hang"><i>Fat Lady</i>. And how can one deny the
+supernatural? They say it is unreasonable. But what if one's reason
+is stupid; what then? There now, on Garden Street, you know ...
+why, well, it appeared every evening! My husband's
+brother&mdash;what do you call him? Not
+<i>beau-fr&egrave;re</i>&mdash;what's the other name for it?&mdash;I never
+can remember the names of these different relationships&mdash;well,
+he went there three nights running, and still he saw nothing; so I
+said to him....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Well, who
+is going to stay here?</p>
+
+<p class="hang"><i>Fat Lady</i>. I! I!</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. I.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>to</i> DOCTOR). Do
+you mean to say you are going to stay?</p>
+
+<p class="hang"><i>Doctor</i>. Yes; I must see, if only once, what
+it is that Alex&eacute;y Vlad&iacute;miritch has discovered in it.
+How can we deny anything without proof?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Then I am to take it
+to-night for certain?</p>
+
+<p class="hang"><i>Doctor</i>. Take what?... Oh, the powder. Yes,
+it would perhaps be better. Yes, yes, take it.... However, I shall
+come upstairs again.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i>. Yes, please do.
+(<i>Loud</i>.) When it is over, <i>mesdames et messieurs</i>, I
+shall expect you to come to me upstairs to rest from your emotions,
+and then we will finish our rubber.</p>
+
+<p class="hang"><i>Fat Lady</i>. Oh, certainly.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Yes, thanks!</p>
+
+<p class="indent">[<i>Exit</i> ANNA P&Aacute;VLOVNA.</p>
+
+<p class="hang"><i>Betsy</i> (<i>to</i> PETR&Iacute;STCHEF). You
+must stay, I tell you. I promise you something extraordinary. Will
+you bet?</p>
+
+<p class="hang"><i>M&aacute;rya Konstant&iacute;novna</i>. But you
+don't believe in it?</p>
+
+<p class="hang"><i>Betsy</i>. To-day I do.</p>
+
+<p class="hang"><i>M&aacute;rya Konstant&iacute;novna</i>
+(<i>to</i> PETR&Iacute;STCHEF). And do you believe?</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. "I can't believe, I
+cannot trust a heart for falsehood framed." Still, if Elizabeth
+Leon&iacute;dovna commands....</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Let us
+stay, M&aacute;rya Konstant&iacute;novna. Eh, what? I shall invent
+something <i>&eacute;p&acirc;tant</i>.</p>
+
+<p class="hang"><i>M&aacute;rya Konstant&iacute;novna</i>. No, you
+mustn't make me laugh. You know I can't restrain myself.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>
+(<i>loud</i>). I remain!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>
+(<i>severely</i>). But I beg those who remain not to joke about it.
+It is a serious matter.</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. Do you hear? Well then,
+let's stay. Vovo, sit here, and don't be too shy.</p>
+
+<p class="hang"><i>Betsy</i>. Yes, it's all very well for you to
+laugh; but just wait till you see what will happen.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Oh, but
+supposing it's true? Won't it be a go! Eh, what?</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i> (<i>trembles</i>). Oh,
+I'm afraid, I'm afraid! M&aacute;rya Konstant&iacute;novna, I'm
+afraid! My tootsies tremble.</p>
+
+<p class="hang"><i>Betsy</i> (<i>laughing</i>). Not so loud.</p>
+
+<p class="indent">[<i>All sit down.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Take your
+seats, take your seats. Simon, sit down!</p>
+
+<p class="hang"><i>Simon</i>. Yes, sir.</p>
+
+<p class="indent">[<i>Sits down on the edge of the chair.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Sit
+properly.</p>
+
+<p class="hang"><i>Professor</i>. Sit straight in the middle of the
+chair, and quite at your ease.</p>
+
+<p class="indent">[<i>Arranges</i> SIMON <i>on his chair.</i></p>
+
+<p class="indent">[BETSY, M&Aacute;RYA KONSTANT&Iacute;NOVNA
+<i>and</i> VAS&Iacute;LY LEON&Iacute;DITCH <i>laugh.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i> (<i>raising
+his voice</i>). I beg those who are going to remain here not to
+behave frivolously, but to regard this matter seriously, or bad
+results might follow. Do you hear, Vovo! If you can't be quiet, go
+away!</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Quiet,
+quiet!</p>
+
+<p class="indent">[<i>Hides behind</i> FAT LADY.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>.
+Alex&eacute;y Vlad&iacute;miritch, will you mesmerise him?</p>
+
+<p class="hang"><i>Professor</i>. No; why should I do it when
+Ant&oacute;n Bor&iacute;sitch is here? He has had far more practice
+and has more power in that department than I ... Ant&oacute;n
+Bor&iacute;sitch!</p>
+
+<p class="hang"><i>Grossman</i>. Ladies and gentlemen, I am not,
+strictly speaking, a spiritualist. I have only studied hypnotism.
+It is true I have studied hypnotism in all its known
+manifestations; but what is called spiritualism, is entirely
+unknown to me. When a subject is thrown into a trance, I may expect
+the hypnotic phenomena known to me: lethargy, abulia, anaesthesia,
+analgesia, catalepsy, and every kind of susceptibility to
+suggestion. Here it is not these but other phenomena we expect to
+observe. Therefore it would be well to know of what kind are the
+phenomena we expect to witness, and what is their scientific
+significance.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. I thoroughly agree with Mr.
+Grossman. Such an explanation would be very interesting.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. I think
+Alex&eacute;y Vlad&iacute;miritch will not refuse to give us a
+short explanation.</p>
+
+<p class="hang"><i>Professor</i>. Why not? I can give an
+explanation if it is desired. (<i>To the</i> DOCTOR.) Will you
+kindly note his temperature and pulse? My explanation must, of
+necessity, be cursory and brief.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Yes,
+please; briefly, quite briefly.</p>
+
+<p class="hang"><i>Doctor</i>. All right. (<i>Takes out
+thermometer</i>.) Now then, my lad....</p>
+
+<p class="indent">[<i>Places the thermometer.</i></p>
+
+<p class="hang"><i>Simon</i>. Yes, sir!</p>
+
+<p class="hang"><i>Professor</i> (<i>rising and addressing the</i>
+FAT LADY&mdash;<i>then reseating himself</i>). Ladies and
+gentlemen! The phenomenon we are investigating to-night is
+regarded, on the one hand, as something new; and, on the other, as
+something transcending the limits of natural conditions. Neither
+view is correct. This phenomenon is not new but is as old as the
+world; and it is not supernatural but is subject to the eternal
+laws that govern all that exists. This phenomenon has been usually
+defined as "intercourse with the spirit world." That definition is
+inexact. Under such a definition the spirit world is contrasted
+with the material world. But this is erroneous; there is no such
+contrast! Both worlds are so closely connected that it is
+impossible to draw a line of demarcation, separating the one from
+the other. We say matter is composed of molecules....</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. Prosy matter!</p>
+
+<p class="indent">[<i>Whispering and laughter.</i></p>
+
+<p class="hang"><i>Professor</i> (<i>pauses, then continues</i>).
+Molecules are composed of atoms, but the atoms, having no
+extension, are in reality nothing but the points of application of
+forces. Strictly speaking, not of forces but of energy, that same
+energy which is as much a unity and just as indestructible as
+matter. But matter, though one, has many different aspects, and the
+same is true of energy. Till recently only four forms of energy,
+convertible into one another, have been known to us: energies known
+as the dynamic, the thermal, the electric, and the chemic. But
+these four aspects of energy are far from exhausting all the
+varieties of its manifestation. The forms in which energy may
+manifest itself are very diverse, and it is one of these new and as
+yet but little known phases of energy, that we are investigating
+to-night. I refer to mediumistic energy.</p>
+
+<p class="indent">[<i>Renewed whispering and laughter among the
+young people.</i></p>
+
+<p class="hang"><i>Professor</i> (<i>stops and casts a severe look
+round</i>). Mediumistic energy has been known to mankind for ages:
+prophecy, presentiments, visions and so on, are nothing but
+manifestations of mediumistic energy. The manifestations produced
+by it have, I say, been known to mankind for ages. But the energy
+itself has not been recognised as such till quite
+recently&mdash;not till that medium, the vibrations of which cause
+the manifestations of mediumistic energy, was recognised. In the
+same way that the phenomena of light were inexplicable until the
+existence of an imponderable substance&mdash;an ether&mdash;was
+recognised, so mediumistic phenomena seemed mysterious until the
+now fully established fact was recognised, that between the
+particles of ether there exists another still more rarefied
+imponderable substance not subject to the law of the three
+dimensions....</p>
+
+<p class="indent">[<i>Renewed laughter, whispers, and
+giggling.</i></p>
+
+<p class="hang"><i>Professor</i> (<i>again looks round
+severely</i>). And just as mathematical calculations have
+irrefutably proved the existence of imponderable ether which gives
+rise to the phenomena of light and electricity, so the successive
+investigations of the ingenious Hermann, of Schmidt, and of Joseph
+Schmatzhofen, have confirmed beyond a doubt the existence of a
+substance which fills the universe and may be called spiritual
+ether.</p>
+
+<p class="hang"><i>Fat Lady</i>. Ah, now I understand. I am so
+grateful....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Yes, but
+Alex&eacute;y Vlad&iacute;miritch, could you not ... condense it a
+little?</p>
+
+<p class="hang"><i>Professor</i> (<i>not heeding the remark</i>).
+And so, as I have just had the honor of mentioning to you, a
+succession of strictly scientific experiments have made plain to us
+the laws of mediumistic phenomena. These experiments have proved
+that, when certain individuals are plunged into a hypnotic state (a
+state differing from ordinary sleep only by the fact that man's
+physiological activity is not lowered by the hypnotic influence
+but, on the contrary, is always heightened&mdash;as we have
+recently witnessed), when, I say, any individual is plunged into
+such a state, this always produces certain perturbations in the
+spiritual ether&mdash;perturbations quite similar to those produced
+by plunging a solid body into liquid matter. These perturbations
+are what we call mediumistic phenomena....</p>
+
+<p class="indent">[<i>Laughter and whispers.</i></p>
+
+<p class="hang"><i>Sah&aacute;tof.</i> That is quite comprehensible
+and correct; but if, as you are kind enough to inform us, the
+plunging of the medium into a trance produces perturbations of the
+spiritual ether, allow me to ask why (as is usually supposed to be
+the case in spiritualistic s&eacute;ances) these perturbations
+result in an activity on the part of the souls of dead people?</p>
+
+<p class="hang"><i>Professor.</i> It is because the molecules of
+this spiritual ether are nothing but the souls of the living, the
+dead, and the unborn, and any vibration of the spiritual ether must
+inevitably cause a certain vibration of its atoms. These atoms are
+nothing but human souls, which enter into communication with one
+another by means of these movements.</p>
+
+<p class="hang"><i>Fat Lady</i> (<i>to</i> SAH&Aacute;TOF). What is
+it that puzzles you? It is so simple.... Thank you so, so much!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> I think
+everything has now been explained, and that we may commence.</p>
+
+<p class="hang"><i>Doctor.</i> The fellow is in a perfectly normal
+condition: temperature 37 decimal 2, pulse 74.</p>
+
+<p class="hang"><i>Professor</i> (<i>takes out his pocket-book and
+notes this down</i>). What I have just had the honor of explaining
+will be confirmed by the fact, which we shall presently have an
+opportunity of observing, that after the medium has been thrown
+into a trance his temperature and pulse will inevitably rise, just
+as occurs in cases of hypnotism.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Yes, yes.
+But excuse me a moment. I should like to reply to Serg&eacute;y
+Iv&aacute;nitch's question: How do we know we are in communication
+with the souls of the dead? We know it because the spirit that
+appears, plainly tells us&mdash;as simply as I am speaking to
+you&mdash;who he is, and why he has come, and whether all is well
+with him! At our last s&eacute;ance a Spaniard, Don Castillos, came
+to us, and he told us everything. He told us who he was, and when
+he died, and that he was suffering for having taken part in the
+Inquisition. He even told us what was happening to him at the very
+time that he was speaking to us, namely, that at the very time he
+was talking to us he had to be born again on earth, and, therefore,
+could not continue his conversation with us.... But you'll see for
+yourselves....</p>
+
+<p class="hang"><i>Fat Lady</i> (<i>interrupting</i>). Oh, how
+interesting! Perhaps the Spaniard was born in one of our houses and
+is a baby now!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Quite
+possibly.</p>
+
+<p class="hang"><i>Professor</i>. I think it is time we began.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. I was only
+going to say....</p>
+
+<p class="hang"><i>Professor</i>. It is getting late.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Very well.
+Then we will commence. Ant&oacute;n Bor&iacute;sitch, be so good as
+to hypnotize the medium.</p>
+
+<p class="hang"><i>Grossman</i>. What method would you like me to
+use? There are several methods. There is Braid's system, there is
+the Egyptian symbol, and there is Charcot's system.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i> (<i>to
+the</i> PROFESSOR). I think it is quite immaterial.</p>
+
+<p class="hang"><i>Professor</i>. Quite.</p>
+
+<p class="hang"><i>Grossman</i>. Then I will make use of my own
+method, which I showed in Odessa.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. If you
+please!</p>
+
+<p class="indent">[GROSSMAN <i>waves his arms above</i> SIMON.
+SIMON <i>closes his eyes and stretches himself.</i></p>
+
+<p class="hang"><i>Grossman</i> (<i>looking closely at him</i>). He
+is falling asleep! He is asleep! A remarkably rapid occurrence of
+hypnosis. The subject has evidently already reached a state of
+an&aelig;sthesia. He is remarkable,&mdash;an unusually
+impressionable subject, and might be subjected to interesting
+experiments!... (<i>Sits down, rises, sits down again</i>.) Now one
+might run a needle into his arm. If you like....</p>
+
+<p class="hang"><i>Professor</i> (<i>to LEON&Iacute;D
+FY&Oacute;DORITCH</i>). Do you notice how the medium's trance acts
+on Grossman? He is beginning to vibrate.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Yes, yes
+... can the lights be extinguished now?</p>
+
+<p class="hang"><i>Sah&aacute;tof.</i> But why is darkness
+necessary?</p>
+
+<p class="hang"><i>Professor.</i> Darkness? Because it is a
+condition of the manifestation of mediumistic energy, just as a
+given temperature is a condition necessary for certain
+manifestations of chemical or dynamic energy.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> But not
+always. Manifestations have been observed by me, and by many
+others, both by candlelight and daylight.</p>
+
+<p class="hang"><i>Professor</i> (<i>interrupting</i>). May the
+lights be put out?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Yes,
+certainly. (<i>Puts out candles</i>.) Ladies and gentlemen!
+attention, if you please.</p>
+
+<p class="indent">[T&Aacute;NYA <i>gets from under the sofa and
+takes hold of a thread tied to a chandelier.</i></p>
+
+<p class="hang"><i>Petr&iacute;stchef.</i> I like that Spaniard!
+Just in the midst of a conversation&mdash;off he goes head
+downwards ... as the French say: <i>piquer une
+<a name="f12-r">t&ecirc;te.</a></i>
+<sup><a href="#f12">12</a></sup></p>
+
+<p class="hang"><i>Betsy.</i> You just wait a bit, and see what
+will happen!</p>
+
+<p class="hang"><i>Petr&iacute;stchef.</i> I have only one fear,
+and that is that Vovo may be moved by the spirit to grunt like a
+pig!</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch.</i> Would you
+like me to? I will....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Gentlemen!
+Silence, if you please!</p>
+
+<p class="indent">[<i>Silence.</i> SIMON <i>licks the matches on
+his fingers and rubs his knuckles with them.</i> <i>Leon&iacute;d
+Fy&oacute;doritch.</i> A light! Do you see the light?</p>
+
+<p class="hang"><i>Sah&aacute;tof.</i> A light? Yes, yes, I see;
+but allow me....</p>
+
+<p class="hang"><i>Fat Lady.</i> Where? Where? Oh, dear, I did not
+see it! Ah, there it is. Oh!...</p>
+
+<p class="hang"><i>Professor</i> (<i>whispers to LEON&Iacute;D
+FY&Oacute;DORITCH, and points to GROSSMAN, who is moving</i>). Do
+you notice how he vibrates? It is the dual influence.</p>
+
+<p class="indent">[<i>The light appears again.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i> (<i>to
+the</i> PROFESSOR). It must be he&mdash;you know!</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Who?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. A Greek,
+Nicholas. It is his light. Don't you think so, Alex&eacute;y
+Vlad&iacute;miritch?</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Who is this Greek,
+Nicholas?</p>
+
+<p class="hang"><i>Professor</i>. A certain Greek, who was a monk
+at Constantinople under Constantine and who has been visiting us
+lately.</p>
+
+<p class="hang"><i>Fat Lady</i>. Where is he? Where is he? I don't
+see him.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. He is not
+yet visible ... Alex&eacute;y Vlad&iacute;miritch, he is particularly well
+disposed towards you. You question him.</p>
+
+<p class="hang"><i>Professor</i> (<i>in a peculiar voice</i>).
+Nicholas! Is that you?</p>
+
+<p class="indent">[T&Aacute;NYA <i>raps twice on the wall.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>
+(<i>joyfully</i>). It is he! It is he!</p>
+
+<p class="hang"><i>Fat Lady</i>. Oh, dear! Oh! I shall go away!</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Why do you suppose it is
+he?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Why, the
+two knocks. It is an affirmative answer; else all would have been
+silence.</p>
+
+<p class="indent">[<i>Silence. Suppressed giggling in the young
+people's corner.</i> T&Aacute;NYA <i>throws a lampshade, pencil and
+penwiper upon the table.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>
+(<i>whispers</i>). Do you notice, gentlemen, here is a lamp-shade,
+and something else&mdash;a pencil!... Alex&eacute;y Vlad&iacute;miritch,
+it is a pencil!</p>
+
+<p class="hang"><i>Professor</i>. All right, all right! I am
+watching both him and Grossman!</p>
+
+<p class="indent">[GROSSMAN <i>rises and feels the things that have
+fallen on the table.</i></p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Excuse me, excuse me! I
+should like to see whether it is not the medium who is doing it all
+himself?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Do you
+think so? Well, sit by him and hold his hands. But you may be sure
+he is asleep.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i> (<i>approaches</i>,
+T&Aacute;NYA <i>lets a thread touch his head. He is frightened, and
+stoops</i>). Ye ... ye ... yes! Strange, very strange!</p>
+
+<p class="indent">[<i>Takes hold of</i> SIMON'S <i>elbow.</i> SIMON
+<i>howls.</i></p>
+
+<p class="hang"><i>Professor</i> (<i>to</i> LEON&Iacute;D
+FY&Oacute;DORITCH). Do you notice the effect of Grossman's
+presence? It is a new phenomenon&mdash;I must note it....</p>
+
+<p class="indent">[<i>Runs out to note it down, and returns
+again.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Yes.... But
+we cannot leave Nicholas without an answer. We must begin....</p>
+
+<p class="hang"><i>Grossman</i> (<i>rises, approaches Simon and
+raises and lowers his arm</i>). It would be interesting to produce
+contraction! The subject is in profound hypnosis.</p>
+
+<p class="hang"><i>Professor</i> (<i>to</i> LEON&Iacute;D
+FY&Oacute;DORITCH). Do you see? Do you see?</p>
+
+<p class="hang"><i>Grossman</i>. If you like....</p>
+
+<p class="hang"><i>Doctor</i>. Now then, my dear sir, leave the
+management to Alex&eacute;y Vlad&iacute;miritch; the affair is turning out
+serious.</p>
+
+<p class="hang"><i>Professor</i>. Leave him alone, he (<i>referring
+to</i> GROSSMAN) is talking in his sleep!</p>
+
+<p class="hang"><i>Fat Lady</i>. How glad I now am that I resolved
+to be present! It is frightening, but all the same I am glad, for I
+always said to my husband....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Silence, if
+you please.</p>
+
+<p class="indent">[T&Aacute;NYA <i>draws a thread over the</i> FAT
+LADY'S <i>head.</i></p>
+
+<p class="hang"><i>Fat Lady</i>. Aie!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. What? What
+is it?</p>
+
+<p class="hang"><i>Fat Lady</i>. He took hold of my hair!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>
+(<i>whispers</i>). Never mind, don't be afraid, give him your hand.
+His hand will be cold, but I like it.</p>
+
+<p class="hang"><i>Fat Lady</i> (<i>hides her hands</i>). Not for
+the world!</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Yes, it is strange, very
+strange!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. He is here
+and is seeking for intercourse. Who wishes to put a question to
+him?</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. I should like to put a
+question, if I may.</p>
+
+<p class="hang"><i>Professor</i>. Please do.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Do I believe or not?</p>
+
+<p class="indent">[T&Aacute;NYA <i>knocks twice.</i></p>
+
+<p class="hang"><i>Professor</i>. The answer is affirmative.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Allow me to ask again. Have
+I a ten rouble note in my pocket?</p>
+
+<p class="indent">[T&Aacute;NYA <i>knocks several times and passes
+a thread over</i> SAH&Aacute;TOF'S <i>head.</i></p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Ah!</p>
+
+<p class="indent">[<i>Seizes the thread and breaks it.</i></p>
+
+<p class="hang"><i>Professor</i>. I should ask those present not to
+ask indefinite or trivial questions. It is unpleasant to
+<i>him!</i></p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. No, but allow me! Here I
+have a thread in my hand!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. A thread?
+Hold it fast; that happens often, and not only threads but
+sometimes even silk cords&mdash;very ancient ones!</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. No&mdash;but where did this
+thread come from?</p>
+
+<p class="indent">[T&Aacute;NYA <i>throws a cushion at him.</i></p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. Wait a bit; wait! Something
+soft has hit me on the head. Light a candle&mdash;there is
+something....</p>
+
+<p class="hang"><i>Professor</i>. We beg of you not to interrupt
+the manifestations.</p>
+
+<p class="hang"><i>Fat Lady</i>. For goodness' sake, don't
+interrupt! I should also like to ask something. May I?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Yes, if you
+like.</p>
+
+<p class="hang"><i>Fat Lady</i>. I should like to ask about my
+digestion. May I? I want to know what to take: aconite or
+belladonna?</p>
+
+<p class="indent">[<i>Silence, whispers among the young people;
+suddenly</i> VAS&Iacute;LY LEON&Iacute;DITCH <i>begins to cry like
+a baby: "ou-a, ou-a!" (Laughter.) Holding their mouths and noses,
+the girls and</i> PETR&Iacute;STCHEF <i>run away bursting with
+laughter.</i></p>
+
+<p class="hang"><i>Fat Lady</i>. Ah, that must be the monk who's
+been born again!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i> (<i>beside
+himself with anger, whispers</i>). One gets nothing but tomfoolery
+from you! If you don't know how to behave decently, go away!</p>
+
+<p class="indent">[<i>Exit</i> VAS&Iacute;LY LEON&Iacute;DITCH.
+<i>Darkness and silence.</i></p>
+
+<p class="hang"><i>Fat Lady</i>. Oh, what a pity! Now one can't ask
+any more! He is born!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Not at all.
+It is only Vovo's nonsense. But <i>he</i> is here. Ask him.</p>
+
+<p class="hang"><i>Professor</i>. That often happens. These jokes
+and ridicule are quite usual occurrences. I expect <i>he</i> is
+still here. But we may ask. Leon&iacute;d Fy&oacute;doritch, will
+you?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. No, you, if
+you please. This has upset me. So unpleasant! Such want of
+tact!...</p>
+
+<p class="hang"><i>Professor.</i> Very well.... Nicholas, are you
+here?</p>
+
+<p class="indent">[T&Aacute;NYA <i>raps twice and rings.</i> SIMON
+<i>roars, spreads his arms out, seizes</i> SAH&Aacute;TOF <i>and
+the</i> PROFESSOR<i>&mdash;squeezing them.</i></p>
+
+<p class="hang"><i>Professor.</i> What an unexpected phenomenon!
+The medium himself reacted upon! This never happened before!
+Leon&iacute;d Fy&oacute;doritch, will you watch? It is difficult
+for me to do so. He squeezes me so! Mind you observe Grossman! This
+needs the very greatest attention!</p>
+
+<p class="indent">[T&Aacute;NYA <i>throws the</i> PEASANTS'
+<i>paper on the table.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Something
+has fallen upon the table.</p>
+
+<p class="hang"><i>Professor.</i> See what it is!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Paper! A
+folded paper!</p>
+
+<p class="indent">[T&Aacute;NYA <i>throws a travelling inkstand on
+the table.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> An
+inkstand!</p>
+
+<p class="indent">[T&Aacute;NYA <i>throws a pen.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> A pen!</p>
+
+<p class="indent">[SIMON <i>roars and squeezes.</i></p>
+
+<p class="hang"><i>Professor</i> (<i>crushed</i>). Wait a bit,
+wait: a totally new manifestation! The action proceeding not from
+the mediumistic energy produced, but from the medium himself!
+However, open the inkstand, and put the pen on the table, and
+<i>he</i> will write!</p>
+
+<p class="indent">[T&Aacute;NYA <i>goes behind</i> LEON&Iacute;D
+FY&Oacute;DORITCH <i>and strikes him on the head with the
+guitar.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> He has
+struck me on the head! (<i>Examining table</i>.) The pen is not
+writing yet and the paper remains folded.</p>
+
+<p class="hang"><i>Professor.</i> See what the paper is, and
+quickly; evidently the dual influence&mdash;his and
+Grossman's&mdash;has produced a perturbation!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i> (<i>goes out
+and returns at once</i>). Extraordinary! This paper is an agreement
+with some peasants that I refused to sign this morning and returned
+to the peasants. Probably <i>he</i> wants me to sign it?</p>
+
+<p class="hang"><i>Professor.</i> Of course! Of course! But ask
+him.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Nicholas,
+do you wish....</p>
+
+<p class="indent">[T&Aacute;NYA <i>knocks twice.</i></p>
+
+<p class="hang"><i>Professor.</i> Do you hear? It is quite
+evident!</p>
+
+<p class="indent">[LEON&Iacute;D FY&Oacute;DORITCH <i>takes the
+paper and pen and goes out.</i> T&Aacute;NYA <i>knocks, plays on
+the guitar and the accordion, and then creeps under the sofa.</i>
+LEON&Iacute;D FY&Oacute;DORITCH <i>returns.</i> SIMON
+<i>stretches himself and coughs.</i></p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. He is
+waking up. We can light the candles.</p>
+
+<p class="hang"><i>Professor</i> (<i>hurriedly</i>). Doctor,
+Doctor, please, his pulse and temperature! You will see that a rise
+of both will be apparent.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i> (<i>lights
+the candles</i>). Well, what do you gentlemen who were sceptical
+think of it now?</p>
+
+<p class="hang"><i>Doctor</i> (<i>goes up to</i> SIMON <i>and
+places thermometer</i>). Now then my lad. Well, have you had a nap?
+There, put that in there, and give me your hand.</p>
+
+<p class="indent">[<i>Looks at his watch.</i></p>
+
+<p class="hang"><i>Sah&aacute;tof</i> (<i>shrugging his
+shoulders</i>). I must admit that all that has occurred cannot have
+been done by the medium. But the thread?... I should like the
+thread explained.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. A thread! A
+thread! We have been witnessing manifestations more important than
+a thread.</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. I don't know. At all events,
+<i>je r&eacute;serve mon opinion</i>.</p>
+
+<p class="hang"><i>Fat Lady</i> (<i>to</i> SAH&Aacute;TOF). Oh, no,
+how can you say: "<i>je r&eacute;serve mon opinion</i>"? And the
+infant with the little wings? Didn't you see? At first I thought it
+was only an illusion, but afterwards it became clearer and clearer,
+like a live....</p>
+
+<p class="hang"><i>Sah&aacute;tof</i>. I can only speak of what I
+have seen. I did not see that&mdash;nothing of the kind.</p>
+
+<p class="hang"><i>Fat Lady</i>. You don't mean to say so? Why, it
+was quite plainly visible! And to the left there was a monk clothed
+in black bending over it....</p>
+
+<p class="hang"><i>Sah&aacute;tof</i> (<i>moves away. Aside</i>).
+What exaggeration!</p>
+
+<p class="hang"><i>Fat Lady</i> (<i>addressing the</i> DOCTOR). You
+must have seen it! It rose up from your side.</p>
+
+<p class="indent">[DOCTOR <i>goes on counting the pulse without
+heeding her.</i></p>
+
+<p class="hang"><i>Fat Lady</i> (<i>to</i> GROSSMAN). And that
+light, the light around it, especially around its little face! And
+the expression so mild and tender, something so heavenly!</p>
+
+<p class="indent">[<i>Smiles tenderly herself.</i></p>
+
+<p class="hang"><i>Grossman</i>. I saw phosphorescent light, and
+objects changed their places, but I saw nothing more than that.</p>
+
+<p class="hang"><i>Fat Lady</i>. Don't tell me! You don't mean it!
+It is simply that you scientists of Charcot's school do not believe
+in a life beyond the grave! As for me, no one could now make me
+disbelieve in a future life&mdash;no one in the world!</p>
+
+<p class="indent">[GROSSMAN <i>moves away from her.</i></p>
+
+<p class="hang"><i>Fat Lady</i>. No, no, whatever you may say, this
+is one of the happiest moments of my life! When I heard Sarasate
+play, and now.... Yes! (<i>No one listens to her. She goes up
+to</i> SIMON.) Now tell me, my friend, what did you feel? Was it
+very trying?</p>
+
+<p class="hang"><i>Simon</i> (<i>laughs</i>). Yes, ma'm, just
+so.</p>
+
+<p class="hang"><i>Fat Lady</i>. Still not unendurable?</p>
+
+<p class="hang"><i>Simon</i>. Just so, ma'm. (<i>To</i>
+LEON&Iacute;D FY&Oacute;DORITCH.) Am I to go?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Yes, you
+may go.</p>
+
+<p class="hang"><i>Doctor</i> (<i>to the</i> PROFESSOR). The pulse
+is the same, but the temperature is lower.</p>
+
+<p class="hang"><i>Professor</i>. Lower! (<i>Considers awhile, then
+suddenly divines the conclusion</i>.) It had to be so&mdash;it had
+to descend! The dual influence crossing had to produce some kind of
+reflex action. Yes, that's it!</p>
+
+<p class="hang"><i>Exeunt, all talking at once&mdash;</i></p>
+
+<p class="deep_hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. I'm
+only sorry we had no complete {materialisation. But still.... Come,
+gentlemen, let us go to the drawing-room?</p>
+
+<p class="deep_hang"><i>Fat Lady</i>. What specially struck me was
+when he flapped his wings, and one saw how he rose!</p>
+
+<p class="deep_hang"><i>Grossman</i> (<i>to</i> SAH&Aacute;TOF). If
+we had kept to hypnotism, we might have produced a thorough state
+of epilepsy. The success might have been complete!</p>
+
+<p class="deep_hang"><i>Sah&aacute;tof</i>. It is very interesting,
+but not entirely convincing. That is all I can say.</p>
+
+<p class="indent">[<i>Enter</i> THEODORE IV&Aacute;NITCH.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i> (<i>with
+paper in his hand</i>). Ah, Theodore, what a remarkable
+s&eacute;ance we have had! It turns out that the peasants must have
+the land on their own terms.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Dear me!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Yes,
+indeed. (<i>Showing paper</i>.) Fancy, this paper that I returned
+to them, suddenly appeared on the table! I have signed it.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. How did it get
+there?</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch</i>. Well, it
+did get there!</p>
+
+<p class="indent">[<i>Exit.</i> THEODORE IV&Aacute;NITCH <i>follows
+him out.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>gets from under the sofa
+and laughs</i>). Oh, dear, oh dear! Well, I did get a fright when
+he got hold of the thread! (<i>Shrieks</i>.) Well, anyhow, it's all
+right&mdash;he has signed it!</p>
+
+<p class="indent">[<i>Enter</i> GREGORY.</p>
+
+<p class="hang"><i>Gregory</i>. So it was you that was fooling
+them?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. What business is it of
+yours?</p>
+
+<p class="hang"><i>Gregory</i>. And do you think the missis will be
+pleased with you for it? No, you bet; you're caught now! I'll tell
+them what tricks you're up to, if you don't let me have my way!</p>
+
+<p class="hang"><i>T&aacute;nya</i>. And you'll not get your way,
+and you'll not do me any harm!</p>
+
+<p class="hang">CURTAIN</p>
+
+<h3>ACT IV</h3>
+
+<p class="hang"><i>The same scene as in Act I. The next day. Two
+liveried footmen</i>, THEODORE IV&Aacute;NITCH <i>and</i>
+GREGORY.</p>
+
+<p class="hang"><i>First Footman</i> (<i>with grey whiskers</i>).
+Yours is the third house to-day. Thank goodness that all the
+at-homes are in this direction. Yours used to be on Thursdays.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Yes, we changed to
+Saturday so as to be on the same day as the Gol&oacute;vkins and
+Grade von Grabes....</p>
+
+<p class="hang"><i>Second Footman</i>. The Stcherb&aacute;kofs do
+the thing well. There's refreshments for the footmen every time
+they've a ball.</p>
+
+<p class="indent">[<i>The two</i> PRINCESSES, <i>mother and
+daughter, come down the stairs accompanied by</i> BETSY. <i>The
+old</i> PRINCESS <i>looks in her note-book and at her watch, and
+sits down on the settle.</i> GREGORY <i>puts on her
+overshoes.</i></p>
+
+<p class="hang"><i>Young Princess</i>. Now, do come. Because, if
+you refuse, and Dodo refuses, the whole thing will be spoilt.</p>
+
+<p class="hang"><i>Betsy</i>. I don't know. I must certainly go to
+the Sho&uacute;bins. And then there is the rehearsal.</p>
+
+<p class="hang"><i>Young Princess</i>. You'll have plenty of time.
+Do, please. <i>Ne nous fais pas faux
+<a name="f13-r">bond</a></i>.<a href="#f13"><sup>13</sup></a> F&eacute;dya
+and Koko will come.</p>
+
+<p class="hang"><i>Betsy. J'en ai par-dessus la t&ecirc;te de votre
+<a name="f14-r">Koko</a></i>.<sup><a href="#f14">14</a></sup></p>
+
+<p class="hang"><i>Young Princess</i>. I thought I should see him
+here. <i>Ordinairement il est d'une
+<a name="f15-r">exactitude</a></i>....<sup><a href="#f15">15</a></sup></p>
+
+<p class="hang"><i>Betsy</i>. He is sure to come.</p>
+
+<p class="hang"><i>Young Princess</i>. When I see you together, it
+always seems to me that he has either just proposed or is just
+going to propose.</p>
+
+<p class="hang"><i>Betsy.</i> Yes, I don't suppose it can be
+avoided. I shall have to go through with it. And it is so
+unpleasant!</p>
+
+<p class="hang"><i>Young Princess.</i> Poor Koko! He is head over
+ears in love.</p>
+
+<p class="hang"><i>Betsy.</i> <i>Cessez, les <a name=
+"f16-r">gens!</a></i> <sup><a href="#f16">16</a></sup></p>
+
+<p class="indent">[YOUNG PRINCESS <i>sits down, talking in
+whispers.</i> GREGORY <i>puts on her overshoes.</i></p>
+
+<p class="hang"><i>Young Princess.</i> Well then, good-bye till
+this evening.</p>
+
+<p class="hang"><i>Betsy.</i> I'll try to come.</p>
+
+<p class="hang"><i>Old Princess.</i> Then tell your papa that I
+don't believe in anything of the kind, but will come to see his new
+medium. Only he must let me know when. Good afternoon, ma toute
+belle.</p>
+
+<p class="indent">[<i>Kisses</i> BETSY, <i>and exit</i>,
+<i>followed by her daughter.</i> BETSY <i>goes upstairs.</i></p>
+
+<p class="hang"><i>Gregory.</i> I don't like putting on an old
+woman's overshoes for her; she can't stoop, can't see her shoe for
+her stomach, and keeps poking her foot in the wrong place. It's
+different with a young one; it's pleasant to take her foot in one's
+hand.</p>
+
+<p class="hang"><i>Second Footman.</i> Hear him! Making
+distinctions!</p>
+
+<p class="hang"><i>First Footman.</i> It's not for us footmen to
+make such distinctions.</p>
+
+<p class="hang"><i>Gregory.</i> Why shouldn't one make
+distinctions; are we not men? It's they think we don't understand!
+Just now they were deep in their talk, then they look at me, and at
+once it's "lay zhon!"</p>
+
+<p class="hang"><i>Second Footman.</i> And what's that?</p>
+
+<p class="hang"><i>Gregory.</i> Oh, that means, "Don't talk, they
+understand!" It's the same at table. But I understand! You say,
+there's a difference? I say there is none.</p>
+
+<p class="hang"><i>First Footman.</i> There is a great difference
+for those who understand.</p>
+
+<p class="hang"><i>Gregory.</i> There is none at all. To-day I am a
+footman, and to-morrow I may be living no worse than they are. Has
+it never happened that they've married footmen? I'll go and have a
+smoke.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Second Footman.</i> That's a bold young man
+you've got.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. A worthless
+fellow, not fit for service. He used to be an office boy and has
+got spoilt. I advised them not to take him, but the mistress liked
+him. He looks well on the carriage when they drive out.</p>
+
+<p class="hang"><i>First Footman</i>. I should like to send him to
+our Count; he'd put him in his place! Oh, he don't like those
+scatterbrains. "If you're a footman, be a footman and fulfil your
+calling." Such pride is not befitting.</p>
+
+<p class="indent">[PETR&Iacute;STCHEF <i>comes running downstairs,
+and takes out a cigarette.</i></p>
+
+<p class="hang"><i>Petr&iacute;stchef</i> (<i>deep in thought</i>).
+Let's see, my second is the same as my first. Echo, a-co, co-coa.
+(<i>Enter</i> KOKO KL&Iacute;NGEN, <i>wearing his pince-nez</i>.)
+Ko-ko, co-coa. Cocoa tin, where do you spring from?</p>
+
+<p class="hang"><i>Koko Kl&iacute;ngen</i>. From the
+Stcherb&aacute;kofs. You are always playing the fool....</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. No, listen to my
+charade. My first is the same as my second, my third may be
+cracked, my whole is like your pate.</p>
+
+<p class="hang"><i>Koko Kl&iacute;ngen</i>. I give it up. I've no
+time.</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. Where else are you
+going?</p>
+
+<p class="hang"><i>Koko Kl&iacute;ngen</i>. Where? Of course to the
+Ivins, to practice for the concert. Then to the Sho&uacute;bins,
+and then to the rehearsal. You'll be there too, won't you?</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. Most certainly. At the
+re-her-Sall and also at the re-her-Sarah. Why, at first I was a
+savage, and now I am both a savage and a general.</p>
+
+<p class="hang"><i>Koko Kl&iacute;ngen</i>. How did yesterday's
+s&eacute;ance go off?</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. Screamingly funny! There
+was a peasant, and above all, it was all in the dark. Vovo cried
+like an infant, the Professor defined, and M&aacute;rya
+Vas&iacute;levna refined. Such a lark! You ought to have been
+there.</p>
+
+<p class="hang"><i>Koko Kl&iacute;ngen</i>. I'm afraid, <i>mon
+cher</i>. You have a way of getting off with a jest, but I always
+feel that if I say a word they'll construe it into a proposal.
+<i>Et &ccedil;a ne m'arrange pas du tout, du tout. Mais du tout, du
+<a name="f17-r">tout!</a></i> <sup><a href="#f17">17</a></sup></p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. Instead of a proposal,
+make a proposition, and receive a sentence! Well, I shall go in to
+Vovo's. If you'll call for me, we can go to the re-her-Sarah
+together.</p>
+
+<p class="hang"><i>Koko Kl&iacute;ngen.</i> I can't think how you
+can be friends with such a fool. He is so stupid&mdash;a regular
+blockhead!</p>
+
+<p class="hang"><i>Petr&iacute;stchef.</i> And I am fond of him. I
+love Vovo, but ... "with a love so strange, ne'er towards him the
+path untrod shall be"....</p>
+
+<p class="indent">[<i>Exit into Vovo's room.</i></p>
+
+<p class="indent">[BETSY <i>comes down with a</i> LADY. KOKO
+<i>bows significantly to</i> BETSY.</p>
+
+<p class="hang"><i>Betsy</i> (<i>shaking</i> KOKO'S <i>hand without
+turning towards him. To</i> LADY). You are acquainted?</p>
+
+<p class="hang"><i>Lady.</i> No.</p>
+
+<p class="hang"><i>Betsy.</i> Baron Kl&iacute;ngen.... Why were you
+not here last night?</p>
+
+<p class="hang"><i>Koko Kl&iacute;ngen.</i> I could not come, I was
+engaged.</p>
+
+<p class="hang"><i>Betsy.</i> What a pity, it was so interesting!
+(<i>Laughs</i>.) You should have seen what manifestations we had!
+Well, how is our charade getting on?</p>
+
+<p class="hang"><i>Koko Kl&iacute;ngen.</i> Oh, the verses for
+<i>mon second</i> are ready. Nick composed the verses, and I the
+music.</p>
+
+<p class="hang"><i>Betsy.</i> What are they? What are they? Do tell
+me!</p>
+
+<p class="hang"><i>Koko Kl&iacute;ngen.</i> Wait a minute; how does
+it go?... Oh, the knight sings:</p>
+
+<p class="deep_hang">"Oh, <i>naught</i> so beautiful as
+nature:<br>
+ The <i>Nautilus</i> sails by.<br>
+ Oh, <i>naughty</i> lass, oh, <i>naughty</i> lass!<br>
+ Oh, <i>nought,</i> oh, <i>nought!</i> Oh, fie!"</p>
+
+<p class="hang"><i>Lady.</i> I see, my second is "nought," and what
+is my first?</p>
+
+<p class="hang"><i>Koko Kl&iacute;ngen.</i> My first is
+<i>Aero,</i> the name of a girl savage.</p>
+
+<p class="hang"><i>Betsy.</i> <i>Aero,</i> you see, is a savage who
+wished to devour the object of her love. (<i>Laughs</i>.) She goes
+about lamenting, and sings&mdash;</p>
+
+<p class="deep_hang">"My appetite,"</p>
+
+<p class="hang"><i>Koko Kl&iacute;ngen (interrupts)</i>&mdash;</p>
+
+<p class="deep_hang">"How can I fight,"....</p>
+
+<p class="hang"><i>Betsy (chimes in)</i>&mdash;</p>
+
+<p class="deep_hang">"Some one to chew I long.<br>
+ I seeking go ...."</p>
+
+<p class="hang"><i>Koko Kl&iacute;ngen</i>&mdash;</p>
+
+<p class="deep_hang">"But even so...."</p>
+
+<p class="hang"><i>Betsy</i>&mdash;</p>
+
+<p class="deep_hang">"No one to chew can find."</p>
+
+<p class="hang"><i>Koko Kl&iacute;ngen</i>&mdash;</p>
+
+<p class="deep_hang">"A raft sails by,"</p>
+
+<p class="hang"><i>Betsy</i>&mdash;</p>
+
+<p class="deep_hang">"It cometh nigh;<br>
+ Two generals upon it...."</p>
+
+<p class="hang"><i>Koko Kl&iacute;ngen</i>&mdash;</p>
+
+<p class="deep_hang">"Two generals are we:<br>
+ By fate's hard decree,<br>
+ To this island we flee."</p>
+
+<p class="follow">And then, the refrain&mdash;</p>
+
+<p class="deep_hang">"By fate's hard decree,<br>
+ To this island we flee."</p>
+
+<p class="hang"><i>Lady. Charmant!</i></p>
+
+<p class="hang"><i>Betsy</i>. But just think how silly!</p>
+
+<p class="hang"><i>Koko Kl&iacute;ngen</i>. Yes, that's the charm
+of it!</p>
+
+<p class="hang"><i>Lady</i>. And who is to be Aero?</p>
+
+<p class="hang"><i>Betsy</i>. I am. And I have had a costume made,
+but mamma says it's "not decent." And it is not a bit less decent
+than a ball dress. (<i>To</i> THEODORE IV&Aacute;NITCH.) Is
+Bourdier's man here?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Yes, he is waiting
+in the kitchen.</p>
+
+<p class="hang"><i>Lady</i>. Well, and how will you represent
+Aeronaut?</p>
+
+<p class="hang"><i>Betsy</i>. Oh, you'll see. I don't want to spoil
+the pleasure for you. <i>Au revoir</i>.</p>
+
+<p class="hang"><i>Lady</i>. Good-bye!</p>
+
+<p class="indent">[<i>They bow. Exit</i> LADY.</p>
+
+<p class="hang"><i>Betsy</i> (<i>to</i> KOKO KL&Iacute;NGEN). Come
+up to mamma.</p>
+
+<p class="indent">[BETSY <i>and</i> KOKO <i>go upstairs.</i> JACOB
+<i>enters from servants' quarters, carrying a tray with teacups,
+cakes, etc., and goes panting across the stage.</i></p>
+
+<p class="hang"><i>Jacob</i> (<i>to the</i> FOOTMEN). How d'you do?
+How d'you do?</p>
+
+<p class="indent">[FOOTMEN <i>bow.</i></p>
+
+<p class="hang"><i>Jacob</i> (to THEODORE IV&Aacute;NITCH).
+Couldn't you tell Gregory to help a bit! I'm ready to drop....</p>
+
+<p class="indent">[<i>Exit up the stairs.</i></p>
+
+<p class="hang"><i>First Footman</i>. That is a hard-working chap
+you've got there.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Yes, a good
+fellow. But there now&mdash;he doesn't satisfy the mistress, she
+says his appearance is ungainly. And now they've gone and told
+tales about him for letting some peasants into the kitchen
+yesterday. It is a bad look-out: they may dismiss him. And he is a
+good fellow.</p>
+
+<p class="hang"><i>Second Footman</i>. What peasants were they?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Peasants that had
+come from our Koursk village to buy some land. It was night, and
+they were our fellow-countrymen, one of them the father of the
+butler's assistant. Well, so they were asked into the kitchen. It
+so happened that there was thought-reading going on. Something was
+hidden in the kitchen, and all the gentlefolk came down, and the
+mistress saw the peasants. There was such a row! "How is this," she
+says; "these people may be infected, and they are let into the
+kitchen!".... She is terribly afraid of this infection.</p>
+
+<p class="indent">[<i>Enter</i> GREGORY.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Gregory, you go
+and help Jacob. I'll stay here. He can't manage alone.</p>
+
+<p class="hang"><i>Gregory</i>. He's awkward, that's why he can't
+manage.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>First Footman</i>. And what is this new mania
+they have got? This infection!... So yours also is afraid of
+it?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. She fears it worse
+than fire! Our chief business, nowadays, is fumigating, washing,
+and sprinkling.</p>
+
+<p class="hang"><i>First Footman</i>. I see. That's why there is
+such a stuffy smell here. (<i>With animation</i>.) I don't know
+what we're coming to with these infection notions. It's just
+detestable! They seem to have forgotten the Lord. There's our
+master's sister, Princess Mosol&oacute;va, her daughter was dying,
+and, will you believe it, neither father nor mother would come near
+her! So she died without their having taken leave of her. And the
+daughter cried, and called them to say good-bye&mdash;but they
+didn't go! The doctor had discovered some infection or other! And
+yet their own maid and a trained nurse were with her, and nothing
+happened to them; they're still alive!</p>
+
+<p class="indent">[<i>Enter</i> VAS&Iacute;LY LEON&Iacute;DITCH
+<i>and</i> PETR&Iacute;STCHEF <i>from</i> VAS&Iacute;LY
+LEON&Iacute;DITCH'S <i>room, smoking cigarettes.</i></p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. Come along then, only I
+must take Koko&mdash;Cocoanut, with me.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. Your Koko
+is a regular dolt; I can't bear him. A hare-brained fellow, a
+regular gad-about! Without any kind of occupation, eternally
+loafing around! Eh, what?</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. Well, anyhow, wait a
+bit, I must say goodbye.</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. All right.
+And I will go and look at my dogs in the coachman's room. I've got
+a dog there that's so savage, the coachman said, he nearly ate
+him.</p>
+
+<p class="hang"><i>Petr&iacute;stchef</i>. Who ate whom? Did the
+coachman really eat the dog?</p>
+
+<p class="hang"><i>Vas&iacute;ly Leon&iacute;ditch</i>. You are
+always at it!</p>
+
+<p class="indent">[<i>Puts on outdoor things and goes out.</i></p>
+
+<p class="hang"><i>Petr&iacute;stchef</i> (<i>thoughtfully</i>). Ma
+- kin - tosh, Co - co - tin.... Let's see.</p>
+
+<p class="indent">[<i>Goes upstairs.</i></p>
+
+<p class="indent">[JACOB <i>runs across the stage.</i></p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. What's the
+matter?</p>
+
+<p class="hang"><i>Jacob</i>. There is no more thin bread and
+butter. I said....</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>Second Footman</i>. And then our master's little
+son fell ill, and they sent him at once to an hotel with his nurse,
+and there he died without his mother.</p>
+
+<p class="hang"><i>First Footman</i>. They don't seem to fear sin!
+<i>I</i> think you cannot escape from God anywhere.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. That's what I
+think.</p>
+
+<p class="indent">[JACOB <i>runs upstairs with bread and
+butter.</i></p>
+
+<p class="hang"><i>First Footman</i>. One should consider too, that
+if we are to be afraid of everybody like that, we'd better shut
+ourselves up within four walls, as in a prison, and stick
+there!</p>
+
+<p class="indent">[<i>Enter</i> T&Aacute;NYA<i>; she bows to
+the</i> FOOTMEN.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Good afternoon.</p>
+
+<p class="indent">[FOOTMEN <i>bow.</i></p>
+
+<p class="hang"><i>T&aacute;nya</i>. Theodore Iv&aacute;nitch, I
+have a word to say to you.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Well, what?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. The peasants have come again,
+Theodore Iv&aacute;nitch....</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Well? I gave the
+paper to Simon.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. I have given them the paper.
+They were that grateful! I can't say how! Now they only ask you to
+take the money.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. But where are
+they?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Here, by the porch.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. All right, I'll
+tell the master.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. I have another request to you,
+dear Theodore Iv&aacute;nitch.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. What now?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Why, don't you see, Theodore
+Iv&aacute;nitch, I can't remain here any longer. Ask them to let me
+go.</p>
+
+<p class="indent">[<i>Enter</i> JACOB, running.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>to</i> JACOB).
+What d'you want?</p>
+
+<p class="hang"><i>Jacob</i>. Another samov&aacute;r, and
+oranges.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Ask the
+housekeeper.</p>
+
+<p class="indent">[<i>Exit</i> JACOB.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>to</i>
+T&Aacute;NYA). How is that?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Why, don't you see, my
+position is such....</p>
+
+<p class="hang"><i>Jacob</i> (<i>runs in</i>). There are not enough
+oranges.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Serve up as many
+as you've got. (<i>Exit</i> JACOB.) Now's not the time! Just see
+what a bustle we are in.</p>
+
+<p class="hang"><i>T&aacute;nya</i>. But you know yourself,
+Theodore Iv&aacute;nitch, there is no end to this bustle; one might
+wait for ever&mdash;you know yourself&mdash;and my affair is for
+life.... Dear Theodore Iv&aacute;nitch, you have done me a good
+turn, be a father to me now, choose the right moment and tell her,
+or else she'll get angry and won't let me have my
+<a name="f18-r">passport.</a><sup><a href="#f18">18</a></sup></p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Where's the
+hurry?</p>
+
+<p class="hang"><i>T&aacute;nya</i>. Why, Theodore Iv&aacute;nitch,
+it's all settled now.... And I could go to my godmother's and get
+ready, and then after Easter we'd get
+<a name="f19-r">married.</a><sup><a href="#f19">19</a></sup> Do tell her,
+dear Theodore Iv&aacute;nitch!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i>. Go away&mdash;this
+is not the place.</p>
+
+<p class="indent">[<i>An elderly</i> GENTLEMAN <i>comes downstairs,
+puts on overcoat, and goes out, followed by the</i> SECOND
+FOOTMAN.</p>
+
+<p class="indent">[<i>Exit</i> T&Aacute;NYA. <i>Enter</i>
+JACOB.</p>
+
+<p class="hang"><i>Jacob.</i> Just fancy, Theodore Iv&aacute;nitch,
+it's too bad! She wants to discharge me now! She says, "You break
+everything, and forget Frisk, and you let the peasants into the
+kitchen against my orders!" And you know very well that I knew
+nothing about it. Taty&aacute;na told me, "Take them into the
+kitchen"; how could I tell whose order it was?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch.</i> Did the mistress
+speak to you?</p>
+
+<p class="hang"><i>Jacob.</i> She's just spoken. Do speak up for
+me, Theodore Iv&aacute;nitch! You see, my people in the country are
+only just getting on their feet, and suppose I lose my place, when
+shall I get another? Theodore Iv&aacute;nitch, do, please!</p>
+
+<p class="indent">[ANNA P&Aacute;VLOVNA <i>comes down with the
+old</i> COUNTESS, <i>whom she is seeing off. The</i> COUNTESS
+<i>has false teeth and hair. The</i> FIRST FOOTMAN <i>helps the</i>
+COUNTESS <i>into her outdoor things.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> Oh, most certainly, of
+course! I am so deeply touched.</p>
+
+<p class="hang"><i>Countess.</i> If it were not for my illness, I
+should come oftener to see you.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> You should really
+consult Peter Petr&oacute;vitch. He is rough, but nobody can soothe
+one as he does. He is so clear, so simple.</p>
+
+<p class="hang"><i>Countess.</i> Oh no, I shall keep to the one I
+am used to.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> Pray, take care of
+yourself.</p>
+
+<p class="hang"><i>Countess.</i> <i>Merci, mille fois
+<a name="f20-r">merci</a></i>.<sup><a href="#f20">20</a></sup></p>
+
+<p class="indent">[GREGORY, <i>dishevelled and excited, jumps out
+from the servants' quarters</i>. SIMON <i>appears behind him in the
+doorway.</i></p>
+
+<p class="hang"><i>Simon.</i> You'd better leave her alone!</p>
+
+<p class="hang"><i>Gregory.</i> You rascal! I'll teach you how to
+fight, you scamp, you!</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> What do you mean? Do
+you think you are in a public-house?</p>
+
+<p class="hang"><i>Gregory.</i> This coarse peasant makes life
+impossible for me.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>provoked</i>).
+You've lost your senses. Don't you see? (<i>To</i> COUNTESS.)
+<i>Merci, mille fois merci. A <a name="f21-r">mardi!</a></i> <sup>
+<a href="#f21">21</a></sup></p>
+
+<p class="indent">[<i>Exeunt</i> COUNTESS <i>and</i> FIRST
+FOOTMAN.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>to</i> GREGORY).
+What is the meaning of this?</p>
+
+<p class="hang"><i>Gregory.</i> Though I do occupy the position of
+a footman, still I won't allow every peasant to hit me; I have my
+pride too.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> Why, what has
+happened?</p>
+
+<p class="hang"><i>Gregory.</i> Why, this Simon of yours has got so
+brave, sitting with the gentlemen, that he wants to fight!</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> Why? What for?</p>
+
+<p class="hang"><i>Gregory.</i> Heaven only knows!</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>to</i> SIMON). What
+is the meaning of it?</p>
+
+<p class="hang"><i>Simon.</i> Why does he bother her?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> What has happened?</p>
+
+<p class="hang"><i>Simon</i> (<i>smiles</i>). Well, you see, he is
+always catching hold of T&aacute;nya, the lady's-maid, and she
+won't have it. Well, so I just moved him aside a bit, just so, with
+my hand.</p>
+
+<p class="hang"><i>Gregory.</i> A nice little bit! He's almost
+caved my ribs in, and has torn my dress-coat, and he says, "The
+same power as came over me yesterday comes on me again," and he
+begins to squeeze me.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>to</i> SIMON). How
+dare you fight in my house?</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch.</i> May I explain it
+to you, ma'am? I must tell you Simon is not indifferent to
+T&aacute;nya, and is engaged to her. And Gregory&mdash;one must
+admit the truth&mdash;does not behave properly, nor honestly, to
+her. Well, so I suppose Simon got angry with him.</p>
+
+<p class="hang"><i>Gregory.</i> Not at all! It is all his spite,
+because I have discovered their trickery.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> What trickery?</p>
+
+<p class="hang"><i>Gregory.</i> Why, at the s&eacute;ance. All
+those things, last night,&mdash;it was not Simon but T&aacute;nya
+who did them! I saw her getting out from under the sofa with my own
+eyes.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> What is that? From
+under the sofa?</p>
+
+<p class="hang"><i>Gregory.</i> I give you my word of honor. And it
+was she who threw the paper on the table. If it had not been for
+her the paper would not have been signed, nor the land sold to the
+peasants.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> And you saw it
+yourself?</p>
+
+<p class="hang"><i>Gregory.</i> With my own eyes. Shall I call her?
+She'll not deny it.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> Yes, call her.</p>
+
+<p class="indent">[<i>Exit</i> GREGORY.</p>
+
+<p class="indent">[<i>Noise behind the scenes. The voice of the</i>
+DOORKEEPER, "No, no, you cannot." DOORKEEPER <i>is seen at the
+front door, the three</i> PEASANTS <i>rush in past him, the</i>
+SECOND PEASANT <i>first; the</i> THIRD <i>one stumbles, falls on
+his nose, and catches hold of it.</i></p>
+
+<p class="hang"><i>Doorkeeper.</i> You must not go in!</p>
+
+<p class="hang"><i>Second Peasant.</i> Where's the harm? We are not
+doing anything wrong. We only wish to pay the money!</p>
+
+<p class="hang"><i>First Peasant.</i> That's just it; as by laying
+on the signature the affair is come to a conclusion, we only wish
+to make payment with thanks.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> Wait a bit with your
+thanks. It was all done by fraud! It is not settled yet. Not sold
+yet.... Leon&iacute;d.... Call Leon&iacute;d Fy&oacute;doritch.</p>
+
+<p class="hang">[<i>Exit</i> DOORKEEPER.</p>
+
+<p class="indent">[LEON&Iacute;D FY&Oacute;DORITCH <i>enters, but,
+seeing his wife and the</i> PEASANTS, <i>wishes to retreat.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> No, no, come here,
+please! I told you the land must not be sold on credit, and
+everybody told you so, but you let yourself be deceived like the
+veriest blockhead.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> How? I
+don't understand who is deceiving?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> You ought to be
+ashamed of yourself! You have grey hair, and you let yourself be
+deceived and laughed at like a silly boy. You grudge your son some
+three hundred roubles which his social position demands, and let
+yourself be tricked of thousands&mdash;like a fool!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Now come,
+Annette, try to be calm.</p>
+
+<p class="hang"><i>First Peasant.</i> We are only come about the
+acceptation of the sum, for example....</p>
+
+<p class="hang"><i>Third Peasant</i> (<i>taking out the money</i>).
+Let us finish the matter, for Christ's sake!</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> Wait, wait!</p>
+
+<p class="indent">[<i>Enter</i> T&Aacute;NYA <i>and</i> GREGORY.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>angrily</i>). You
+were in the small drawing-room during the s&eacute;ance last
+night?</p>
+
+<p class="indent">[T&Aacute;NYA <i>looks around at</i> THEODORE
+IV&Aacute;NITCH, LEON&Iacute;D FY&Oacute;DORITCH, <i>and</i> SIMON,
+<i>and sighs.</i></p>
+
+<p class="hang"><i>Gregory.</i> It's no use beating about the bush;
+I saw you myself....</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> Tell me, were you
+there? I know all about it, so you'd better confess! I'll not do
+anything to you. I only want to expose him (<i>pointing to</i>
+LEON&Iacute;D FY&Oacute;DORITCH) your master.... Did you throw the
+paper on the table?</p>
+
+<p class="hang"><i>T&aacute;nya.</i> I don't know how to answer.
+Only one thing,&mdash;let me go home.</p>
+
+<p class="indent">[<i>Enter</i> BETSY <i>unobserved.</i></p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>to</i>
+LEON&Iacute;D FY&Oacute;DORITCH). There, you see! You are being
+made a fool of.</p>
+
+<p class="hang"><i>T&aacute;nya.</i> Let me go home, Anna
+P&aacute;vlovna!</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> No, my dear! You may
+have caused us a loss of thousands of roubles. Land has been sold
+that ought not to be sold!</p>
+
+<p class="hang"><i>T&aacute;nya.</i> Let me go, Anna
+P&aacute;vlovna!</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> No; you'll have to
+answer for it! Such tricks won't do. We'll have you up before the
+Justice of the Peace!</p>
+
+<p class="hang"><i>Betsy</i> (<i>comes forward</i>). Let her go,
+mamma. Or, if you wish to have her tried, you must have me tried
+too! She and I did it together.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> Well, of course, if
+you have a hand in anything, what can one expect but the very worst
+results!</p>
+
+<p class="indent">[<i>Enter the</i> PROFESSOR.</p>
+
+<p class="hang"><i>Professor.</i> How do you do, Anna
+P&aacute;vlovna? How do you do, Miss Betsy? Leon&iacute;d
+Fy&oacute;doritch, I have brought you a report of the Thirteenth
+Congress of Spiritualists at Chicago. An amazing speech by
+Schmidt!</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Oh, that is
+interesting!</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> I will tell you
+something much more interesting! It turns out that both you and my
+husband were fooled by this girl! Betsy takes it on herself, but
+that is only to annoy me. It was an illiterate peasant girl who
+fooled you, and you believed it all. There were no mediumistic
+phenomena last night; it was she (<i>pointing to</i> T&Aacute;NYA)
+who did it!</p>
+
+<p class="hang"><i>Professor</i> (<i>taking off his overcoat</i>).
+What do you mean?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> I mean that it was she
+who, in the dark, played on the guitar and beat my husband on the
+head and performed all your idiotic tricks&mdash;and she has just
+confessed!</p>
+
+<p class="hang"><i>Professor</i> (<i>smiling</i>). What does that
+prove?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> It proves that your
+mediumism is&mdash;tomfoolery; that's what it proves!</p>
+
+<p class="hang"><i>Professor.</i> Because this young girl wished to
+deceive, we are to conclude that mediumism is "tomfoolery," as you
+are pleased to express it? (<i>Smiles</i>.) A curious conclusion!
+Very possibly this young girl may have wished to deceive: that
+often occurs. She may even have done something; but then, what she
+did&mdash;<i>she</i> did. But the manifestations of mediumistic
+energy still remain manifestations of <i>mediumistic</i> energy! It
+is even very probable that what this young girl did evoked (and so
+to say solicited) the manifestation of mediumistic
+energy,&mdash;giving it a definite form.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> Another lecture!</p>
+
+<p class="hang"><i>Professor</i> (<i>sternly</i>). You say, Anna
+P&aacute;vlovna, that this girl, and perhaps this dear young lady
+also, did something; but the light we all saw, and, in the first
+case the fall, and in the second the rise of temperature, and
+Grossman's excitement and vibration&mdash;were those things also
+done by this girl? And these are facts, Anna P&aacute;vlovna,
+facts! No! Anna P&aacute;vlovna, there are things which must be
+investigated and fully understood before they can be talked about,
+things too serious, too serious....</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> And the child that
+M&aacute;rya Vas&iacute;levna distinctly saw? Why, I saw it too....
+That could not have been done by this girl.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> You think yourself
+wise, but you are&mdash;a fool.</p>
+
+<p class="hang"><i>Leon&iacute;d Fy&oacute;doritch.</i> Well, I'm
+going.... Alex&eacute;y Vlad&iacute;miritch, will you come?</p>
+
+<p class="indent">[<i>Exit into his study.</i></p>
+
+<p class="hang"><i>Professor</i> (<i>shrugging his shoulders,
+follows</i>). Oh, how far, how far, we still lag behind Western
+Europe!</p>
+
+<p class="indent">[<i>Enter</i> JACOB.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>following</i>
+LEON&Iacute;D FY&Oacute;DORITCH <i>with her eyes</i>). He has been tricked
+like a fool, and he sees nothing! (<i>To</i> JACOB.) What do you
+want?</p>
+
+<p class="hang"><i>Jacob.</i> How many persons am I to lay the
+table for?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> For how many?...
+Theodore Iv&aacute;nitch! Let him give up the silver plate to you.
+Be off, at once! It is all his fault! This man will bring me to my
+grave. Last night he nearly starved the dog that had done him no
+harm! And, as if that were not enough, he lets the infected
+peasants into the kitchen, and now they are here again! It is all
+his fault! Be off at once! Discharge him, discharge him! (<i>To</i>
+SIMON.) And you, horrid peasant, if you dare to have rows in my
+house again, I'll teach you!</p>
+
+<p class="hang"><i>Second Peasant.</i> All right, if he is a horrid
+peasant there's no good keeping him; you'd better discharge him
+too, and there's an end of it.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna</i> (<i>while listening to
+him looks at</i> THIRD PEASANT). Only look! Why, he has a rash on
+his nose&mdash;a rash! He is ill; he is a hotbed of infection!! Did
+I not give orders, yesterday, that they were not to be allowed into
+the house, and here they are again? Drive them out!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch.</i> Then are we not to
+accept their money?</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> Their money? Oh yes,
+take their money; but they must be turned out at once, especially
+this one! He is quite rotten!</p>
+
+<p class="hang"><i>Third Peasant.</i> That's not just, lady. God's
+my witness, it's not just! You'd better ask my old woman, let's
+say, whether I am rotten! I'm clear as crystal, let's say.</p>
+
+<p class="hang"><i>Anna P&aacute;vlovna.</i> He talks!... Off, off
+with him! It's all to spite me!... Oh, I can't bear it, I can't!...
+Send for the doctor!</p>
+
+<p class="indent">[<i>Runs away, sobbing. Exit also</i> JACOB
+<i>and</i> GREGORY.</p>
+
+<p class="hang"><i>T&aacute;nya</i> (<i>to</i> BETSY). Miss
+Elizabeth, darling, what am I to do now?</p>
+
+<p class="hang"><i>Betsy.</i> Never mind, you go with them and I'll
+arrange it all.</p>
+
+<p class="indent">[<i>Exit.</i></p>
+
+<p class="hang"><i>First Peasant.</i> Well, your reverence, how
+about the reception of the sum now?</p>
+
+<p class="hang"><i>Second Peasant.</i> Let us settle up, and
+go.</p>
+
+<p class="hang"><i>Third Peasant</i> (<i>fumbling with the packet
+of banknotes</i>). Had I known, I'd not have come for the world.
+It's worse than a fever!</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch</i> (<i>to</i>
+DOORKEEPER). Show them into my room. There's a counting-board
+there. I'll receive their money. Now go.</p>
+
+<p class="hang"><i>Doorkeeper.</i> Come along.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch.</i> And it's
+T&aacute;nya you have to thank for it. But for her you'd not have
+had the land.</p>
+
+<p class="hang"><i>First Peasant.</i> That's just it. As she made
+the proposal, so she put it into effect.</p>
+
+<p class="hang"><i>Third Peasant.</i> She's made men of us. Else
+what were we? We had so little land, no room to let a hen out,
+let's say, not to mention the cattle. Good-bye, dear! When you get
+to the village, come to us and eat honey.</p>
+
+<p class="hang"><i>Second Peasant.</i> Let me get home and I'll
+start brewing the beer for the wedding! You will come?</p>
+
+<p class="hang"><i>T&aacute;nya.</i> Yes, I'll come, I'll come!
+(<i>Shrieks</i>.) Simon, this is fine, isn't it?</p>
+
+<p class="indent">[<i>Exeunt</i> PEASANTS.</p>
+
+<p class="hang"><i>Theodore Iv&aacute;nitch.</i> Well,
+T&aacute;nya, when you have your house I'll come to visit you. Will
+you welcome me?</p>
+
+<p class="hang"><i>T&aacute;nya.</i> Dear Theodore Iv&aacute;nitch,
+just the same as we would our own father!</p>
+
+<p class="indent">[<i>Embraces and kisses him.</i></p>
+
+<p class="hang">CURTAIN</p>
+
+<hr>
+
+<h4>FOOTNOTES FOR <i>FRUITS OF CULTURE</i></h4>
+
+<p class="hang"><a name="f1">1.</a> &nbsp;&nbsp;&nbsp;Economical
+balls at which the ladies are bound to appear in dresses made of
+cotton materials. (<a href="#f1-r">Return</a>)</p>
+
+<p class="hang"><a name="f2">2.</a> &nbsp;&nbsp;&nbsp;The present
+value of the rouble is rather over fifty cents.
+(<a href="#f2-r">Return</a>)</p>
+
+<p class="hang"><a name="f3">3.</a> &nbsp;&nbsp;&nbsp;The Gypsy
+choirs are very popular in Moscow. (<a href="#f3-r">Return</a>)</p>
+
+<p class="hang"><a name="f4">4.</a> &nbsp;&nbsp;&nbsp;<i>Betsy</i>.
+Cease! You are becoming quite unbearable!
+(<a href="#f4-r">Return</a>)</p>
+
+<p class="hang"><a name="f5">5.</a>
+&nbsp;&nbsp;&nbsp;<i>Petr&iacute;stchef</i>. I have C said
+(<i>ceased</i>), B said, and D said.
+(<a href="#f5-r">Return</a>)</p>
+
+<p class="hang"><a name="f6">6.</a>&nbsp;&nbsp;&nbsp;&nbsp;<i>Baroness</i>. But tell me,
+please, is he paid for this?</p>
+
+<p class="hang">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>Anna
+P&aacute;vlovna</i>. I really do not know.</p>
+
+<p class="hang">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>Baroness</i>. But he
+is a gentleman?</p>
+
+<p class="hang">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>Anna
+P&aacute;vlovna</i>. Oh, yes!</p>
+
+<p class="hang">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>Baroness</i>. It is
+almost miraculous. Isn't it? How does he manage to find things?</p>
+
+<p class="hang">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>Anna
+P&aacute;vlovna</i>. I really can't tell you. My husband will
+explain it to you.... Excuse me....
+(<a href="#f6-r">Return</a>)</p>
+
+<p class="hang"><a name="f7">7.</a>&nbsp;&nbsp;&nbsp; Stunning!
+(<a href="#f7-r">Return</a>)</p>
+
+<p class="hang"><a name="f8">8.</a>
+&nbsp;&nbsp;&nbsp;<i>Baroness</i>. Capital! Does it not cause him
+any pain?</p>
+
+<p class="hang">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>Leon&iacute;d
+Fy&oacute;doritch</i>. Not the slightest.
+(<a href="#f8-r">Return</a>)</p>
+
+<p class="hang"><a name="f9">9.</a>&nbsp;&nbsp;&nbsp; He uses a
+Centigrade thermometer. (<a href="#f9-r">Return</a>)</p>
+
+<a name="f10">10.</a>&nbsp; <i>Leon&iacute;d
+Fy&oacute;doritch</i>. You bring good luck.
+(<a href="#f10-r">Return</a>)
+
+<p class="hang"><a name="f11">11.</a>&nbsp; <i>Fat Lady</i>. But
+he looks quite nice. (<a href="#f11-r">Return</a>)</p>
+
+<p class="hang"><a name="f12">12.</a>&nbsp; To take a header.
+(<a href="#f12-r">Return</a>)</p>
+
+<p class="hang"><a name="f13">13.</a>&nbsp; Do not disappoint us.
+(<a href="#f13-r">Return</a>)</p>
+
+<p class="hang"><a name="f14">14.</a>&nbsp; <i>Betsy</i>. I have
+more than enough of your Koko. (<a href="#f14-r">Return</a>)</p>
+
+<p class="hang"><a name="f15">15.</a>&nbsp; <i>Young Princess.</i>
+He is usually so very punctual....
+(<a href="#f15-r">Return</a>)</p>
+
+<p class="hang"><a name="f16">16.</a>&nbsp; <i>Betsy</i>. Cease;
+mind the servants! (<a href="#f16-r">Return</a>)</p>
+
+<p class="hang"><a name="f17">17.</a>&nbsp; And that won't suit me
+at all, at all! Not at all, at all!
+(<a href="#f17-r">Return</a>)</p>
+
+<p class="hang"><a name="f18">18.</a>&nbsp; Employers have charge
+of the servants' passports, and in this way have a hold on them in
+case of misconduct. (<a href="#f18-r">Return</a>)</p>
+
+<p class="hang"><a name="f19">19.</a>&nbsp; It is customary for
+peasants to marry just after Easter, but when spring has come and
+the field work begun, no marriages take place among them till
+autumn. (See also <i>THE POWER OF DARKNESS</i>
+<a href="#d2">footnote 2</a>.)
+(<a href="#f19-r">Return</a>)</p>
+
+<p class="hang"><a name="f20">20.</a>&nbsp; <i>Countess.</i> Thank
+you (for your hospitality), a thousand thanks
+(<a href="#f20-r">Return</a>)</p>
+
+<p class="hang"><a name="f21">21.</a>&nbsp; <i>Anna
+P&aacute;vlovna</i>. Thank you (for coming to see us), a
+thousand thanks. Till next Tuesday! (<a href="#f21-r">Return</a>)</p>
+<br>
+<hr>
+<br>
+<br>
+<pre>
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+</pre>
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