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diff --git a/9792.txt b/9792.txt new file mode 100644 index 0000000..6058e0d --- /dev/null +++ b/9792.txt @@ -0,0 +1,12358 @@ +The Project Gutenberg EBook of Redemption and Two Other Plays, by Leo Tolstoy + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Redemption and Two Other Plays + +Author: Leo Tolstoy + +Posting Date: December 8, 2011 [EBook #9792] +Release Date: January, 2006 +First Posted: October 17, 2003 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK REDEMPTION AND TWO OTHER PLAYS *** + + + + +Produced by David Starner, Skip Doughty, and Project +Gutenberg Distributed Proofreaders + + + + + + + + + + + +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! + + + + + + + + + + +End of Project Gutenberg's Redemption and Two Other Plays, by Leo Tolstoy + +*** END OF THIS PROJECT GUTENBERG EBOOK REDEMPTION AND TWO OTHER PLAYS *** + +***** This file should be named 9792.txt or 9792.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/9/7/9/9792/ + +Produced by David Starner, Skip Doughty, and Project +Gutenberg Distributed Proofreaders + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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