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diff --git a/old/7rdpt10.txt b/old/7rdpt10.txt new file mode 100644 index 0000000..1bfe432 --- /dev/null +++ b/old/7rdpt10.txt @@ -0,0 +1,12320 @@ +The Project Gutenberg EBook of Redemption and Two Other Plays +by Leo Tolstoy et al + +Copyright laws are changing all over the world. Be sure to check the +copyright laws for your country before downloading or redistributing +this or any other Project Gutenberg eBook. + +This header should be the first thing seen when viewing this Project +Gutenberg file. Please do not remove it. Do not change or edit the +header without written permission. + +Please read the "legal small print," and other information about the +eBook and Project Gutenberg at the bottom of this file. Included is +important information about your specific rights and restrictions in +how the file may be used. You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers!***** + + +Title: Redemption and Two Other Plays + +Author: Leo Tolstoy et al + +Release Date: January, 2006 [EBook #9792] +[This file was first posted on October 17, 2003] + +Edition: 10 + +Language: English + +Character set encoding: US-ASCII + +*** START OF THE PROJECT GUTENBERG EBOOK, REDEMPTION AND TWO OTHER PLAYS *** + + + + +E-text prepared by David Starner, Skip Doughty, and Project Gutenberg +Distributed Proofreaders + + + + + + + +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 THE PROJECT GUTENBERG EBOOK, REDEMPTION AND TWO OTHER PLAYS *** + +This file should be named 7rdpt10.txt or 7rdpt10.zip +Corrected EDITIONS of our eBooks get a new NUMBER, 7rdpt11.txt +VERSIONS based on separate sources get new LETTER, 7rdpt10a.txt + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. 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Do not change or edit the +header without written permission. + +Please read the "legal small print," and other information about the +eBook and Project Gutenberg at the bottom of this file. Included is +important information about your specific rights and restrictions in +how the file may be used. You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers!***** + + +Title: Redemption and Two Other Plays + +Author: Leo Tolstoy et al + +Release Date: January, 2006 [EBook #9792] +[This file was first posted on October 17, 2003] + +Edition: 10 + +Language: English + +Character set encoding: iso-8859-1 + +*** START OF THE PROJECT GUTENBERG EBOOK, REDEMPTION AND TWO OTHER PLAYS *** + + + + +E-text prepared by David Starner, Skip Doughty, and Project Gutenberg +Distributed Proofreaders + + + + + + + +REDEMPTION AND TWO OTHER PLAYS + +By LEO TOLSTOY + +Introduction By ARTHUR HOPKINS + + + + + + + +CONTENTS + +INTRODUCTION BY ARTHUR HOPKINS +REDEMPTION +THE POWER OF DARKNESS +FRUITS OF CULTURE + + + + +INTRODUCTION + +After making a production of _Redemption_, the chief feeling of the +producer is one of deep regret that Tolstoi did not make more use of +the theatre as a medium. His was the rare gift of vitalization: the +ability to breathe life into word-people which survives in them so +long as there is any one left to turn up the pages they have made +their abode. + +In the world of writing, many terms that should be illuminative have +become meaningless. So often has the barren been called "pregnant," +the chill of death "the breath of life," the atrophied "pulsating," +that when we really come upon a work with beating heart we find it +difficult to give it place that has not already been stuffed to +suffocation with misplaced dummies. + +We seat it at table with staring wax figures and bid it to join the +feast. There is no exclusion act in art, no passport bureau, not even +hygienic segregation. + +In writing the briefest introduction to Tolstoi's work, I am appointed +by the publisher, a sort of reception committee of one to escort the +work to some fitting place where it may enjoy the surroundings and +deference it deserves. + +The place to which I escort it is built of words, but what words have +been left me by the long procession of previous committees? Where they +have been truthfully used they have been glorified, and offer all the +rarer material for my structure, but how often have they been +subjected to base use. Perhaps some day we will learn the proper +respect of such simple words as love and truth and life, and then when +we meet them in books we shall know how to greet them. + +The study of _Redemption_ is so simple that it needs no illumination +from me. The characters may walk in strange lands without +introduction. They are part of us. Fédya is in all of us. His one cry +"There has always been so much lacking between what I felt and what I +could do" instantly makes him brother to all mankind. His simultaneous +physical degeneration and spiritual regeneration is the glory that all +people have invested in death. Tolstoi's cry against convention that +disregards spiritual struggle, and system that ignores human growth, +will find answering cries in many breasts in many lands. + +Utterly disregarding effect, technique or method, Tolstoi has explored +his own soul and there touched hands with countless other souls, and +since he has trod the path of countless millions who will come after +him, the mementos of his journey will long be sought. + +ARTHUR HOPKINS. + + +The translation of _Redemption_ here published is the one produced by +Mr. Arthur Hopkins at the Plymouth Theatre, New York, in the season of +1918-1919. The part of FÉDYA was played by Mr. John Barrymore. + + + + + + +REDEMPTION + + + + +CHARACTERS + +THEODORE VASÍLYEVICH PROTOSOV (FÉDYA). +ELISABETH ANDRÉYEVNA PROTOSOVA (LISA). His wife. +MÍSHA. Their son. +ANNA PÁVLOVNA. Lisa's mother. +SASHA. Lisa's younger, unmarried sister. +VICTOR MICHAELOVITCH KARÉNIN. +SOPHIA DMÍTRIEVNA KARÉNINA. +PRINCE SERGIUS DMÍTRIEVICH ABRÉSKOV. +MASHA. A gypsy girl. +IVÁN MAKÁROVICH. An old gypsy man. Masha's parent. +NASTASÏA IVÁNOVNA. An old gypsy woman. Masha's parent. +OFFICER. +MUSICIAN. +FIRST GYPSY MAN. +SECOND GYPSY MAN. +GYPSY WOMAN. +GYPSY CHOIR. +DOCTOR. +MICHAEL ALEXÁNDROVICH AFRÉMOV. +STÁKHOV. One of Fédya's boon companions. +BUTKÉVICH. One of Fédya's boon companions. +KOROTKÓV. One of Fédya's boon companions. +IVÁN PETROVICH ALEXÁNDROV. +VOZNESÉNSKY. Karénin's secretary. +PETUSHKÓV. An artist. +ARTIMIEV. +WAITER IN THE PRIVATE ROOM AT THE RESTAURANT. +WAITER IN A LOW-CLASS RESTAURANT. +MANAGER OF THE SAME. +POLICEMAN. +INVESTIGATING MAGISTRATE. +MÉLNIKOV. +CLERK. +USHER. +YOUNG LAWYER. +PETRÚSHIN. A lawyer. +LADY. +ANOTHER OFFICER. +ATTENDANT AT LAW COURTS. +PROTOSOVS' NURSE. +PROTOSOVS' MAID. +AFRÉMOV'S FOOTMAN. +KARÉNINS' FOOTMAN. + + + + +ACT I + +SCENE I + +Protosovs' flat in Moscow. The scene represents a small dining room. +ANNA PÁVLOVNA, a stout, gray-haired lady, tightly laced, is sitting +alone at the tea-table on which is a samovár. + +Enter NURSE carrying a tea-pot. + +NURSE (enters R. I, over to table C.). Please, Madam, may I have some +water? + +ANNA PÁVLOVNA (sitting R. of table C.). Certainly. How is the baby +now? + +NURSE. Oh, restless, fretting all the time. There's nothing worse than +for a lady to nurse her child. She has her worries and the baby +suffers for them. What sort of milk could she have, not peeping all +night, and crying and crying? + + [SASHA enters R. I, strolls to L. of table C. + +ANNA PÁVLOVNA. But I thought she was more calm now? + +NURSE. Fine calm! It makes me sick to look at her. She's just been +writing something and crying all the time. + +SASHA (to nurse). Lisa's looking for you. + + [Sits in chair L. of table C. + +NURSE. I'm going. + + [Exits R. I. + +ANNA PÁVLOVNA. Nurse says she's always crying. Why can't she try and +calm herself a little? + +SASHA. Well, really, Mother, you're amazing. How can you expect her to +behave as if nothing had happened when she's just left her husband and +taken her baby with her? + +ANNA PÁVLOVNA. Well, I don't exactly, but that's all over. If I +approve of my daughter's having left her husband, if I'm ever glad, +well, you may be quite sure he deserved it. She has no reason to be +miserable--on the contrary, she ought to be delighted at being freed +from such a wretch. + +SASHA. Mother! Why do you go on like this? It's not the truth and you +know it. He's not a wretch, he's wonderful. Yes, in spite of all his +weakness. + +ANNA PÁVLOVNA. I suppose you'd like her to wait till he'd spent every +kopec they had, and smile sweetly when be brought his gypsy mistresses +home with him. + +SASHA. He hasn't any mistresses. + +ANNA PÁVLOVNA. There you go again. Why, the man's simply bewitched +you, but I can see through him, and he knows it. If I'd been Lisa, I'd +left him a year ago. + +SASHA. Oh, how easily you speak of these serious things. + +ANNA PÁVLOVNA. Not easily, not easily at all. Do you suppose it's +agreeable for me to have my daughter admit her marriage a failure? But +anything's better than for her to throw away her life in a lie. Thank +God, she's made up her mind to finish with him for good. + +SASHA. Maybe it won't be for good. + +ANNA PÁVLOVNA. It would be if only he'd give her a divorce. + +SASHA. To what end? + +ANNA PÁVLOVNA. Because she's young and has the right to look for +happiness. + +SASHA. It's awful to listen to you. How could she love some one else? + +ANNA PÁVLOVNA. Why not? There are thousands better than your Fédya, +and they'd be only too happy to marry Lisa. + +SASHA. Oh, it's not nice of you. I feel, I can tell, you're thinking +about Victor Karénin. + +ANNA PÁVLOVNA. Why not? He loved her for ten years, and she him, I +believe. + +SASHA. Yes, but she doesn't love him as a husband. They grew up +together; they've just been friends. + +ANNA PÁVLOVNA. Ah, those friendships! How should you know what keeps +them warm! If only they were both free! + + [Enter a MAID L. U. + +Well? + +MAID. The porter's just come back with an answer to the note. + +ANNA PÁVLOVNA. What note? + +MAID. The note Elizaveta Protosova sent to Victor Karénin. + +ANNA PÁVLOVNA. Well? What answer? + +MAID. Victor Karénin told the porter he'd be here directly. + +ANNA PÁVLOVNA. Very well. + + [MAID exits L. U. + + [To SASHA. + +Why do you suppose she sent for him? Do you know? + +SASHA. Maybe I do and maybe I don't. + +ANNA PÁVLOVNA. You're always so full of secrets. + +SASHA. Ask Lisa, she'll tell you. + +ANNA PÁVLOVNA. Just as I thought! She sent for him at once. + +SASHA. Yes, but maybe not for the reason you think. + +ANNA PÁVLOVNA. Then what for? + +SASHA. Why, Mother, Lisa cares just about as much for Victor Karénin +as she does for her old nurse. + +ANNA PÁVLOVNA. You'll see. She wants consolation, a special sort of +consolation. + +SASHA. Really, it shows you don't know Lisa at all to talk like this. + +ANNA PÁVLOVNA. You'll see. Sasha. Yes, I shall see. + +ANNA PÁVLOVNA (alone to herself). And I am very glad. I'm very, very +glad. + + [Enter MAID. + +MAID. Victor Karénin. + +ANNA PÁVLOVNA. Show him here and tell your mistress. + + [MAID shows in KARÉNIN and exits door R. I. + +KARÉNIN (goes C. and stands behind table C.). (Shaking hands with Anna +Pávlovna.) Elizaveta Andreyevna sent me a note to come at once. I +should have been here to-night anyway. How is she? Well, I hope. + +ANNA PÁVLOVNA. Not very. The baby has been upset again. However, +she'll be here in a minute. Will you have some tea? + +KARÉNIN. No, thank you. + + [Sits chair R. + +ANNA PÁVLOVNA. Tell me, do you know that he and she--. + +KARÉNIN. Yes, I was here two days ago when she got this letter. Is she +positive now about their separating? + +ANNA PÁVLOVNA. Oh, absolutely. It would be impossible to begin it all +over again. + +KARÉNIN. Yes. To cut into living things and then draw back the knife +is terrible. But are you sure she knows her mind? + +ANNA PÁVLOVNA. I should think so. To come to this decision has caused +her much pain. But now it's final, and he understands perfectly that +his behavior has made it impossible for him to come back on any terms. + +KARÉNIN. Why? + +ANNA PÁVLOVNA. After breaking every oath he swore to decency, how +could he come back? And so why shouldn't he give her her freedom? + +KARÉNIN. What freedom is there for a woman still married? + +ANNA PÁVLOVNA. Divorce. He promised her a divorce and we shall insist +upon it. + +KARÉNIN. But your daughter was so in love with him? + +ANNA PÁVLOVNA. Her love has been tried out of existence. Remember she +had everything to contend with: drunkenness, gambling, infidelity-- +what was there to go on loving in such a person? + +KARÉNIN. Love can do anything. + +ANNA PÁVLOVNA. How can one love a rag torn by every wind? Their +affairs were in dreadful shape; their estate mortgaged; no money +anywhere. Finally his uncle sends them two thousand rubles to pay the +interest on the estate. He takes it, disappears, leaves Lisa home and +the baby sick--when suddenly she gets a note asking her to send him +his linen. + +KARÉNIN. I know. + + [Enter LISA R.I. KARÉNIN crosses to LISA. + +I'm sorry to have been a little detained. + + [Shakes hands with LISA. + +LISA. Oh, thank you so much for coming. I have a great favor to ask of +you. Something I couldn't ask of anybody else. + +KARÉNIN. I'll do everything I can. + + [LISA moves away a few steps down R. + +LISA. You know all about this. + + [Sits chair R. + +KARÉNIN. Yes, I know. + +ANNA PÁVLOVNA. Well, I think I'll leave you two young people to +yourselves. (To SASHA.) Come along, dear, you and I will be just in +the way. + + [Exit L. U. ANNA PÁVLOVNA and SASHA. + +LISA. Fédya wrote to me saying it was all over between us. (She begins +to cry.) That hurt me so, bewildered me so, that--well, I agreed to +separate. I wrote to him saying I was willing to give him up if he +wanted me to. + +KARÉNIN. And now you're sorry? + +LISA (nodding). I feel I oughtn't to have said yes. I can't. Anything +is better than not to see him again. Victor dear, I want you to give +him this letter and tell him what I've told you, and--and bring him +back to me. + + [Gives VICTOR a letter. + +KARÉNIN. I'll do what I can. + + [Takes letter, turns away and sits chair R. of table C. + +LISA. Tell him I will forget everything if only he will come back. I +thought of mailing this, only I know him: he'd have a good impulse, +first thwarted by some one, some one who would finally make him act +against himself. + + [Pause. + +Are you--are you surprised I asked you? + +KARÉNIN. No. (He hesitates.) But--well, candidly, yes. I am rather +surprised. + +LISA. But you are not angry? + +KARÉNIN. You know I couldn't be angry with you. + +LISA. I ask you because I know you're so fond of him. + +KARÉNIN. Of him--and of you too. Thank you for trusting me. I'll do +all I can. + +LISA. I know you will. Now I'm going to tell you everything. I went +to-day to Afrémov's, to find out where he was. They told me he was +living with the gypsies. Of course that's what I was afraid of. I know +he'll be swept off his feet if he isn't stopped in time. So you'll go, +won't you? + +KARÉNIN. Where's the place? + +LISA. It's that big tenement where the gypsy orchestra lives, on the +left bank below the bridge. I went there myself. I went as far as the +door, and was just going to send up the letter, but somehow I was +afraid. I don't know why. And then I thought of you. Tell him, tell +him I've forgotten everything and that I'm here waiting for him to +come home. (Crosses to KARÉNIN--a little pause.) Do it out of love for +him, Victor, and out of friendship for me. + + [Another pause. + +KARÉNIN. I'll do all I can. + + [He bows to her and goes out L.U. Enter SASHA L.U., goes L. over + near table C. + +SASHA. Has the letter gone? (LISA nods.) He had no objections to +taking it himself? + + [LISA, R. C., shakes head. + +SASHA (L.C.). Why did you ask him? I don't understand it. + +LISA. Who else was there? + +SASHA. But you know he's in love with you. + +LISA. Oh, that's all past. (Over to table C.) Do you think Fédya will +come back? + +SASHA. I'm sure he will, but-- + + [Enter ANNA PÁVLOVNA. + +ANNA PÁVLOVNA. Where's Victor Karénin? + +LISA. Gone. + +ANNA PÁVLOVNA. Gone? + +LISA. I've asked him to do something for me. + +ANNA PÁVLOVNA. What was it? Another secret? + +LISA. No, not a secret. I simply asked him to take a letter to Fédya. + +ANNA PÁVLOVNA. To Fedor Protosov? + +LISA. Oh, to Fédya, Fédya. + +ANNA PÁVLOVNA. Then it's not going to be over? + +LISA. I can't let him leave me. + +ANNA PÁVLOVNA. Oh, so we shall commence all over again? + +LISA. I'll do anything you like, but I can't give him up. + +ANNA PÁVLOVNA. You don't mean you want him to come back? + +LISA. Yes, yes. + +ANNA PÁVLOVNA. Let that reptile into the house again! + +LISA. Please don't talk like that. He's my husband. + +ANNA PÁVLOVNA. Was your husband. + +LISA. No. He's still my husband. + +ANNA PÁVLOVNA. Spendthrift. Drunkard. Reprobate. And you'll not part +from him! + +LISA. Oh, Mother, why do you keep on hurting me! You seem to enjoy it. + +ANNA PÁVLOVNA. Hurt you, do I? Enjoy it, do I? Very well, then, if +that's the case, I'd better go. + + [Pause. + +I see I'm in your way. You want me to go. Well, all I can say is I +can't make you out. I suppose you're being "modern" and all that. But +to me, it's just plain disgusting. First, you make up your mind to +separate from your husband, and then you up and send for another man +who's in love with you-- + +LISA. Mother, he's not. + +ANNA PÁVLOVNA. You know Karénin proposed to you, and he's the man you +pick out to bring back your husband. I suppose you do it just to make +him jealous. + +LISA. Oh, Mother, stop it. Leave me alone. + +ANNA PÁVLOVNA. That's right. Send off your mother. Open the door to +that awful husband. Well, I can't stand by and see you do it. I'll go. +I'm going. And God be with you and your extraordinary ways. + + [Exit L. U. with suppressed rage. + +LISA (sinking into a chair R. of table C.). That's the last straw. + +SASHA. Oh, she'll come back. We'll make her understand. (Going to the +door and following after her mother.) Now, Mother darling, listen-- +listen-- + + [Exit L. U. + + [All lights dim to black out. + +CURTAIN + + + +SCENE II + +A room at the gypsies', dark but beautifully lit. The actual room is +scarcely seen, and although at first it appears squalid, there are +flaring touches of Byzantine luxury. Gypsies are singing. FÉDYA is +lying on the sofa, his eyes closed, coat off. An OFFICER sits at the +table, on which there are bottles of champagne and glasses. Beside him +sits a musician taking down the song. + +AFRÉMOV (standing L. U.). Asleep? + +FÉDYA (on couch L. Raising his hand warningly). Sh! Don't talk! Now +let's have "No More at Evening." + +GYPSY LEADER. Impossible, Fedor Protosov. Masha must have her solo +first. + +FÉDYA. Afterwards. Now let's have "No More at Evening." + + [Gypsies sing. + +GYPSY WOMAN (R. C., when they finish singing, turning to Musician who +is sitting at table R., with his back to audience). Have you got it? + +MUSICIAN. It's impossible to take it down correctly. They change the +tune each time, and they seem to have a different scale, too. (He +calls a gypsy woman.) Is this it? + + [He hums a bar or two. + +GYPSY WOMAN (clapping her hands). Splendid! Wonderful! How can you do +it? + +FÉDYA (rising. Goes to table L. back of couch and pours out glass of +wine). He'll never get it. And even if he did and shovelled it into an +opera, he'd make it seem absolutely meaningless. + +AFRÉMOV. Now we'll have "The Fatal Hour." + + [Gypsies sing quartette. During this song, FÉDYA is standing down + R., keeping time with the wine glass from which he has drunk. + When they finish he returns to the couch and falls into MASHA'S + arms. + +FÉDYA. God! That's it! That's it! That's wonderful. What lovely things +that music says. And where does it all come from, what does it all +mean? + + [Another pause. + +To think that men can touch eternity like that, and then--nothing-- +nothing at all. + +MUSICIAN. Yes, it's very original. + + [Taking notes. + +FÉDYA. Original be damned. It's real. + +MUSICIAN. It's all very simple, except the rhythm. That's very +strange. + +FÉDYA. Oh, Masha, Masha! You turn my soul inside out. + + [Gypsies hum a song softly. + +MASHA (sitting on couch L. with FÉDYA). Do I? But what was it I asked +you for? + +FÉDYA. What? Oh, money. Voilà, mademoiselle. + + [He takes money front his trousers pocket. MASHA laughs, takes + the money, counts it swiftly, and hides it in her dress. + +FÉDYA. Look at this strange creature. When she sings she rushes me +into the sky and all she asks for is money, little presents of money +for throwing open the Gates of Paradise. You don't know yourself, at +all, do you? + +MASHA. What's the use of me wondering about myself? I know when I'm in +love, and I know that I sing best when my love is singing. + +FÉDYA. Do you love me? + +MASHA (murmuring). I love you. + +FÉDYA. But I am a married man, and you belong to this gypsy troupe. +They wouldn't let you leave it, and-- + +MASHA (interrupting). The troupe's one thing, and my heart's another. +I love those I love, and I hate those I hate. + +FÉDYA. Oh, you must be happy to be like that. + +MASHA. I'm always happy when handsome gentlemen come and say nice +things to me. (Gypsies stop singing.) + + [A GYPSY entering speaks to FÉDYA. + +GYPSY. Some one asking for you. + +FÉDYA. Who? + +Gypsy. Don't know. He's rich, though. Fur coat. + +FÉDYA. Fur coat? O my God, show him in. + +AFRÉMOV. Who the devil wants to see you here? + +FÉDYA (carelessly). God knows, I don't. (Begins to hum a song.) + + [KARÉNIN comes in, looking around the room. + +(Exclaiming). Ha! Victor! You're the last man in the world I expected +to break into this enchanting milieu. Take off your coat, and they'll +sing for you. + +KARÉNIN. Je voudrais vous parler sans témoins. + + [MASHA rises and joins the group R. + +FÉDYA. Oh.... What about? + +KARÉNIN. Je viens de chez vous. Votre femme ma chargé de cette lettre, +et puis-- + + [FÉDYA takes the letter, opens it, reads. He frowns, then smiles + affectionately at KARÉNIN. + +FÉDYA. You know what's in this letter, Victor? + + [He is smiling gently all the time. + +KARÉNIN (looking at FÉDYA rather severely). Yes, I know. But really, +Fédya, you're in no-- + +FÉDYA (interrupting). Please, please don't think I'm drunk and don't +realize what I'm saying. Of course I'm drunk, but I see everything +very clearly. Now go ahead. What were you told to tell me? + +KARÉNIN (is standing L. C. Shrugging his shoulders). Your wife asked +me to find you and to tell you she's waiting for you. She wants you to +forget everything and come back. + + [Pause. + +KARÉNIN (stiffly). Elizaveta Protosova sent for me and suggested that +I-- + +FÉDYA (as he hesitates). Yes. + +KARÉNIN (finishing rather lamely). But I ask you not so much for her +as for myself--Fédya, come home. + +FÉDYA (looking up at him, smiling rather whimsically). You're a much +finer person than I am, Victor. Of course that's not saying much. I'm +not very much good, am I? (Laughing gently.) But that's exactly why +I'm not going to do what you want me to. It's not the only reason, +though. The real reason is that I just simply can't. How could I? + +KARÉNIN (persuasively). Come along to my rooms, Fédya, and I'll tell +her you'll be back to-morrow. + +FÉDYA (wistfully). To-morrows can't change what we are. She'll still +be she, and I will still be I to-morrow. (Goes to the table and +drinks.) No, it's better to have the tooth out in one pull. Didn't I +say that if I broke my word she was to leave me? Well, I've broken it, +and that's enough. + +KARÉNIN. Yes. For you, but not for her. + +FÉDYA (down L. Politely insolent). You know ... it's rather odd, that +you, of all men, should take so much trouble to keep our marriage from +going to pieces. + +KARÉNIN (revolted). Good God, Fédya! You don't think-- + + [MASHA crosses L., goes to FÉDYA. FÉDYA interrupting him with a + return of his former friendliness. + +FÉDYA. Come now, my dear Victor, you shall hear them sing. + +MASHA (whispering to FÉDYA). What's his name? We must honor him with a +song. + +FÉDYA (laughing). O good God, yes! Honor him by all means. His name is +Victor Michaelovitch. (Saluting Karénin.) Victor, my lord! son of +Michael! + + [The gypsies sing a song of greeting and laudation. As they begin + to sing, MASHA and FÉDYA sit on couch L. + +(When song is finished.) + +KARÉNIN (in an imploring tone). Fédya! + + [Exits quietly L. U. + +FÉDYA (business with MASHA). Where's the fur coat? Gone, eh? All +right. May the devil go with it. + +FÉDYA. Do you know who that was? + +MASHA. I heard his name. + +FÉDYA. Ah, he's a splendid fellow. He came to take me home to my wife. +You see she loves even a fool like me, (caressing her hair) and look +what I'm doing. + +MASHA. You should go back to her and be very sorry. + +FÉDYA. Do you think I should? (He kisses her.) Well, I think I +shouldn't. + +MASHA. Of course, you needn't go back to her if you don't love her. +Love is all that counts. + +FÉDYA (smiling). How do you know that? + +MASHA (looking at him timidly). I don't know, but I do. + +FÉDYA. Now, let's have "No More at Evening." (As the gypsies sing, +MASHA lies on her back across his lap, looking up into his face, which +she draws down to her, and they kiss until the music begins to cease.) +That's wonderful! Divine! If I could only lie this way forever, with +my arms around the heart of joy, and sleep ... and die.... (He closes +his eyes; his voice trails away.) + + [Lights dim and out, then the + +CURTAIN + + + +SCENE III + +SOPHIA KARÉNINA'S boudoir. SOPHIA KARÉNINA, VICTOR'S mother, is +reading a book. She is a great lady, over fifty, but tries to look +younger. She likes to interlard her conversation with French words. A +servant enters. + +SERVANT (enters R., announcing). Prince Sergius Abréskov. + +SOPHIA KARÉNINA (on sofa over L.). Show him in, please. + + [She turns and picks up hand mirror from table back of couch, + arranging her hair. + +PRINCE SERGIUS (enters R. I. Entering). J'espère que je ne force pas +la consigne. + + [Crossing to sofa L. He kisses her hand. He is a charming old + diplomat of seventy. + +SOPHIA KARÉNINA. Ah, you know well que vous êtes toujours le bien +venu.... Tell me, you have received my letter? + +PRINCE SERGIUS. I did. Me voilà. (Sits L. on sofa L.) Sophia Karénina +(working up to distress). Oh, my dear friend, I begin to lose hope. +She's bewitched him, positively bewitched him. Il est ensorcelé. I +never knew he could be so obstinate, so heartless, and so indifferent +to me. He's changed completely since that woman left her husband. + +PRINCE SERGIUS. How do matters actually stand? + +SOPHIA KARÉNINA. Well, he's made up his mind to marry her at any cost. + +PRINCE SERGIUS. And her husband? + +SOPHIA KARÉNINA. He agrees to a divorce. + +PRINCE SERGIUS. Really? + +SOPHIA KARÉNINA. And Victor is willing to put up with all the +sordidness, the vulgarity of the divorce court, the lawyers, evidences +of guilt ... tout ça est dégoûtant. I can't understand his sensitive +nature not being repelled by it. + +PRINCE SERGIUS (smiling). He's in love, and when a man's really in +love-- + +SOPHIA KARÉNINA (interrupting). In our time love could remain pure, +coloring one's whole life with a romantic friendship. Such love I +understand and value. + +PRINCE SERGIUS (sighing). However, the present generation refuses to +live on dreams. (He coughs delicately.) La possession de l'âme ne leur +suffit plus. So what is the alternative? But tell me more of Victor. + +SOPHIA KARÉNINA. There's not very much to say. He seems bewitched, +hardly my son. Did you know I'd called upon her? Victor pressed me so +it was impossible to refuse. But Dieu merci, I found her out. So I +merely left my card, and now she has asked me if I could receive her +to-day, and I am expecting her (she glances at her watch) any moment +now. I am doing all this to please Victor, but conceive my feelings. I +know you always can. Really, really, I need your help. + +PRINCE SERGIUS (bowing). Thank you for the honor you do me. + +SOPHIA KARÉNINA. You realize this visit decides Victor's fate. I must +refuse my consent, or---- But that's impossible. + +PRINCE SERGIUS. Have you met her? + +SOPHIA KARÉNINA. I've never seen her, but I'm afraid of her. No good +woman leaves her husband, especially when there's nothing obviously +intolerable about him. Why, I've seen Protosov often with Victor, and +found him even quite charming. + +PRINCE SERGIUS (murmurs). So I've heard. So I've heard. + +SOPHIA KARÉNINA (continuing). She should bear her cross without +complaint. And Victor must cease trying to persuade himself that his +happiness lies in defying his principles. What I don't understand is +how Victor, with his religious views, can think of marrying a divorced +woman. I've heard him say over and over again--once quite lately-- +that divorce is totally inconsistent with true Christianity. If she's +been able to fascinate him to that point, I am afraid of her.--But how +stupid of me to talk all the time! Have you spoken to him at all? What +does he say? And don't you thoroughly agree with me? + +PRINCE SERGIUS. Yes, I've spoken to Victor. I think he really loves +her, has grown accustomed to the idea of loving her, pour ainsi dire. +(Shaking his head.) I don't believe he could ever now care for another +woman. + +SOPHIA KARÉNINA (sighing). And Varia Casanzeva would have made him +such a charming wife. She's so devoted already. + +PRINCE SERGIUS (smiling). I am afraid I hardly see her in the present +... tableau. (Earnestly.) Why not submit to Victor's wish and help +him? + +SOPHIA KARÉNINA. To marry a divorcée? And afterwards have him running +into his wife's husband? How can you calmly suggest that a mother +accept such a situation for her son? + +PRINCE SERGIUS. But, chère amie, why not approve of the inevitable? +And you might console yourself by regarding the dangers he'll avoid by +marrying this gentle, lovely woman. After all, suppose he conceived a +passion for some one---- + + [Convey the word "disreputable". + +SOPHIA KARÉNINA. How can a good woman leave her husband? + +PRINCE SERGIUS. Ah, that's not like you. You're unkind and you're +harsh. Her husband is the sort of man--well, he's his own worst enemy. +A weakling, a ne'er-do-well--he's spent all his money and hers too. +She has a child. Do you think you can condemn her for leaving him? As +a matter of fact she didn't leave him, he left her. + +SOPHIA KARÉNINA (faintly). Oh what a mud-pen I'm slipping into! + +PRINCE SERGIUS (amused). Could your religion aid you? + +SOPHIA KARÉNINA (smelling her salts). In this instance, religion would +require of me the impossible. C'est plus fort que moi. + +PRINCE SERGIUS. Fédya himself--you know what a charming clever +creature he is when he's in his senses--he advised her to leave him. + + [Enter VICTOR who kisses his mother's hand and greets PRINCE SERGIUS. + +KARÉNIN. Ah, Prince Sergius! (Shakes hands with Prince--formally.) +Maman, I've come to tell you that Elizaveta Protosova will be here +directly. There's only one thing I ask you: do you still refuse your +consent to my marriage---- + +SOPHIA KARÉNINA (interrupting). And I most assuredly do. + +KARÉNIN (continuing. Frowning). In that case all I ask is for you not +to speak to her about it. + +SOPHIA KARÉNINA. I don't suppose we shall even mention the subject. I +certainly shan't. + +KARÉNIN (standing at head of sofa L.). If you don't, she won't. +(Pleadingly.) Mother dear, I just want you to know her. + +SOPHIA KARÉNINA. One thing I can't understand. How is it you want to +marry Lisa Protosova, a woman with a living husband, and at the same +time believe divorce is a crime against Christianity? + +KARÉNIN. Oh, Maman, that's cruel of you. Life is far too complex to be +managed by a few formulas. Why are you so bitter about it all? + +SOPHIA KARÉNINA (honestly). I love you. I want you to be happy. + +KARÉNIN (imploringly to PRINCE SERGIUS) Sergius Abréskov! + +PRINCE SERGIUS (to SOPHIA KARÉNINA). Naturally you want him happy. But +it's difficult for our hearts, wearied from the weight of years, to +feel the pulse of youth and sympathize, especially is it difficult for +you, my friend, who have schooled yourself to view Victor's happiness +in a single way.... + +SOPHIA KARÉNINA. Oh, you're all against me. Do as you like. Vous êtes +majeur. (Sniffing into her pocket handkerchief.) But you'll kill me. + +KARÉNIN (deeply distressed). Ah, Mother, please. It's worse than cruel +to say things like that. + +PRINCE SERGIUS (smiling to VICTOR). Come, come, Victor, you know your +mother speaks more severely than she could ever act. + +SOPHIA KARÉNINA. I shall tell her exactly what I think and feel, and I +hope I can do it without offending her. + +PRINCE SERGIUS. I am sure of it. + + [Enter FOOTMAN. + +Here she is. + +KARÉNIN. I'll go. (Goes to back of sofa.) + +FOOTMAN (announcing). Elizaveta Andreyevna Protosova. + +KARÉNIN (warningly). Now, Mother. + + [He goes out L. PRINCE SERGIUS rises. + +SOPHIA KARÉNINA (majestically). Show her in. (To PRINCE SERGIUS.) +Please remain. + +PRINCE SERGIUS. I thought you might prefer a tête-à-tête? + +SOPHIA KARÉNINA. No, no. I rather dread it. And if I want to be left +alone in the room with her, I'll drop my handkerchief. Ça dépendra. + +PRINCE SERGIUS. I'm sure you're going to like her immensely. + +SOPHIA KARÉNINA. Oh you're all against me. + + [Enter LISA R. and crosses to R. C. + +(Rising) How do you do? I was so sorry not to find you at home and it +is most kind of you to come to see me. + +LISA (R.C.). I never expected the honor of your visit, and I am so +grateful that you permit me to come and see you. + +SOPHIA KARÉNINA (C.). You know Prince Sergius Abréskov? + +PRINCE SERGIUS (L.--Heartily). Yes, I have had the pleasure. (Crossing +to her, he shakes hands.) My niece Nellie has spoken often of you to +me. + + [Goes to L.C. + +LISA. Yes, we were great friends. (She glances shyly around her.) And +still are. (To SOPHIA.) I never hoped that you would wish to see me. + +SOPHIA KARÉNINA. I knew your husband quite well. He was a great friend +of Victor's and used frequently to visit us in Tambov, (politely) +where you were married, I believe. + +LISA (looking down). Yes. + +SOPHIA KARÉNINA. But when you returned to Moscow we were deprived of +the pleasure of his visit. + +LISA. Yes, then he stopped going anywhere. + +SOPHIA KARÉNINA. Ah, that explains our missing him. + + [Awkward pause. + +PRINCE SERGIUS (to LISA). The last time I'd the pleasure of seeing you +was in those tableaux at the Dennishovs. You were charming in your +part. + +LISA. How good of you to think so! Yes, I remember perfectly. + + [Another awkward silence. + +(To SOPHIA KARÉNINA.) Sophia Karénina, please forgive me if what I am +going to say offends you, but I don't know how to cover up what's in +my heart. I came here to-day because Victor Karénin said--because he +said that--because he--I mean because you wanted to see me. (With a +catch in her voice.) It's rather difficult--but you're so sweet. + +PRINCE SERGIUS (very sympathetic). There, there, my dear child, I +assure you there's nothing in the world to---- (He breaks off when he +sees SOPHIA KARÉNINA pointing impatiently to the floor. She has +dropped her handkerchief.) Permit me. (He picks it up, presenting it +to her with a smile and a bow; then looks casually at his watch.) Ah, +five o'clock already. (To SOPHIA KARÉNINA.) Madame, in your salon +pleasure destroys the memory of time. You will excuse me. + + [He kisses her hand. + +SOPHIA KARÉNINA (smiling). Au revoir, mon ami. + +PRINCE SERGIUS (bowing and shaking hands with LISA). Elizaveta +Protosova, au revoir. + + [He goes out R. + +SOPHIA KARÉNINA. Now listen, my child. Please believe how truly sorry +for you I am and that you are most sympathetique to me. But I love my +son alone in this world, and I know his soul as I do my own. He's very +proud--oh I don't mean of his position and money--but of his high +ideals, his purity. It may sound strange to you, but you must believe +me when I tell you that at heart he is as pure as a young girl. + +LISA. I know. + +SOPHIA KARÉNINA. He's never loved a woman before. You're the first. I +don't say I'm not a little jealous. I am. But that's something we +mothers have to face. Oh, but your son's still a baby, you don't know. +I was ready to give him up, though--but I wanted his wife to be as +pure as himself. + +LISA (flushing hotly). And I, am I not---- + +SOPHIA KARÉNINA (interrupting her kindly). Forgive me, my dear. I know +it's not your fault and that you've been most unhappy. And also I know +my son. He will bear anything, and he'll bear it without saying a +word, but his hurt pride will suffer and bring you infinite remorse. +You must know how strongly he has always felt that the bond of +marriage is indissoluble. + +LISA. Yes. I've thought of all that. + +SOPHIA KARÉNINA. Lisa, my dear, you're a wise woman and you're a good +woman too. If you love him, you must want his happiness more than you +want your own. You can't want to cripple him so that he'll be sorry +all his life--yes, sorry even though he never says a word. + +LISA. I've thought about it so much. I've thought about it and I've +talked to him about it. But what can I do when he says he can't live +without me? I said to him only the other day, "Victor, let's just be +friends. Don't spoil your life. Don't ruin yourself by trying to help +me." And do you know what he did? He laughed. + +SOPHIA KARÉNINA. Of course he would, at the time. + +LISA. If you could persuade him not to marry me, you know I'll agree, +don't you? I just want him to be happy. I don't care about myself. +Only please help me. Please don't hate me. Let's do all we can for +him, because, after all, we both love him. + +SOPHIA KARÉNINA. Yes, I know. And I think I love you too. I really do. +(She kisses her. LISA begins to cry.) Oh, it's all so dreadful. If +only he had fallen in love with you before you were married! + +LISA (sobbing). He--he says he did--but he had to be loyal to his +friend. + +SOPHIA KARÉNINA. Alas, it's all very heart-breaking. But let us love +each other, and God will help us to find what we are seeking. + +KARÉNIN (entering L. I). Mother darling. I've heard what you just +said. I knew you'd love her. And now everything must come right. + +SOPHIA KARÉNINA (hastily). But nothing's decided. All I can say is, +had things been different, I should have been very glad. (Tenderly.) +So very glad. + + [She kisses LISA. + +KARÉNIN (smiling). Please don't change. That's all I ask. + + [Lights down and out. + +CURTAIN + + + +SCENE IV + +A plainly furnished room, bed, table and stove. FÉDYA alone writing. + +At rise MASHA is heard outside calling "FÉDYA! FÉDYA!" MASHA enters R. +I, crosses to FÉDYA on bed C. and embraces him. + +FÉDYA. Ah, thank Heaven you've come. I was wasting away in boredom. + +MASHA. Then why didn't you come over to us? (Sees wine glass on chair +near bed.) So, you've been drinking again? And after all your +promises! + +FÉDYA (embarrassed). I didn't come over because I had no money. + +MASHA. Oh, why is it I love you so. + +FÉDYA. Masha! + +MASHA (imitating him). Masha! Masha! What's that mean? If you loved +me, by now you'd have your divorce. You say you don't love your wife. +(FÉDYA winces.) But you stick to her like grim death. + +FÉDYA (interrupting her). You know why I don't want to. + +MASHA. Nonsense. They're right when they say you're no good. It's your +mind that you can never make up comfortably causing you all the worry. + +FÉDYA. You know perfectly well that the only joy I've got in life is +being in love with you. + +MASHA. Oh, it's always "My joy," "Your love." Where's your love and my +joy? + +FÉDYA (a little wearily). Well, Masha, after all, you've got all I can +give, the best I've ever had to give, perhaps, because you're so +strong, so beautiful, that sometimes you've made me know how to make +you glad. So why torture yourself? + +MASHA (kneels and puts her arms around his neck). I won't if you're +sure you love me. + +FÉDYA (coming closer to her). My beautiful young Masha. + +MASHA (tearfully, searching his face). You do love me? + +FÉDYA. Of course, of course. + +MASHA. Only me, only me? + +FÉDYA (kissing her). Darling, only you. + +MASHA (with a return to brightness). Now read me what you've written. + +FÉDYA. It may bore you. + +MASHA (reproachfully). How could it? + +FÉDYA (reads). + + "The snow was flooded in moonlight and the birch trees wavered + their stark shadows across it like supplicating arms. Suddenly + I heard the soft padded sound of snow falling upon snow, to + slowly perceive a figure, the slender figure of a young child + attempting to arouse itself almost at my feet--I----" + + [Enter IVÁN and NASTASÏA. They are two old gypsies, MASHA'S + parents. + +NASTASÏA (stepping up to MASHA). So here you are--you cursed little +stray sheep. No disrespect to you, sir. (To MASHA.) You black-hearted, +ungrateful little snake. How dare you treat us like this, how dare +you, eh? + +Iván (to FÉDYA). It's not right, sir, what you've done, bringing to +her ruin our only child. It's against God's law. + +NASTASÏA (to MASHA). Come and get out of here with me. You thought +you'd skip, didn't you? And what was I supposed to tell the troupe +while you dangled around here with this tramp? What can you get out of +him, tell me that? Did you know he hasn't got a kopek to his name, +didn't you? + + [During scene with parents, FÉDYA sits dumbly on the bed, bewildered. +He puts his forehead against MASHA'S face and clings to her like a +child. + +MASHA (sullenly). I haven't done anything wrong. I love this +gentleman, that's all. I didn't leave the troupe either. I'll go on +singing just the same. + +Iván. If you talk any more, I'll pull your hair all out for you, you +loose little beast, you. (To FÉDYA, reproachfully.) And you, sir, when +we were so fond of you--why, often and often we used to sing for you +for nothing and this is how you pay us back. + +NASTASÏA (rocking herself to and fro). You've ruined our daughter, our +very own, our only one, our best beloved, our diamond, our precious +one, (with sudden fury). You've stamped her into the dirt, you have. +Where's your fear of God? + +FÉDYA. Nastasïa, Nastasïa, you've made a mistake. Your daughter is +like a sister to me. I haven't harmed her at all. I love her, that's +true. But how can I help it? + +IVÁN. Well, why didn't you love her when you had some money? If you'd +paid us ten thousand rubles, you could have owned her, body and soul. +That's what respectable gentlemen do. But you--you throw away every +kopek you've got and then you steal her like you'd steal a sack of +meal. You ought to be ashamed, sir. + +MASHA (rising, puts her arm around his neck). He didn't steal me. I +went to him myself, and if you take me away now, I'll come right back. +If you take me away a thousand times, I'll come back to him. I love +him and that's enough. My love will break through anything--through +anything. Through anything in the whole damn world. + +NASTASÏA (trying to soothe her). Now, Mashenka darling, don't get +cross. You know you haven't behaved well to your poor old parents. +There, there, come along with us now. + + [With greedy fingers that pretend to caress, NASTASÏA seizes her + savagely and suddenly at the end of this speech and draws her to + the door. MASHA cries out "FÉDYA! FÉDYA!" as she exits R. + +IVÁN (alongside). You open your mouth again and I'll smash you dumb. +(To FÉDYA.) Good-bye, your worship. + + [All exit R. I. + + [FÉDYA sits as though stupefied. The gypsies exit noisily. There + is a pause. He drinks; then PRINCE SERGIUS appears, very quiet + and dignified, at the door. + +PRINCE. Excuse me. I'm afraid I'm intruding upon a rather painful +scene. + +FÉDYA (getting up). With whom have I the honor---- (recognizing the +Prince). Ah, Prince Sergius, how do you do? + + [They shake hands. + +PRINCE (in a distinguished manner). I repeat that I am afraid to be +most inopportune. I would rather not have heard, but since I have, +it's my duty to say so. When I arrived I knocked several times, but I +presume you could not have heard through such uproar. + +FÉDYA. Do sit down. (PRINCE sits chair R.C.) Thanks for telling me you +heard. (Sits on bed up C.) It gives me a chance to explain it all. +Forgive me for saying your opinion of me can't concern me, but I want +to tell you that the way her parents talked to that young girl, that +gypsy singer, was absolutely unjust. She's as pure as your own mother. +My relations with her are simply friendly ones. Possibly there is a +ray of poetry in them, but that could hardly degrade her. However, +what can I do for you? + +PRINCE SERGIUS. Well, to begin---- + +FÉDYA (interrupting). Excuse me, Prince, but my present social +position hardly warrants a visit from you. + + [Smiling. + +PRINCE SERGIUS. I know that, but I ask you to believe that your +changed position does not influence me in what I am about to tell you. + +FÉDYA (interrogatively). Then? + +PRINCE SERGIUS. To be as brief as possible, Victor Karénin, the son of +my old friend, Sophia Karénina, and she herself, have asked me to +discover from you personally what your present relations are with your +wife, and what intentions you have regarding them. + +FÉDYA. My relations with my wife--I should say my former wife--are +several. + +PRINCE SERGIUS. As I thought, and for this reason accepted my somewhat +difficult mission. + +FÉDYA (quickly). I wish to say first of all that the fault was +entirely mine. She is, just as she always was, absolutely stainless, +faultless. + +PRINCE SERGIUS. Victor Karénin and especially his mother are anxious +to know your exact intentions regarding the future. + +FÉDYA. I've got no intentions. I've given her full freedom. I know she +loves Victor Karénin, let her. Personally, I think he is a bore, but +he is a good bore. So they'll probably be very happy together, at +least in the ordinary sense and que le bon Dieu les bénisse. + +PRINCE SERGIUS. Yes, but we---- + +FÉDYA (rising, goes L., leans on table). Please don't think I'm +jealous. If I just said Victor was dull, I take it back. He's +splendid, very decent, in fact the opposite of myself, and he's loved +her since her childhood (slowly) and maybe she loved him even when we +were married. After all, that happens, and the strongest love is +perhaps unconscious love. Yes, I think she's always loved him far, far +down beneath what she would admit to herself, and this feeling of nine +has been a black shadow across our married life. But--I--I really +don't suppose I ought to be talking to you like this, ought I? + +PRINCE SERGIUS. Please go on. My only object in coming was to +understand this situation completely, and I begin to see how the +shadow--as you charmingly express it--could have been---- + +FÉDYA (looking strangely ahead of him). Yes, no brightness could suck +up that shadow. And so I suppose I never was satisfied with what my +wife gave me, and I looked for every kind of distraction, sick at +heart because I did so. I see it more and more clearly since we've +been apart. Oh, but I sound as if I were defending myself. God knows I +don't want to do that. No, I was a shocking bad husband. I say was, +because now I don't consider myself her husband at all. She's +perfectly free. There, does that satisfy you? + +PRINCE SERGIUS. Yes, but you know how strictly orthodox Victor and his +family are. Of course I don't agree with them--perhaps I have broader +views--(with a shrug) but I understand how they feel. They consider +that any union without a church marriage is--well, to put it mildly, +unthinkable. + +FÉDYA. Yes, I know he's very stu--I mean strict. (With a slight +smile.) "Conservative" is the word, isn't it? But what in God's name +(crossing to C.) do they want, a divorce? I told them long ago I was +perfectly willing. But the business of hiring a street-woman and +taking her to a shady hotel and arranging to be caught by competent +witnesses--ugh--it's all so--so loathsome. + + [He shudders--pauses; and sits on bed. + +PRINCE SERGIUS. I know. I know. I assure you, I can sympathize with +such a repugnance, but how can one avoid it? You see, it's the only +way out. But, my dear boy, you mustn't think I don't sympathize with +you. It's a horrible situation for a sensitive man and I quite +understand how you must hate it. + +FÉDYA. Thank you, Prince Sergius. I always knew you were kind and +just. Now tell me what to do. Put yourself in my place. I don't +pretend to be any better than I really am. I am a blackguard but there +are some things that even I can't do. (With a smile and helpless +gesture.) I can't tell lies. + + [A pause. + +PRINCE SERGIUS. I must confess that you bewilder me. You with your +gifts and charm and really au fond--a wonderful sense of what's right. +How could you have permitted yourself to plunge into such tawdry +distractions? How could you have forgotten so far what you owed to +yourself? Tell me, why did you let your life fall into this ruin? + +FÉDYA (suppressing emotion). I've led this sort of life for ten years +and you're the first real person to show me sympathy. Of course, I've +been pitied by the degraded ones but never before by a sensible, kind +man like you. Thanks more than it's possible to say. (He seems to +forget his train of thought and suddenly to recall it.) Ah, yes, my +ruin. Well, first, drink, not because it tasted well, but because +everything I did disappointed me so, made me so ashamed of myself. I +feel ashamed now, while I talk to you. Whenever I drank, shame was +drowned in the first glass, and sadness. Then music, not opera or +Beethoven, but gypsy music; the passion of it poured energy into my +body, while those dark bewitching eyes looked into the bottom of my +soul. (He sighs.) And the more alluring it all was, the more shame I +felt afterwards. + + [Pause. + +PRINCE SERGIUS. But what about your career? + +FÉDYA. My career? This seems to be it. Once I was a director of a +bank. There was something terribly lacking between what I felt and +what I could do. (Abruptly.) But enough, enough of myself. It makes me +rather nervous to think about myself. + + [Rises. + +PRINCE SERGIUS. What answer am I to take back? + +FÉDYA (very nervous). Oh, tell them I'm quite at their disposal. +(Walking up and down) They want to marry, and there mustn't be +anything in their way (pause); is that it? (Stops walking very +suddenly. Repeats.) There mustn't be anything in their way--is that +it? + +PRINCE SERGIUS (pause. FÉDYA sits on table L.). Yes. When do you--when +do you think--you'll--you'll have it ready? The evidence? + +FÉDYA (turns and looks at the PRINCE, suppressing a slight, strained +smile). Will a fortnight do? + +PRINCE SERGIUS (rising). Yes, I am sure it will. (Rises and crosses to +FÉDYA.) May I say that you give them your word? + +FÉDYA (with some impatience). Yes. Yes. (PRINCE offers his hand.) +Good-bye, Prince Sergius. And again thanks. + + [Exit PRINCE SERGIUS, R. I. FÉDYA sits down in an attitude of + deep thought. + +Why not? Why not? And it's good not to be ashamed---- + + [Lights dim and out. + +CURTAIN + + + +SCENE V + +Private room in a cheap restaurant. FÉDYA is shown in by a shabby +waiter. + +WAITER. This way, sir. No one will disturb you here. Here's the +writing paper. + + [Starts to exit. + +FÉDYA (as waiter starts to exit). Bring me a bottle of champagne. + +WAITER. Yes, sir. + + [Exits R. C. + + [FÉDYA sits at table L. C., and begins to write. IVÁN PETROVICH + appearing in the doorway R. C. + +IVÁN PETROVICH. I'll come in, shall I? + +FÉDYA (sitting L. of table L. C. Very serious). If you want to, but +I'm awfully busy, and--(seeing he has already entered) Oh, all right, +do come in. + +IVÁN PETROVICH (C.). You're going to write an answer to their demand. +I'll help you. I'll tell you what to say Speak out. Say what you mean. +It's straight from the shoulder. That's my system. (Picks up box that +FÉDYA has placed on table--opens it and takes out a revolver.) Hallo! +What's this? Going to shoot yourself. Of course, why not? I +understand. They want to humiliate you, and you show them where the +courage is--put a bullet through your head and heap coals of fire on +theirs. I understand perfectly. (The waiter enters with champagne on +tray, pours a glass for FÉDYA, then exits. PETROVICH takes up the +glass of wine and starts to drink. FÉDYA looks up from his writing.) I +understand everything and everybody, because I'm a genius. + +FÉDYA. So you are, but---- + +IVÁN PETROVICH (filling and lifting his glass). Here's to your +immortal journey. May it be swift and pleasant. Oh, I see it from your +point of view. So why should I stop you? Life and death are the same +to genius. I'm dead during life and I live after death. You kill +yourself in order to make a few people miss you, but I--but I--am +going to kill myself to make the whole world know what it lost. I +won't hesitate or think about it. I'll just take the revolver--one, +two--and all is over--um. But I am premature. My hour is not yet +struck. (He puts the revolver down.) But I shall write nothing. The +world will have to understand all by itself. (FÉDYA continues to +write.) The world, what is it but a mass of preposterous creatures, +who crawl around through life, understanding nothing--nothing at all +--do you hear me? (FÉDYA looks up, rather exasperated.) Oh, I'm not +talking to you. All this is between me and the cosmos. (Pours himself +out another drink.) After all, what does humanity most lack? +Appreciation for its geniuses. As it is, we're persecuted, tortured, +racked, through a lifetime of perpetual agony, into the asylum or the +grave. But no longer will I be their bauble. Humanity, hypocrite that +you are--to hell with you. + + [Drinks wine. + +FÉDYA (having finished his letter). Oh, go away, please. + +IVÁN PETROVICH. Away? (With a gesture.) Away? Me? (With profound +resolve.) So be it. (He leans over the table, faces FÉDYA.) I shall +away. I'll not deter you from accomplishing what I also shall commit-- +all in its proper moment, however. Only I should like to say this---- + +FÉDYA. Later. Later. But now, listen, old man, give this to the head +waiter. (Handing him some money.) You understand? + +IVÁN PETROVICH. Yes, but for God's sake wait for me to come back. +(Moves away.) I've something rare to tell you, something you'll never +hear in the next world--at least not till I get there---- Look here, +shall I give him all this money? + +FÉDYA. No, just what I owe him. + + [Exit IVÁN PETROVICH, whistling. FÉDYA sighs with a sense of + relief, takes the revolver, cocks it, stands at mirror on wall + up R., and puts it close to his temple. Then shivers, and lets + his hand drop. + +I can't do it. I can't do it. + + [Pause. MASHA is heard singing. MASHA bursts into the room. + +MASHA (breathless). I've been everywhere looking for you. To Popov's, +Afrémov's, then I guessed you'd be here. (Crosses to him. Sees +revolver, turns, faces him quickly, concealing it with her body, +stands very tense and taut, looking at him.) Oh, you fool! You hideous +fool! Did you think you'd---- + +FÉDYA (still completely unnerved). Awful! It's been awful! I tried---- +(With a gesture of despair.) I couldn't---- + + [Crosses to table L. C.--leans against it. + +MASHA (puts her hand to her face as if terribly hurt). As if I didn't +exist. (Crosses over to table L. C., puts down revolver.) As if I +weren't in your life at all. Oh, how godless you are! (Brokenly.) Tell +me, tell me, what about all my love for you? + +FÉDYA (as if suddenly aware of a great fatigue). I wanted to set them +free. I promised to--and when the time came I couldn't. + +MASHA. And what about me? What about me? + +FÉDYA. I thought you'd be free, too. Surely my torturing you can't +make you happy. + +MASHA. Oh, I can look out for myself. Maybe I'd rather be unhappy, +miserable, wretched with you every minute than even think of living +without you. + +FÉDYA (up R.--half to himself). If I'd finished just now, you would +have cried bitterly perhaps, my Masha, but you would have lived past +it. + +MASHA. Oh, damn you, don't be so sure I'd cry at all. Can't you even +be sorry for me? + + [She tries to conceal her tears. + +FÉDYA. Oh God, I only wanted to make everybody happier. + +MASHA. Yourself happier, you mean. + +FÉDYA (smiling). Would I have been happier to be dead now? + +MASHA (sulkily). I suppose you would. (Suddenly in a tender voice, +crossing to him.) But, Fédya, do you know what you want? Tell me, what +do you want? + +FÉDYA (R). I want so many things. + +MASHA (impatiently and clinging to him). But what? What? + +FÉDYA. First of all, I want to set them free. How can I lie? How can I +crawl through the muck and filth of a divorce? I can't. (Moves to end +of table and stands there facing front.) But I must set them free +somehow. They're such good people, my wife and Victor. I can't bear +having them suffer. + +MASHA (R. of table L. C.--scornfully). Where's the good in her if she +left you? + +FÉDYA. She didn't. I left her. + +MASHA. She made you think she'd be happier without you. But go on---- +(Impatiently.) Blame yourself, what else. + +FÉDYA. There's you, Masha. Young, lovely, awfully dear to me. If I +stay alive, ah, where will you be? + +MASHA. Don't bother about me. You can't hurt me. + +FÉDYA (sighing). But the big reason, the biggest reason of all, is +myself. I'm just lost. Your father is right, my dear. I'm no good. + +MASHA (crossing to him, at once tenderly and savagely). I won't +unfasten myself from you. I'll stick to you, no matter where you take +me, no matter what you do. You're alive, terribly alive, and I love +you. Fédya, drop all this horror. + +FÉDYA. How can I? + +MASHA (trying to project the very essence of her vitality into him). +Oh, you can, you can. + +FÉDYA (slowly). When I look at you, I feel as though I could do +anything. + +MASHA (proudly, fondly). My love, my love. You can do anything, get +anywhere you want to. (FÉDYA moves away impatiently up R. She sees +letter.) So you have been writing to them--to tell them you'll kill +yourself. You just told them you'd kill yourself, is that it? But you +didn't say anything about a revolver. Oh, Fédya, let me think, there +must be some way. Fédya--listen to me. Do you remember the day we all +went to the picnic to the White Lakes with Mama and Afrémov and the +young Cossack officer? And you buried the bottles of wine in the sand +to keep them cool while we went in bathing? Do you remember how you +took my hands and drew me out beyond the waves till the water was +quite silent and flashing almost up to our throats, and then suddenly +it seemed as if there were nothing under our feet? We tried to get +back. We couldn't and you shouted out, "Afrémov," and if he hadn't +been almost beside us and pulled us in--and how cross he was with you +for forgetting that you couldn't swim, and after, how wonderful it was +to stretch out safely on the sands in the sunlight. Oh, how nice every +one was to us that day and you kept on being so sorry for forgetting +you couldn't swim! And, Fédya, don't you see? Of course, she must know +you can't swim. Oh, it's all getting as clear as daylight. You will +send her this beautiful letter. Your clothes will be found on the +river bank--but instead of being in the river you will be far away +with me--Fédya, don't you see, don't you see? You will be dead to her, +but alive for me. (Embraces FÉDYA.) + + [The lights down and out. + +CURTAIN + + + +SCENE VI + +The PROTOSOVS' drawing-room. + +KARÉNIN and LISA. + +KARÉNIN (sitting chair R.). He's promised me +definitely, and I'm sure he'll keep to it. + +LISA (sitting chair R. C.). I'm rather ashamed to confess it, Victor, +but since I found out about this--this gypsy, I feel completely free +of him. Of course, I am not in the least jealous, but knowing this +makes me see that I owe him nothing more. Am I clear to you, I wonder? + +KARÉNIN (coming closer to her). Yes, dear, I think I'll always +understand you. + +LISA (smiling). Don't interrupt me, but let me speak as I think. The +thing that tortured me most was I seemed to love both of you at once, +and that made me seem so indecent to myself. + +KARÉNIN (incredulously amused). You indecent? + +LISA (continuing). But since I've found out that there's another +woman, that he doesn't need me any more, I feel free, quite free of +him. And now I can say truthfully, I love you. Because everything is +clear in my soul. My only worry is the divorce, and all the waiting to +be gone through before we can---- Ah, that's torturing. + +KARÉNIN. Dearest, everything will be settled soon. After all, he's +promised, and I've asked my secretary to go to him with the petition +and not to leave until he's signed it. Really, sometimes, if I didn't +know him as I do, I'd think he was trying on purpose to discomfort us. + +LISA. No. No. It's, only the same weakness and honesty fighting +together in him. He doesn't want to lie. However, I'm sorry you sent +him money. + +KARÉNIN. If I hadn't, it might have delayed things. Lisa. I know, but +money seems so ugly. + +KARÉNIN (slightly ruffled). I hardly think it's necessary to be so +delicate with Fédya. + +LISA. Perhaps, perhaps. (Smiling.) But don't you think we are becoming +very selfish? + +KARÉNIN. Maybe. But it's all your fault, dear. After all, this +hopelessness and waiting, to think of being happy at last! I suppose +happiness does make us selfish. + +LISA. Don't believe you're alone in your happiness or selfishness. I +am so filled with joy it makes me almost afraid. Misha's all right, +your mother loves me, and above all, you are here, close to me, loving +me as I love you. + +KARÉNIN (bending over her and searching her eyes). You're sure you've +no regret? + +LISA. From the day I found out about that gypsy woman, my mind +underwent a change that has set me free. + +KARÉNIN. You're sure? + + [Kissing her hands. + +LISA (passionately). Darling, I've only one desire now, and that is to +have you forget the past and love as I do. + + [Her little boy toddles in R., sees them and stops. + + [To the child. + +Come here, my sweetheart. + + [He goes to her and she takes him on her knees. + +KARÉNIN. What strange contradictory instincts and desires make up our +beings! + +LISA. Why? + +KARÉNIN (slowly). I don't know. When I came back from abroad, knew I'd +lost you, I was unhappy, terribly. Yet, it was enough for me to learn +that you at least remembered me. Afterward, when we became friends, +and you were kind to me, and into our friendship wavered a spark of +something more than friendship, ah, I was almost happy! Only one thing +tormented me: fear that such a feeling wronged Fédya. Afterwards, when +Fédya tortured you so, I saw I could help. Then a certain definite +hope sprang up in me. And later, when he became impossible and you +decided to leave him, and I showed you my heart for the first time, +and you didn't say no, but went away in tears--then I was happy through +and through. Then came the possibility of joining our lives. Mamma +loved you. You told me you loved me, that Fédya was gone out of your +heart, out of your life forever, and there was only, only me.... Ah, +Lisa, for what more could I ask! Yet the past tortured me. Awful +fancies would flush up into my happiness, turning it all into hatred +for your past. + +LISA (interrupting reproachfully). Victor! + +KARÉNIN. Forgive me, Lisa. I only tell you this because I don't want +to hide a single thought from you. I want you to know how bad I am, +and what a weakness I've got to fight down. But don't worry, I'll get +past it. It's all right, dear. (He bends over, kissing the child on +the head.) And I love him, too. + +LISA. Dearest, I'm so happy. Everything has happened in my heart to +make it as you'd wish. + +KARÉNIN. All? + +LISA. All, beloved, or I never could say so. + + [Enter the NURSE L. U. + +NURSE. Your secretary has come back. + + [LISA and KARÉNIN exchange glances. + +LISA. Show him in here, nurse, and take Misha, will you? + +NURSE. Come along, my pet. It's time for your rest. + + [Exit NURSE with the little boy, R. + +KARÉNIN (gets up, walks to the door). This will be Fédya's answer. + +LISA (kissing Karénin). At last, at last we shall know when. (She +kisses him.) + + [Enter VOZNESÉNSKY L. U. + +KARÉNIN. Well? + +SECRETARY. He's not there, sir. + +KARÉNIN. Not there? He's not signed the petition, then? + +SECRETARY. No. But here is a letter addressed to you and Elizaveta +Protosova. + + [Takes letter from his pocket and gives it to KARÉNIN. + +KARÉNIN (interrupting angrily). More excuses, more excuses. It's +perfectly outrageous. How without conscience he is. Really, he has +lost every claim to---- + +LISA. But read the letter, dear; see what he says. + + [KARÉNIN opens the letter. + +SECRETARY. Shall you need me, sir? + +Karénin. No. That's all. Thank you. + + [Exit SECRETARY. KARÉNIN reads the letter growing astonishment + and concern. LISA watches his face. + +(Reading.) + + "Lisa, Victor, I write you both without using terms of + endearment, since I can't feel them, nor can I conquer a sense + of bitterness and reproach, self-reproach principally, when I + think of you together in your love. I know, in spite of being + the husband, I was also the barrier, preventing you from coming + earlier to one another. C'est moi qui suis l'intrue. I stood in + your way, I worried you to death. Yet I can't help feeling + bitterly, coldly, toward you. In one way I love both of you, + especially Lisa Lizenska, but in reality I am more than cold + toward you. Yes, it's unjust, isn't it, but to change is + impossible." + +LISA. What's all that for? + +KARÉNIN (standing L. of table C., continuing). + + "However, to the point. I am going to fulfill your wishes in + perhaps a little different way from what you desire. To lie, to + act a degrading comedy, to bribe women of the streets for + evidence--the ugliness of it all disgusts me. I am a bad man, + but this despicable thing I am utterly unable to do. My solution + is after all the simplest. You must marry to be happy. I am the + obstacle, consequently that obstacle must be removed." + +LISA (R. of table). Victor! + +KARÉNIN (reading). Must be removed? "By the time this letter reaches +you, I shall no longer exist. All I ask you is to be happy, and +whenever you think of me, think tender thoughts. God bless you both. +Good-bye. FÉDYA." + +LISA. He's killed himself! + +KARÉNIN (going hurriedly up stage L. and calls of). My secretary! Call +back my secretary! + +LISA. Fédya! Fédya, darling! + +KARÉNIN. Lisa! + +LISA. It's not true! It's not true that I've stopped loving him! He's +the only man in all the world I love! And now I've killed him! I've +killed him as surely as if I'd murdered him with my own two hands! + +KARÉNIN. Lisa, for God's sake! + +LISA. Stop it! Don't come near me! Don't be angry with me, Victor. You +see I, too, cannot lie! + +CURTAIN + + + + +ACT II + +SCENE I + +A dirty, ill-lighted underground dive; people are lying around +drinking, sleeping, playing cards and making love. Near the front a +small table at which FÉDYA sits; he is in rags and has fallen very +low. By his side is PETUSHKÓV, a delicate spiritual man, with long +yellow hair and beard. Both are rather drunk. + +Candle light is the only lighting in this Scene. + +PETUSHKÓV (R.C. of table C.). I know. I know. Well, that's real love. +So what happened then? + +FÉDYA (L. C. of table C., pensively). You might perhaps expect a girl +of our own class, tenderly brought up, to be capable of sacrificing +for the man she loved, but this girl was a gypsy, reared in greed, yet +she gave me the purest sort of self-sacrificing love. She'd have done +anything for nothing. Such contrasts are amazing. + +PETUSHKÓV. I see. In painting we call that value. Only to realize +bright red fully when there is green around it. But that's not the +point. What happened? + +FÉDYA. Oh, we parted. I felt it wasn't right to go on taking, taking +where I couldn't give. So one night we were having dinner in a little +restaurant, I told her we'd have to say good-bye. My heart was so +wrung all the time I could hardly help crying. + +PETUSHKÓV. And she? + +FÉDYA. Oh, she was awfully unhappy, but she knew I was right. So we +kissed each other a long while, and she went back to her gypsy troupe +--(Slowly.) Maybe she was glad to go---- + + [A pause. + +PETUSHKÓV. I wonder. + +FÉDYA. Yes. The single good act of my soul was not ruining that girl. + +PETUSHKÓV. Was it from pity? + +FÉDYA. I sorry for her? Oh, never. Quite the contrary. I worshipped +her unclouded sincerity, the energy of her clear, strong will, and God +in Heaven, how she sang. And probably she is singing now, for some one +else. Yes, I always looked up at her from beneath, as you do at some +radiance in the sky. I loved her really. And now it's a tender +beautiful memory. + +PETUSHKÓV. I understand. It was ideal, and you left it like that. + +FÉDYA (ruminatingly). And I've been attracted often, you know. Once I +was in love with a grande dame, bestially in love, dog-like. Well, +she gave me a rendezvous, and I didn't, couldn't, keep it, because +suddenly I thought of her husband, and it made me feel sick. And you +know, it's queer, that now, when I look back, instead of being glad +that I was decent, I am as sorry as if I had sinned. But with Masha +it's so different; I'm filled with joy that I've never soiled the +brightness of my feeling for her. (He points his finger at the floor.) +I may go much further down. + +PETUSHKÓV (interrupting). I know so well what you mean. But where is +she now? + +FÉDYA. I don't know. I don't want to know. All that belongs to another +life, and I couldn't bear to mix that life and this life. + + [A POLICE OFFICER enters from up R., kicks a man who is lying on + the floor--walks down stage, looks at FÉDYA and PETUSHKÓV, then + exits. + +PETUSHKÓV. Your life's wonderful. I believe you're a real idealist. + +FÉDYA. No. It's awfully simple. You know among our class--I mean the +class I was born in--there are only three courses: the first, to go +into the civil service or join the army and make money to squander +over your sensual appetites. And all that was appalling to me--perhaps +because I couldn't do it. The second thing is to live to clear out, to +destroy what is foul, to make way for the beautiful. But for that +you've got to be a hero, and I'm not a hero. And the third is to +forget it all--overwhelm it with music, drown it with wine. That's +what I did. And look (he spreads his arms out) where my singing led me +to. + + [He drinks. + +PETUSHKÓV. And what about family life? The sanctity of the home and +all that--I would have been awfully happy if I'd had a decent wife. As +it was, she ruined me. + +FÉDYA. I beg your pardon. Did you say marriage? Oh, yes, of course. +Well, I've been married, too. Oh, my wife was quite an ideal woman. I +don't know why I should say was, by the way, because she's still +living. But there's something--I don't know; it's rather difficult to +explain--But you know how pouring champagne into a glass makes it +froth up into a million iridescent little bubbles? Well, there was +none of that in our married life. There was no fizz in it, no sparkle, +no taste, phew! The days were all one color--flat and stale and gray +as the devil. And that's why I wanted to get away and forget. You +can't forget unless you play. So trying to play I crawled in every +sort of muck there is. And you know, it's a funny thing, but we love +people for the good we do them, and we hate them for the harm. That's +why I hated Lisa. That's why she seemed to love me. + +PETUSHKÓV. Why do you say seemed? + +FÉDYA (wistfully). Oh, she couldn't creep into the center of my being +like Masha. But that's not what I mean. Before the baby was born, and +afterwards, when she was nursing him, I used to stay away for days and +days, and come back drunk, drunk, and love her less and less each +time, because I was wronging her so terribly. (Excitedly.) Yes. That's +it, I never realized it before. The reason why I loved Masha was +because I did her good, not harm. But I crucified my wife, and her +contortions filled me almost with hatred. + + [FÉDYA drinks. + +PETUSHKÓV. I think I understand. Now in my case---- + + [ARTIMIEV enters R. U., approaches with a cockade on his cap, + dyed mustache, and shabby, but carefully mended clothes. + +ARTIMIEV (stands L. of table). Good appetite, gentlemen! (Bowing to +FÉDYA.) I see you've made the acquaintance of our great artist. + +FÉDYA (coolly). Yes, I have. + +ARTIMIEV (to PETUSHKÓV). Have you finished your portrait? + +PETUSHKÓV. No, they didn't give me the commission, after all. + +ARTIMIEV (sitting down on end of table). I'm not in your way, am I? + + [FÉDYA and PETUSHKÓV don't answer. + +PETUSHKÓV. This gentleman was telling me about his life. + +ARTIMIEV. Oh, secrets? Then I won't disturb you. Pardon me for +interrupting. (To himself as he moves away.) Damn swine! + + [He goes to the next table, sits down and in the dim candlelight + he can just be seen listening to the conversation. + +FÉDYA. I don't like that man. + +PETUSHKÓV. I think he's offended. + +FÉDYA. Let him be. I can't stand him. If he'd stayed I shouldn't have +said a word. Now, it's different with you. You make me feel all +comfortable, you know. Well, what was I saying? + +PETUSHKÓV. You were talking about your wife. How did you happen to +separate? + +FÉDYA. Oh, that? (A pause.) It's a rather curious story. My wife's +married. + +PETUSHKÓV. Oh, I see! You're divorced. + +FÉDYA. No. (Smiling.) She's a widow. + +PETUSHKÓV. A widow? What do you mean? + +FÉDYA. I mean exactly what I say. She's a widow. I don't exist. + +PETUSHKÓV (puzzled). What? + +FÉDYA (smiling drunkenly). I'm dead. You're talking to a corpse. + + [ARTIMIEV leans towards them and listens intently. + +Funny, I seem to be able to say anything to you. And it's so long ago, +so long ago. And what is it after all to you but a story? Well, when I +got to the climax of torturing my wife, when I'd squandered everything +I had or could get, and become utterly rotten, then, there appeared a +protector. + +PETUSHKÓV. The usual thing, I suppose? + +FÉDYA. Don't think anything filthy about it. He was just her friend, +mine too, a very good, decent fellow; in fact the opposite of myself. +He'd known my wife since she was a child, and I suppose he'd loved her +since then. He used to come to our house a lot. First I was very glad +he did, then I began to see they were falling in love with each other, +and then--an odd thing began to happen to me at night. Do you know +when she lay there asleep beside me (he laughs shrilly) I would hear +him, pushing open the door, crawling into the room, coming to me on +his hands and knees, grovelling, whining, begging me (he is almost +shouting) for her, for her, imagine it! And I, I had to get up and +give my place to him. (He covers his eyes with his hands in a. +convulsive moment.) Phew! Then I'd come to myself. + +PETUSHKÓV. God! It must have been horrible. + +FÉDYA (wearily). Well, later on I left her--and after a while, they +asked me for a divorce. I couldn't bear all the lying there was to be +got through. Believe me it was easier to think of killing myself. And +so I tried to commit suicide, and I tried and I couldn't. Then a kind +friend came along and said, "Now, don't be foolish!" And she arranged +the whole business for me. I sent my wife a farewell letter--and the +next day my clothes and pocketbook were found on the bank of the +river. Everybody knew I couldn't swim. (Pause.) You understand, don't +you? + +PETUSHKÓV. Yes, but what about the body? They didn't find that? + +FÉDYA (smiling drunkenly). Oh yes, they did! You just listen! About a +week afterwards some horror was dragged out of the water. My wife was +called in to identify it. It was in pretty bad shape, you know. She +took one glance. "Is that your husband?" they asked her. And she said, +"Yes." Well, that settled it! I was buried, they were married, and +they're living very happily right here in this city. I'm living here, +too! We're all living here together! Yesterday I walked right by their +house. The windows were lit and somebody's shadow went across the +blind. (A pause.) Of course there're times when I feel like hell about +it, but they don't last. The worst is when there's no money to buy +drinks with. + + [He drinks. + +ARTIMIEV. (rising and approaching them). Excuse me, but you know I've +been listening to that story of yours? It's a very good story, and +what's more a very useful one. You say you don't like being without +money, but really there's no need of your ever finding yourself in +that position. + +FÉDYA. (interrupting). Look here, I wasn't talking to you and I don't +need your advice! + +ARTIMIEV. But I'm going to give it to you just the same. Now you're a +corpse. Well, suppose you come to life again! + +FÉDYA. What? + +ARTIMIEV. Then your wife and that fellow she's so happy with--they'd +be arrested for bigamy. The best they'd get would be ten years in +Siberia. Now you see where you can have a steady income, don't you? + +FÉDYA. (furiously). Stop talking and get out of here! + +ARTIMIEV. The best way is to write them a letter. If you don't know +how I'll do it for you. Just give me their address and afterwards when +the ruble notes commence to drop in, how grateful you'll be! + +FÉDYA. Get out! Get out, I say! I haven't told you anything! + +ARTIMIEV. Oh, yes, you have! Here's my witness! This waiter heard you +saying you were a corpse! + +FÉDYA. (beside himself). You damn blackmailing beast---- + + [Rising. + +ARTIMIEV. Oh, I'm a beast, am I? We'll see about that! (FÉDYA rises to +go, ARTIMIEV seizes him.) Police! Police! (FÉDYA struggles frantically +to escape.) + + [The POLICE enter and drag him away. + +CURTAIN + + + +SCENE II + +In the country. A veranda covered by a gay awning; sunlight; flowers; +SOPHIA KARÉNINA, LISA, her little boy and nurse. + +LISA (standing C. in door. To the little boy, smiling), Who do you +think is on his way from the station? + +MISHA (excitedly). Who? Who? + +LISA. Papa. + +MISHA (rapturously). Papa's coming! Papa's coming! + + [Exits L. through C. door. + +LISA (contentedly, to SOPHIA KARÉNINA). How much he loves Victor! As +if he were his real father! + +SOPHIA KARÉNINA (on sofa L. knitting--back to audience). Tant mieux. +Do you think he ever remembers his father? + +LISA (sighing). I can't tell. Of course I've never said anything to +him. What's the use of confusing his little head? Yet sometimes I feel +as though I ought. What do you think, Mamma? + +SOPHIA KARÉNINA. I think it's a matter of feeling. If you can trust +your heart, let it guide you. What extraordinary adjustments death +brings about! I confess I used to think very unkindly of Fédya, when +he seemed a barrier to all this. (She makes a gesture with her hand.) +But now I think of him as that nice boy who was my son's friend, and a +man who was capable of sacrificing himself for those he loved. (She +knits.) I hope Victor hasn't forgotten to bring me some wool. + +LISA. Here he comes. (LISA runs to the edge of the veranda.) There's +some one with him--a lady in a bonnet! Oh, it's mother! How splendid! +I haven't seen her for an age! + + [Enter ANNA PÁVLOVNA up C. + +ANNA PÁVLOVNA (kissing LISA). My darling. (To SOPHIA KARÉNINA.) How do +you do? Victor met me and insisted on my coming down. + + [Sits bench L. C. beside SOPHIA. + +SOPHIA KARÉNINA. This is perfectly charming! + + [Enter VICTOR and MÍSHA. + +ANNA PÁVLOVNA. I did want to see Lisa and the boy. So now, if you +don't turn me out, I'll stay till the evening train. + +KARÉNIN. (L. C., kissing his wife, his mother and the boy). +Congratulate me--everybody--I've a bit of luck, I don't have to go to +town again for two days. Isn't that wonderful? + +LISA. (R. C.). Two days! That's glorious! We'll drive over to the +Hermitage to-morrow and show it to mother. + +ANNA PÁVLOVNA. (holding the boy). He's so like his father, isn't he? I +do hope he hasn't inherited his father's disposition. + +SOPHIA KARÉNINA. After all, Fédya's heart was in the right place. +LISA. Victor thinks if he'd only been brought up more carefully +everything would have been different. + +ANNA PÁVLOVNA. Well, I'm not so sure about that, but I do feel sorry +for him. I can't think of him without wanting to cry. + +LISA. I know. That's how Victor and I feel. All the bitterness is +gone. There's nothing left but a very tender memory. + +ANNA PÁVLOVNA. (sighing). I'm sure of it. Lisa. Isn't it funny? It all +seemed so hopeless back there, and now see how beautifully +everything's come out! + +SOPHIA KARÉNINA. Oh, by the way, Victor, did you get my wool? + +KARÉNIN. I certainly did. (Brings a bag and takes out parcels.) Here's +the wool, here's the eau-de-cologne, here are the letters--one on +"Government Service" for you, Lisa---- (Hands her the letter. LISA +opens letter, then strolls R, reading it, suddenly stops.) Well, Anna +Pávlovna, I know you want to make yourself beautiful! I must tidy up, +too. It's almost dinner time. Lisa, you've put your another in the +Blue Room, haven't you? + + [Pause. + + [LISA is pale. She holds the letter with trembling hands and + reads it, KARÉNIN seeing her. + +What's the matter, Lisa? What is it? + +LISA. He's alive. He's alive. My God! I shall never be free from him. +(VICTOR crosses to LISA.) What does this mean? What's going to happen +to us? + +KARÉNIN (taking the letter and reading). I don't believe it. + +SOPHIA KARÉNINA. What is it? (Rising.) What's the matter? Why don't +you tell us? + +KARÉNIN. He's alive! They're accusing us of bigamy! It's a summons for +Lisa to go before the Examining Magistrate. + +ANNA PÁVLOVNA. No--no! It can't be! + +SOPHIA KARÉNINA. Oh, that horrible man! + +KARÉNIN. So it was all a lie! + +LISA (with a cry of rage). Oh! I hate him so! Victor!--Fédya!--My God! +I don't know what I'm saying. I don't know what I'm saying. + + [Sinks in chair down R. + +ANNA PÁVLOVNA (rising). He's not really alive? + + [Lights dim and out. + +CURTAIN + + + +SCENE III + +The room of the examining magistrate, who sits at a table talking to +MÉLNIKOV, a smartly dressed, languid, man-about-town. + +At a side-table a CLERK is sorting papers. + +MAGISTRATE. (sitting R. of table R. C.). Oh, I never said so. It's her +own notion. And now she is reproaching me with it. + +MÉLNIKOV. (sitting C. back to audience). She's not reproaching you, +only her feelings are awfully hurt. + +MAGISTRATE. Are they? Oh, well, tell her I'll come to supper after the +performance. But you'd better wait on. I've rather an interesting +case. (To the CLERK.) Here, you, show them in. + +Clerk. (sitting C. facing audience). Both? Excellency. Magistrate. No, +only Madame Karénina. + + [CLERK exits L. I. + +CLERK (calling off stage). Madame Protosova, Madame Protosova. + +MAGISTRATE. Or, to dot my i's, Madame Protosova. + +MÉLNIKOV (starting to go out). Ah, it's the Karénin case. + +MAGISTRATE. Yes, and an ugly one. I'm just beginning the +investigation. But I assure you it's a first-rate scandal already. +Must you go? Well, see you at supper. Good-bye. + + [Exit MÉLNIKOV, R. + + [The CLERK shows in LISA; she wears a black dress and veil. + +MAGISTRATE. Please sit down, won't you? (He points to a chair L. C. +LISA sits down.) I am extremely sorry that it's necessary to ask you +questions. + + [LISA appears very much agitated. MAGISTRATE appears unconcerned + and is reading a newspaper as he speaks. + +But please be calm. You needn't answer them unless you wish. Only in +the interest of every one concerned, I advise you to help me reach the +entire truth. + +LISA. I've nothing to conceal. + +MAGISTRATE (looking at papers). Let's see. Your name, station, +religion. I've got all that. You are accused of contracting a marriage +with another man, knowing your first husband to be alive. + +LISA. But I did not know it. + +MAGISTRATE (continuing). And also you are accused of having persuaded +with bribes your first husband to commit a fraud, a pretended suicide, +in order to rid yourself of him. + +LISA. All that's not true. + +MAGISTRATE. Then permit me to ask you these questions: Did you or did +you not send him 1200 rubles in July of last year? + +LISA. That was his own money obtained from selling his things, which I +sent to him during our separation, while I was waiting for my divorce. + +MAGISTRATE. Just so. Very well. When the police asked you to identify +the corpse, how were you sure it was your husband's? + +LISA. Oh, I was so terribly distressed that I couldn't bear to look at +the body. Besides, I felt so sure it was he, and when they asked me, I +just said yes. + +MAGISTRATE. Very good indeed. I can well understand your distraction, +and permit me to observe, Madame, that although servants of the law, +we remain human beings, and I beg you to be assured that I sympathize +with your situation. You were bound to a spendthrift, a drunkard, a +man whose dissipation caused you infinite misery. + +LISA (interrupting). Please, I loved him. + +MAGISTRATE (tolerantly). Of course. Yet naturally you desired to be +free, and you took this simple course without counting the +consequence, which is considered a crime, or bigamy. I understand you, +and so will both judges and jury. And it's for this reason, Madam, I +urge you to disclose the entire truth. + +LISA. I've nothing to disclose. I never have lied. (She begins to +cry.) Do you want me any longer? + +MAGISTRATE. Yes. I must ask you to remain a few minutes longer. No +more questions, however. (To the CLERK.) Show in Victor Karénin. (To +LISA.) I think you'll find that a comfortable chair. (Sits L. C.) + + [Enter KARÉNIN, stern and solemn. + +Please, sit down. + +KARÉNIN. Thank you. (He remains standing L. U.) What do you want from +me? + +MAGISTRATE. I have to take your deposition. + +KARÉNIN. In what capacity? + +MAGISTRATE (smiling). In my capacity of investigating magistrate. You +are here, you know, because you are charged with a crime. + +KARÉNIN. Really? What crime? + +MAGISTRATE. Bigamy, since you've married a woman already married. But +I'll put the questions to you in their proper order. Sure you'll not +sit down? + +KARÉNIN. Quite sure. + +MAGISTRATE (writing). Your name? + +KARÉNIN. Victor Karénin. + +MAGISTRATE. Rank? + +KARÉNIN. Chamberlain of the Imperial Court. + +MAGISTRATE. Your age? + +KARÉNIN. Thirty-eight. + +MAGISTRATE. Religion? + +KARÉNIN. Orthodox, and I've never been tried before of any charge. +(Pause.) What else? + +MAGISTRATE. Did you know that Fedor Protosov was alive when you +married his wife? + +KARÉNIN. No, we were both convinced that he was drowned. + +MAGISTRATE. All right. And why did you send 1200 rubles to him a few +days before he simulated death on July 17th? + +KARÉNIN. That money was given me by my wife. + +MAGISTRATE (interrupting him). Excuse me, you mean by Madame +Protosova. + +KARÉNIN. By my wife to send to her husband. She considered this money +his property, and having broken off all relations with him, felt it +unjust to withhold it. What else do you want? + +MAGISTRATE. I don't want anything, except to do my official duty, and +to aid you in doing yours, through causing you to tell me the whole +truth, in order that your innocence be proved. You'd certainly better +not conceal things which are sure to be found out, since Protosov is +in such a weakened condition, physically and mentally, that he is +certain to come out with the entire truth as soon as he gets into +court, so from your point of view I advise.... + +KARÉNIN. Please don't advise me, but remain within the limits of your +official capacity. Are we at liberty to leave? + + [He goes to LISA who takes his arm. + +MAGISTRATE. Sorry, but it's necessary to detain you. (KARÉNIN looks +around in astonishment.) No, I've no intention of arresting you, +although it might be a quicker way of reaching the truth. I merely +want to take Protosov's deposition in your presence, to confront him +with you, that you may facilitate your chances by proving his +statements to be false. Kindly sit down. (To CLERK.) Show in Fedor +Protosov. + + [There is a pause. The CLERK shows in FÉDYA in rags, a total + wreck. He enters slowly, dragging his feet. He catches sight of + his wife, who is bowed in grief. For a moment he is about to + take her in his arms--he hesitates--then stands before the + MAGISTRATE. + +MAGISTRATE. I shall ask you to answer some questions. + +FÉDYA. (rises, confronting the MAGISTRATE). Ask them. + +MAGISTRATE. Your name? + +FÉDYA. You know it. + +MAGISTRATE. Answer my questions exactly, please. + + [Rapping on his desk. + +FÉDYA (shrugs). Fedor Protosov. + +MAGISTRATE. Your rank, age, religion? + +FÉDYA. (silent for a moment). Aren't you ashamed to ask me these +absurd questions? Ask me what you need to know, only that. + +MAGISTRATE. I shall ask you to take care how you express yourself. + +FÉDYA. Well, since you're not ashamed. My rank, graduate of the +University of Moscow; age 40; religion orthodox. What else? + +MAGISTRATE. Did Victor Karénin and Elizaveta Andreyevna know you were +alive when you left your clothes on the bank of the river and +disappeared? + +FÉDYA. Of course not. I really wished to commit suicide. But-- +however, why should I tell you? The fact's enough. They knew nothing +of it. + +MAGISTRATE. You gave a somewhat different account to the police +officer. How do you explain that? + +FÉDYA. Which police officer? Oh yes, the one who arrested me in that +dive. I was drunk, and I lied to him--about what, I don't remember. +But I'm not drunk now and I'm telling you the whole truth. They knew +nothing; they thought I was dead, and I was glad of it. Everything +would have stayed all right except for that damned beast Artimiev. So +if any one's guilty, it's I. + +MAGISTRATE. I perceive you wish to be generous. Unfortunately the law +demands the truth. Come, why did you receive money from them? + + [FÉDYA is silent. + +Why don't you answer me? Do you realize that it will be stated in your +deposition that the accused refused to answer these questions, and +that will harm (he includes LISA and VICTOR in a gesture) all of you? + + [FÉDYA remains silent. + +Aren't you ashamed of your stubborn refusal to aid these others and +yourself by telling the entire truth? + +FÉDYA (breaking out passionately). The truth--Oh, God! what do you +know about the truth? Your business is crawling up into a little +power, that you may use it by tantalizing, morally and physically, +people a thousand times better than you.... You sit there in your smug +authority torturing people. + +MAGISTRATE. I must ask you---- + +FÉDYA (interrupts him). Don't ask me for I'll speak as I feel. +(Turning to CLERK.) And you write it down. So for once some human +words will get into a deposition. + + [Raising his voice, which ascends to a climax during this speech. + +There were three human beings alive: I, he, and she. + + [He turns to his wife with a gesture indicating his love for her. + He pauses, then proceeds. + +We all bore towards one another a most complex relation. We were all +engaged in a spiritual struggle beyond your comprehension: the +struggle between anguish and peace; between falsehood and truth. +Suddenly this struggle ended in a way that set us free. Everybody was +at peace. They loved my memory, and I was happy even in my downfall, +because I'd done what should have been done, and cleared away my weak +life from interfering with their strong good lives. And yet we're all +alive. When suddenly a bastard adventurer appears, who demands that I +abet his filthy scheme. I drive him off as I would a diseased dog, but +he finds you, the defender of public justice, the appointed guardian +of morality, to listen to him. And you, who receive on the 20th of +each month a few kopeks' gratuity for your wretched business, you get +into your uniform, and in good spirits proceed to torture--bully +people whose threshold you're not clean enough to pass. Then when +you've had your fill of showing off your wretched power, oh, then you +are satisfied, and sit and smile there in your damned complacent +dignity. And.... + +MAGISTRATE (raising his voice. Rising excitedly). Be silent or I'll +have you turned out. + +FÉDYA. God! Who should I be afraid of! I'm dead, dead, and away out of +your power. (Suddenly overcome with the horror of the situation.) What +can you do to me? How can you punish me--a corpse? + + [Beating his breast. + +MAGISTRATE. Be silent! (To CLERK, who is down L.) Take him out! + + [FÉDYA turns, seeing his wife, he falls on his knees before + her ... kisses the hem of her dress, crying bitterly. + + [Slowly he rises, pulls himself together with a great effort, + then exits L. + + [The lights dim and out. + +CURTAIN + + + +SCENE IV + +A corridor at the lower courts; in the background a door opposite +which stands a GUARD; to the right is another door through which the +PRISONERS are conducted to the court. IVÁN PETROVICH in rags enters +L., goes to this last door, trying to pass through it. + +GUARD (at door R. C.). Where do you think you're going, shoving in +like that? + +IVÁN PETROVICH. Why shouldn't I? The law says these sessions are +public. + +GUARD. You can't get by and that's enough. + +IVÁN PETROVICH (in pity). Wretched peasant, you have no idea to whom +you are speaking. + +GUARD. Be silent! + + [Enter a YOUNG LAWYER from R. I. + +LAWYER (to Petrovich). Are you here on business? + +IVÁN PETROVICH. No. I'm the public. But this wretched peasant won't +let me pass. + +LAWYER. There's no room for the public at this trial. + +IVÁN PETROVICH. Perhaps, but I am above the general rule. + +LAWYER. Well, you wait outside; they'll adjourn presently. + + [He is just going into courtroom through door R. C. when PRINCE + SERGIUS enters L. and stops him. + +PRINCE SERGIUS. How does the case stand? + +LAWYER. The defense has just begun. Petrúshin is speaking now. + +PRINCE SERGIUS. Are the Karénins bearing up well? + +LAWYER. Yes, with extraordinary dignity. They look as if they were the +judges instead of the accused. That's felt all the way through, and +PETRÚSHIN is taking advantage of it. + +PRINCE SERGIUS. What of Protosov? + +LAWYER. He's frightfully unnerved, trembling all over, but that's +natural considering the sort of life he's led. Yes, he's all on edge, +and he's interrupted, both judge and jury several times already. + +PRINCE SERGIUS. How do you think it will end? + +LAWYER. Hard to say. The jury are mixed. At any rate I don't think +they'll find the Karénins guilty of premeditation. Do you want to go +in? + +PRINCE SERGIUS. I should very much like to. + +LAWYER. Excuse me, you're Prince Sergius Abréskov, aren't you? (To the +Prince.) There's an empty chair just at the left. + + [The guard lets PRINCE SERGIUS pass. + +IVÁN PETROVICH. Prince! Bah! I am an aristocrat of the soul, and +that's a higher title. + +LAWYER. Excuse me. + + [And exits down R. C. into courtroom. + + [PETUSHKÓV, FÉDYA'S companion in the dive, enters approaching + IVÁN PETROVICH. + +PETUSHKÓV (R.). Oh, there you are. Well, how're things going? + +IVÁN PETROVICH (L.). The speeches for the defense have begun, but this +ignorant rascal won't let us in. Curse his damned petty soul. + +GUARD (C.) Silence! Where do you think you are? + + [Further applause is heard; door of the court opens, and there is + a rush of lawyers and the general public into the corridor. + +A LADY. Oh, it's simply wonderful! When he spoke I felt as if my heart +were breaking. + +AN OFFICER. It's all far better than a novel. But I don't see how she +could ever have loved him. Such a sinister, horrible figure. + + [The other door opens over L.; the accused comes out. + +THE LADY (this group is down R.). Hush! There he is. See how wild he +looks. + +FÉDYA (seeing IVÁN PETROVICH). Did you bring it? + + [Goes to PETROVICH. + +PETROVICH. There. + + [He hands FÉDYA something; FÉDYA hides it in his pocket. + +FÉDYA (seeing PETUSHKÓV). How foolish! How vulgar and how boring all +this is, isn't it? + + [Men and women enter door L. and stand down L. watching. + + [Enter PETRÚSHIN, from R. C., FÉDYA'S counsel, a stout man with + red cheeks; very animated. + +PETRÚSHIN (rubbing his hands). Well, well, my friend. It's going along +splendidly. Only remember, don't go and spoil things for me in your +last speech. + +FÉDYA (takes him by the arm). Tell me, what'll the worst be? + +PETRÚSHIN. I've already told you. Exile to Siberia. + +FÉDYA. Who'll be exiled to Siberia? + +PETRÚSHIN. You and your wife, naturally. + +FÉDYA. And at the best? + +PETRÚSHIN. Religious pardon and the annulment of the second marriage. + +FÉDYA. You mean--that we should be bound again--to one another---- + +PETRÚSHIN. Yes. Only try to collect yourself. Keep up your courage. +After all, there's no occasion for alarm. + +FÉDYA. There couldn't be any other sentence, you're sure? + +PETRÚSHIN. None other. None other. + + [Exits R. I. FÉDYA stands motionless. + +GUARD (crosses and exits L. I. Calling). Pass on. Pass on. No +loitering in the corridor. + + [VICTOR and LISA enter from door L. Start to go off L. when pistol + shot stops them. + +FÉDYA (He turns his back to the audience, and from beneath his ragged +coat shoots himself in the heart. There is a muffled explosion, smoke. +He crumples up in a heap on the floor. All the people in the passage +rush to him.) (In a very low voice.) This time--it's well done... +Lisa.... + + [People are crowding in from all the doors, judges, etc. LISA + rushes to FÉDYA, KARÉNIN, IVÁN PETROVICH and PRINCE SERGIUS + follow. + +LISA. Fédya!... Fédya!... What have you done? Oh why!... why!... + +FÉDYA. Forgive me---- No other way---- Not for you--but for myself---- + +LISA. You will live. You must live. + +FÉDYA. No--no---- Good-bye---- (He seems to smile, then he mutters +just under his breath.) Masha. + + [In the distance the gypsies are heard singing "No More at + Evening." They sing until the curtain. + +You're too late---- + + [Suddenly he raises his head from LISA'S knees, and barely utters + as if he saw something in front of him. + +Ah.... Happiness!... + + [His head falls from LISA'S knees to the ground. She still clings + to it, in grief and horror. He dies. + + [The lights dim and out. + +CURTAIN + +END OF _REDEMPTION_ + +* * * * * + +THE POWER OF DARKNESS + +OR + +IF A CLAW IS CAUGHT THE BIRD IS LOST + + + + +CHARACTERS + +PETER IGNÁTITCH. A well-to-do peasant, 42 years old, married for the +second time, and sickly. + +ANÍSYA. His wife, 32 years old, fond of dress. + +AKOULÍNA. Peter's daughter by his first marriage, 16 years old, hard +of hearing, mentally undeveloped. + +NAN (ANNA PETRÓVNA). His daughter by his second marriage, 10 years old + +NIKÍTA. Their laborer, 25 years old, fond of dress. + +AKÍM. Nikíta's father, 50 years old, a plain-looking, God-fearing +peasant. + +MATRYÓNA. His wife and Nikíta's mother, 50 years old. + +MARÍNA An orphan girl, 22 years old. + +MARTHA. Peter's sister. + +MÍTRITCH An old laborer, ex-soldier. + +SIMON. Marína's husband. + +BRIDEGROOM. Engaged to Akoulína. + +IVÁN. His father. + +A NEIGHBOR. + +FIRST GIRL. + +SECOND GIRL. + +POLICE OFFICER. + +DRIVER. + +BEST MAN + +MATCHMAKER. + +VILLAGE ELDER. + +VISITORS, WOMEN, GIRLS, AND PEOPLE come to see the wedding + +N.B.--The "oven" mentioned is the usual large, brick, Russian +baking-oven. The top of it outside is flat, so that more than one +person can lie on it. + + + + +ACT I + +The Act takes place in autumn in a large village. The Scene represents +PETER'S roomy hut. PETER is sitting on a wooden bench, mending a +horse-collar. ANÍSYA and AKOULÍNA are spinning, and singing a +part-song. + +PETER (looking out of the window). The horses have got loose again. If +we don't look out they'll be killing the colt. Nikíta! Hey, Nikíta! Is +the fellow deaf? (Listens. To the women.) Shut up, one can't hear +anything. + +NIKÍTA (from outside). What? + +PETER. Drive the horses in. + +NIKÍTA. We'll drive 'em in. All in good time. + +PETER (shaking his head). Ah, these laborers! If I were well, I'd not +keep one on no account. There's nothing but bother with 'em. (Rises +and sits down again.) Nikíta!.... It's no good shouting. One of you'd +better go. Go, Akoúl, drive 'em in. + +AKOULÍNA. What? The horses? + +PETER. What else? + +AKOULÍNA. All right. + + [Exit. + +PETER. Ah, but he's a loafer, that lad ... no good at all. Won't stir +a finger if he can help it. + +ANÍSYA. You're so mighty brisk yourself. When you're not sprawling on +the top of the oven you're squatting on the bench. To goad others to +work is all you're fit for. + +PETER. If one weren't to goad you on a bit, one'd have no roof left +over one's head before the year's out. Oh, what people! + +ANÍSYA. You go shoving a dozen jobs on to one's shoulders, and then do +nothing but scold. It's easy to lie on the oven and give orders. + +PETER (sighing). Oh, if 'twere not for this sickness that's got hold +of me, I'd not keep him on another day. + +AKOULÍNA (off the scene). Gee up, gee, woo. + + [A colt neighs, the stamping of horses' feet and the creaking of + the gate are heard. + +PETER. Bragging, that's what he's good at. I'd like to sack him, I +would indeed. + +ANÍSYA (mimicking him). "Like to sack him." You buckle to yourself, +and then talk. + +AKOULÍNA (enters). It's all I could do to drive 'em in. That piebald +always will.... + +PETER. And where's Nikíta? + +AKOULÍNA. Where's Nikíta? Why, standing out there in the street. + +PETER. What's he standing there for? + +AKOULÍNA. What's he standing there for? He stands there jabbering. + +PETER. One can't get any sense out of her! Who's he jabbering with? + +AKOULÍNA (does not hear). Eh, what? + + [PETER waves her off. She sits down to her spinning. + +NAN (running in to her mother). Nikíta's father and mother have come. +They're going to take him away. It's true! + +ANÍSYA. Nonsense! + +NAN. Yes. Blest if they're not! (Laughing.) I was just going by, and +Nikíta, he says, "Good-bye, Anna Petróvna," he says, "you must come +and dance at my wedding. I'm leaving you," he says, and laughs. + +ANÍSYA (to her husband). There now. Much he cares. You see, he wants +to leave of himself. "Sack him" indeed! + +PETER. Well, let him go. Just as if I couldn't find somebody else. + +ANÍSYA. And what about the money he's had in advance? + + [NAN stands listening at the door for awhile, and then exit. + +PETER (frowning). The money? Well, he can work it off in summer, +anyhow. + +ANÍSYA. Well, of course you'll be glad if he goes and you've not got +to feed him. It's only me as'll have to work like a horse all the +winter. That lass of yours isn't over fond of work either. And you'll +be lying up on the oven. I know you. + +PETER. What's the good of wearing out one's tongue before one has the +hang of the matter? + +ANÍSYA. The yard's full of cattle. You've not sold the cow, and have +kept all the sheep for the winter: feeding and watering 'em alone +takes all one's time, and you want to sack the laborer. But I tell you +straight, I'm not going to do a man's work! I'll go and lie on the top +of the oven same as you, and let everything go to pot! You may do what +you like. + +PETER (to Akoulína). Go and see about the feeding, will you? it's +time. + +AKOULÍNA. The feeding? All right. + + [Puts on a coat and takes a rope. + +ANÍSYA. I'm not going to work for you. You go and work yourself. I've +had enough of it, so there! + +PETER. That'll do. What are you raving about? Like a sheep with the +staggers! + +ANÍSYA. You're a crazy cur, you are! One gets neither work nor +pleasure from you. Eating your fill, that's all you do; you palsied +cur, you! + +PETER (spits and puts on coat). Faugh! The Lord have mercy! I'd better +go myself and see what's up. + + [Exit. + +ANÍSYA (after him). Scurvy long-nosed devil! + +AKOULÍNA. What are you swearing at dad for? + +ANÍSYA. Hold your noise, you idiot! + +AKOULÍNA (going to the door). I know why you're swearing at him. +You're an idiot yourself, you bitch. I'm not afraid of you. + +ANÍSYA. What do you mean? (Jumps up and looks round for something to +hit her with.) Mind, or I'll give you one with the poker. + +AKOULÍNA (opening the door). Bitch! devil! that's what you are! Devil! +bitch! bitch! devil! + + [Runs off. + +ANÍSYA (ponders). "Come and dance at my wedding!" What new plan is +this? Marry? Mind. Nikíta, if that's your intention, I'll go and.... +No, I can't live without him. I won't let him go. + +NIKÍTA (enters, looks round, and, seeing Anísya alone, approaches +quickly. In a low tone). Here's a go; I'm in a regular fix! That +governor of mine wants to take me away,--tells me I'm to come home. +Says quite straight I'm to marry and live at home. + +ANÍSYA. Well, go and marry! What's that to me? + +NIKÍTA. Is that it? Why, here am I reckoning how best to consider +matters, and just hear her! She tells me to go and marry. Why's that? +(Winking.) Has she forgotten? + +ANÍSYA. Yes, go and marry! What do I care? + +NIKÍTA. What are you spitting for? Just see, she won't even let me +stroke her.... What's the matter? + +ANÍSYA. This! That you want to play me false.... If you do,--why, I +don't want you either. So now you know! + +NIKÍTA. That'll do, Anísya. Do you think I'll forget you? Never while +I live! I'll not play you false, that's flat. I've been thinking that +supposing they do go and make me marry, I'd still come back to you. If +only he don't make me live at home. + +ANÍSYA. Much need I'll have of you, once you're married. + +NIKÍTA. There's a go now. How is it possible to go against one's +father's will? + +ANÍSYA. Yes, I daresay, shove it all on your father. You know it's +your own doing. You've long been plotting with that slut of yours, +MARÍNA. It's she has put you up to it. She didn't come here for +nothing t'other day. + +NIKÍTA. Marína? What's she to me? Much I care about her!... Plenty of +them buzzing around. + +ANÍSYA. Then what has made your father come here? It's you have told +him to. You've gone and deceived me. + + [Cries. + +NIKÍTA. Anísya, do you believe in a God or not? I never so much as +dreamt of it. I know nothing at all about it. I never even dreamt of +it--that's flat. My old dad has got it all out of his own pate. + +ANÍSYA. If you don't wish it yourself who can force you? He can't +drive you like an ass. + +NIKÍTA. Well, I reckon it's not possible to go against one's parent. +But it's not by my wish. + +ANÍSYA. Don't you budge, that's all about it! + +NIKÍTA. There was a fellow wouldn't budge, and the village elder gave +him such a hiding.... That's what it might come to! I've no great wish +for that sort of thing. They say it touches one up.... + +ANÍSYA. Shut up with your nonsense. Nikíta, listen to me: if you marry +that Marína I don't know what I won't do to myself.... I shall lay +hands on myself! I have sinned, I have gone against the law, but I +can't go back now. If you go away I'll.... + +NIKÍTA. Why should I go? Had I wanted to go--I should have gone long +ago. There was Iván Semyónitch t'other day--offered me a place as his +coachman.... Only fancy what a life that would have been! But I did +not go. Because, I reckon, I am good enough for any one. Now if you +did not love me it would be a different matter. + +ANÍSYA. Yes, and that's what you should remember. My old man will die +one of these fine days, I'm thinking; then we could cover our sin, +make it all right and lawful, and then you'll be master here. + +NIKÍTA. Where's the good of making plans? What do I care? I work as +hard as if I were doing it for myself. My master loves me, and his +missus loves me. And if the wenches run after me, it's not my fault, +that's flat. + +ANÍSYA. And you'll love me? + +NIKÍTA (embracing her). There, as you have ever been in my heart.... + +MATRYÓNA (enters and crosses herself a long time before the icón. +NIKÍTA and ANÍSYA step apart). What I saw I didn't perceive, what I +heard, I didn't hearken to. Playing with the lass, eh? Well,--even a +calf will play. Why shouldn't one have some fun when one's young? But +your master is out in the yard a-calling you, sonny. + +NIKÍTA. I only came to get the axe. + +MATRYÓNA. I know, sonny, I know; them sort of axes are mostly to be +found where the women are. + +NIKÍTA (stooping to pick up axe). I say, mother, is it true you want +me to marry? As I reckon, that's quite unnecessary. Besides, I've got +no wish that way. + +MATRYÓNA. Eh, honey! why should you marry? Go on as you are. It's all +the old man. You'd better go, sonny; we can talk these matters over +without you. + +NIKÍTA. It's a queer go! One moment I'm to be married, the next, not. +I can't make head or tail of it. + + [Exit. + +ANÍSYA. What's it all about, then? Do you really wish him to get +married? + +MATRYÓNA. Eh, why should he marry, my jewel? It's all nonsense, all my +old man's drivel. "Marry, marry." But he's reckoning without his host. +You know the saying, "From oats and hay, why should horses stray?" +When you've enough to spare, why look elsewhere? And so in this case. +(Winks.) Don't I see which way the wind blows? + +ANÍSYA. Where's the good of my pretending to you, Mother Matryóna? You +know all about it. I have sinned. I love your son. + +MATRYÓNA. Dear me, here's news! D'you think Mother Matryóna didn't +know? Eh, lassie,--Mother Matryóna's been ground, and ground again, +ground fine! This much I can tell you, my jewel: Mother Matryóna can +see through a brick wall three feet thick. I know it all, my jewel! I +know what young wives need sleeping draughts for, so I've brought some +along. + + [Unties a knot in her handkerchief and brings out paper-packets. + +As much as is wanted, I see, and what's not wanted I neither see nor +perceive! There! Mother Matryóna has also been young. I had to know a +thing or two to live with my old fool. I know seventy-and-seven +dodges. But I see your old man's quite seedy, quite seedy! How's one +to live with such as him? Why, if you pricked him with a hayfork it +wouldn't fetch blood. See if you don't bury him before the spring. +Then you'll need some one in the house. Well, what's wrong with my +son? He'll do as well as another. Then where's the advantage of my +taking him away from a good place? Am I my child's enemy? + +ANÍSYA. Oh, if only he does not go away! + +MATRYÓNA. He won't go away, birdie. It's all nonsense. You know my old +man. His wits are always wool-gathering; yet sometimes he takes a +thing into his pate, and it's as if it were wedged in, you can't knock +it out with a hammer. + +ANÍSYA. And what started this business? + +MATRYÓNA. Well, you see, my jewel, you yourself know what a fellow +with women the lad is,--and he's handsome too, though I say it as +shouldn't. Well, you know, he was living at the railway, and they had +an orphan wench there to cook for them. Well, that same wench took to +running after him. + +ANÍSYA. Marína? + +MATRYÓNA. Yes, the plague seize her! Whether anything happened or not, +anyhow something got to my old man's ears. Maybe he heard from the +neighbors, maybe she's been and blabbed.... + +ANÍSYA. Well, she is a bold hussy! + +MATRYÓNA. So my old man--the old blockhead--off he goes: "Marry, +marry," he says, "he must marry her and cover the sin," he says. "We +must take the lad home," he says, "and he shall marry," he says. Well, +I did my best to make him change his mind, but, dear me, no. So, all +right, thinks I,--I'll try another dodge. One always has to entice +them fools in this way, just pretend to be of their mind, and when it +comes to the point one goes and turns it all one's own way. You know, +a woman has time to think seventy-and-seven thoughts while falling off +the oven, so how's such as he to see through it? "Well, yes," says I, +"it would be a good job,--only we must consider well beforehand. Why +not go and see our son, and talk it over with Peter Ignátitch and hear +what he has to say?" So here we are. + +ANÍSYA. Oh dear, oh dear, how will it all end? Supposing his father +just orders him to marry her? + +MATRYÓNA. Orders, indeed! Chuck his orders to the dogs! Don't you +worry; that affair will never come off. I'll go to your old man +myself, and sift and strain this matter clear--there will be none of +it left. I have come here only for the look of the thing. A very +likely thing! Here's my son living in happiness and expecting +happiness, and I'll go and match him with a slut! No fear, I'm not a +fool! + +ANÍSYA. And she--this Marína--came dangling after him here! Mother, +would you believe, when they said he was going to marry, it was as if +a knife had gone right through my heart. I thought he cared for her. + +MATRYÓNA. Oh, my jewel! Why, you don't think him such a fool, that he +should go and care for a homeless baggage like that? Nikíta is a +sensible fellow, you see. He knows whom to love. So don't you go and +fret, my jewel. We'll not take him away, and we won't marry him. No, +we'll let him stay on, if you'll only oblige us with a little money. + +ANÍSYA. All I know is, that I could not live if Nikíta went away. + +MATRYÓNA. Naturally, when one's young it's no easy matter! You, a +wench in full bloom, to be living with the dregs of a man like that +husband of yours. + +ANÍSYA. Mother Matryóna, would you believe it? I'm that sick of him, +that sick of this long-nosed cur of mine, I can hardly bear to look at +him. + +MATRYÓNA. Yes, I see, it's one of them cases. Just look here. (Looks +round and whispers.) I've been to see that old man, you know he's +given me simples of two kinds. This, you see, is a sleeping draught. +"Just give him one of these powders," he says, "and he'll sleep so +sound you might jump on him!" And this here, "This is that kind of +simple," he says, "that if you give one some of it to drink it has no +smell whatever, but its strength is very great. There are seven doses +here, a pinch at a time. Give him seven pinches," he says, "and she +won't have far to look for freedom," he says. + +ANÍSYA. O-o-oh! What's that? + +MATRYÓNA. "No sign whatever," he says. He's taken a rouble for it. +"Can't sell it for less," he says. Because it's no easy matter to get +'em, you know. I paid him, dearie, out of my own money. If she takes +them, thinks I, it's all right; if she don't, I can let old Michael's +daughter have them. + +ANÍSYA. O-o-oh! But mayn't some evil come of them? I'm frightened! + +MATRYÓNA. What evil, my jewel? If your old man was hale and hearty, +'twould be a different matter, but he's neither alive nor dead as it +is. He's not for this world. Such things often happen. + +ANÍSYA. O-o-oh, my poor head! I'm afeared, Mother Matryóna, lest some +evil come of them. No. That won't do. + +MATRYÓNA. Just as you like. I might even return them to him. + +ANÍSYA. And are they to be used in the same way as the others? Mixed +in water? + +MATRYÓNA. Better in tea, he says. "You can't notice anything," he says, +"no smell nor nothing." He's a cute old fellow, too. + +ANÍSYA (taking the powder). O-oh, my poor head! Could I have ever +thought of such a thing if my life were not a very hell? + +MATRYÓNA. You'll not forget that rouble? I promised to take it to the +old man. He's had some trouble, too. + +ANÍSYA. Of course? + + [Goes to her box and hides the powders. + +MATRYÓNA. And now, my jewel, keep it as close as you can, so that no +one should find it out. Heaven defend that it should happen, but if +any one notices it, tell 'em it's for the black-beetles. (Takes the +rouble.) It's also used for beetles. (Stops short.) + + [Enter AKÍM, who crosses himself in front of the icon, and then + PETER, who sits down. + +PETER. Well, then, how's it to be, Daddy Akím? + +AKÍM. As it's best, Peter Ignátitch, as it's best.... I mean--as it's +best. 'Cos why? I'm afeared of what d'you call 'ems, some tomfoolery, +you know. I'd like to, what d'you call it.... to start, you know, +start the lad honest, I mean. But supposing you'd rather, what d'you +call it, we might, I mean, what's name? As it's best.... + +PETER. All right. All right. Sit down and let's talk it over. (Akím +sits down.) Well, then, what's it all about? You want him to marry? + +MATRYÓNA. As to marrying, he might bide a while, Peter Ignátitch. You +know our poverty, Peter Ignátitch. What's he to marry on? We've hardly +enough to eat ourselves. How can he marry then?... + +PETER. You must consider what will be best. + +MATRYÓNA. Where's the hurry for him to get married? Marriage is not +that sort of thing, it's not like ripe raspberries that drop off if +not picked in time. + +PETER. If he were to get married, 'twould be a good thing in a way. + +AKÍM. We'd like to ... what d'you call it? 'Cos why, you see. I've +what d'you call it ... a job. I mean, I've found a paying job in town, +you know. + +MATRYÓNA. And a fine job too--cleaning out cesspools. The other day +when he came home, I could do nothing but spew and spew. Faugh! + +AKÍM. It's true, at first it does seem what d'you call it ... "knocks +one clean over," you know,--the smell, I mean. But one gets used to +it, and then it's nothing, no worse than malt grain, and then it's, +what d'you call it, ... pays, pays, I mean. And as to the smell being, +what d'you call it, it's not for the likes of us to complain. And one +changes one's clothes. So we'd like to take what's his name ... +NIKÍTA, I mean, home. Let him manage things at home while I, what +d'you call it,--earn something in town. + +PETER. You want to keep your son at home? Yes, that would be well: but +how about the money he has had in advance? + +AKÍM. That's it, that's it! It's just as you Say, Ignátitch, it's just +what d'you call it. 'Cos why? If you go into service, it's as good as +if you had sold yourself, they say. That will be all right. I mean he +may stay and serve his time, only he must, what d'you call it, get +married. I mean--so: you let him off for a little while, that he may, +what d'you call it? + +PETER. Yes, we could manage that. + +MATRYÓNA. Ah, but it's not yet settled between ourselves, Peter +Ignátitch. I'll speak to you as I would before God, and you may judge +between my old man and me. He goes on harping on that marriage. But +just ask--who it is he wants him to marry. If it were a girl of the +right sort now--I am not my child's enemy, but the wench is not +honest. + +AKÍM. No, that's wrong! Wrong, I say. 'Cos why? She, that same girl-- +it's my son as has offended, offended the girl I mean. + +PETER. How offended? + +AKÍM. That's how. She's what d'you call it, with him, with my son, +NIKÍTA. With Nikíta, what d'you call it, mean. + +MATRYÓNA. You wait a bit, my tongue runs smoother--let me tell it. You +know, this lad of ours lived at the railway before he came to you. +There was a girl there as kept dangling after him. A girl of no +account, you know; her name's Marína. She used to cook for the men. So +now this same girl accuses our son, Nikíta, that he, so to say, +deceived her. + +PETER. Well, there's nothing good in that. + +MATRYÓNA. But she's no honest girl herself; she runs after the fellows +like a common slut. + +AKÍM. There you are again, old woman, and it's not at all what d'you +call it, it's all not what d'you call it, I mean.... + +MATRYÓNA. There now, that's all the sense one gets from my old owl-- +"what d'you call it, what d'you call it," and he doesn't know himself +what he means. Peter Ignátitch, don't listen to me, but go yourself +and ask any one you like about the girl, everybody will say the same. +She's just a homeless good-for-nothing. + +PETER. You know, Daddy Akím, if that's how things are, there's no +reason for him to marry her. A daughter-in-law's not like a shoe, you +can't kick her off. + +AKÍM (excitedly). It's false, old woman, it's what d'you call it, +false; I mean, about the girl; false! 'Cos why? The lass is a good +lass, a very good lass, you know. I'm sorry, sorry for the lassie, I +mean. + +MATRYÓNA. It's an old saying: "For the wide world old Miriam grieves, +and at home without bread her children she leaves." He's sorry for the +girl, but not sorry for his own son! Sling her round your neck and +carry her about with you! That's enough of such empty cackle! + +AKÍM. No, it's not empty. + +MATRYÓNA. There, don't interrupt, let me have my say. + +AKÍM (interrupts). No, not empty! I mean, you twist things your own +way, about the lass or about yourself. Twist them, I mean, to make it +better for yourself; but God, what d'you call it, turns them His way. +That's how it is. + +MATRYÓNA. Eh! One only wears out one's tongue with you. + +AKÍM. The lass is hard-working and spruce, and keeps everything round +herself ... what d'you call it. And in our poverty, you know, it's a +pair of hands, I mean; and the wedding needn't cost much. But the +chief thing's the offence, the offence to the lass, and she's a what +d'you call it, an orphan, you know; that's what she is, and there's +the offence. + +MATRYÓNA. Eh! they'll all tell you a tale of that sort.... + +ANÍSYA. Daddy Akím, you'd better listen to us women; we can tell you a +thing or two. + +AKÍM. And God, how about God? Isn't she a human being, the lass? A +what d'you call it,--also a human being I mean, before God. And how do +you look at it? + +MATRYÓNA. Eh! ... started off again?... + +PETER. Wait a bit, Daddy Akím. One can't believe all these girls say, +either. The lad's alive, and not far away; send for him, and find out +straight from him if it's true. He won't wish to lose his soul. Go and +call the fellow, (Anísya rises) and tell him his father wants him. + + [Exit ANÍSYA. + +MATRYÓNA. That's right, dear friend; you've cleared the way clean, as +with water. Yes, let the lad speak for himself. Nowadays, you know, +they'll not let you force a son to marry; one must first of all ask +the lad. He'll never consent to marry her and disgrace himself, not +for all the world. To my thinking, it's best he should go on living +with you and serving you as his master. And we need not take him home +for the summer either; we can hire a help. If you would only give us +ten roubles now, we'll let him stay on. Peter. All in good time. First +let us settle one thing before we start another. Akím. You see, Peter +Ignátitch, I speak. 'Cos why? you know how it happens. We try to fix +things up as seems best for ourselves, you know; and as to God, we +what d'you call it, we forget Him. We think it's best so, turn it our +own way, and lo! we've got into a fix, you know. We think it will be +best, I mean; and lo! it turns out much worse--without God, I mean. + +PETER. Of course one must not forget God. + +AKÍM. It turns out worse! But when it's the right way--God's way--it +what d'you call it, it gives one joy; seems pleasant, I mean. So I +reckon, you see, get him, the lad, I mean, get him to marry her, to +keep him from sin, I mean, and let him what d'you call it at home, as +it's lawful, I mean, while I go and get the job in town. The work is +of the right sort--it's payin', I mean. And in God's sight it's what +d'you call it--it's best, I mean. Ain't she an orphan? Here, for +example, a year ago some fellows went and took timber from the +steward,--thought they'd do the steward, you know. Yes, they did the +steward, but they couldn't what d'you call it--do God, I mean. Well, +and so.... + + [Enter NIKÍTA and NAN. + +NIKÍTA. You called me? + + [Sits down and takes out his tobacco-pouch. + +PETER (in a low, reproachful voice). What are you thinking about--have +you no manners? Your father is going to speak to you, and you sit down +and fool about with tobacco. Come, get up! + + [NIKÍTA rises, leans carelessly with his elbow on the table, and +smiles. + +AKÍM. It seems there's a complaint, you know, about you, Nikíta--a +complaint, I mean, a complaint. + +NIKÍTA. Who's been complaining? + +AKÍM. Complaining? It's a maid, an orphan maid, complaining, I mean. +It's her, you know--a complaint against you, from Marína, I mean. + +NIKÍTA (laughs). Well, that's a good one. What's the complaint? And +who's told you--she herself? + +AKÍM. It's I am asking you, and you must now, what d'you call it, give +me an answer. Have you got mixed up with the lass, I mean--mixed up, +you know? + +NIKÍTA. I don't know what you mean. What's up? + +AKÍM. Foolin', I mean, what d'you call it? foolin'. Have you been +foolin' with her, I mean? + +NIKÍTA. Never mind what's been! Of course one does have some fun with +a cook now and then to while away the time. One plays the concertina +and gets her to dance. What of that? + +PETER. Don't shuffle, Nikíta, but answer your father straight out. + +AKÍM (solemnly). You can hide it from men but not from God, Nikíta. +You, what d'you call it--think, I mean, and don't tell lies. She's an +orphan; so, you see, any one is free to insult her. An orphan, you +see. So you should say what's rightest. + +NIKÍTA. But what if I have nothing to say? I have told you everything +--because there isn't anything to tell, that's flat! (Getting excited.) +She can go and say anything about me, same as if she was speaking of +one as is dead. Why don't she say anything about Fédka Mikíshin? +Besides, how's this, that one mayn't even have a bit of fun nowadays? +And as for her, well, she's free to say anything she likes. + +AKÍM. Ah, Nikíta, mind! A lie will out. Did anything happen? + +NIKÍTA (aside). How he sticks to it; it's too bad. (To Akím.) I tell +you, I know nothing more. There's been nothing between us. (Angrily.) +By God! and may I never leave this spot (crosses himself) if I know +anything about it. (Silence. Then still more excitedly.) Why! have you +been thinking of getting me to marry her? What do you mean by it?-- +it's a confounded shame. Besides, nowadays you've got no such rights +as to force a fellow to marry. That's plain enough. Besides, haven't I +sworn I know nothing about it? + +MATRYÓNA (to her husband). There now, that's just like your silly +pate, to believe all they tell you. He's gone and put the lad to shame +all for nothing. The best thing is to let him live as he is living, +with his master. His master will help us in our present need, and give +us ten roubles, and when the time comes.... + +PETER. Well, Daddy Akím, how's it to be? + +AKÍM (looks at his son, clicking his tongue disapprovingly). Mind, +Nikíta, the tears of one that's been wronged never, what d'you call +it--never fall beside the mark but always on, what's name--the head of +the man as did the wrong. So mind, don't what d'you call it. + +NIKÍTA (sits down). What's there to mind? mind yourself. + +NAN (aside). I must run and tell mother. + + [Exit. + +MATRYÓNA (to Peter). That's always the way with this old mumbler of +mine, Peter Ignátitch. Once he's got anything wedged in his pate +there's no knocking it out. We've gone and troubled you all for +nothing. The lad can go on living as he has been. Keep him; he's your +servant. + +PETER. Well, Daddy Akím, what do you say? + +AKÍM. Why, the lad's his own master, if only he what d'you call it.... +I only wish that, what d'you call it, I mean. + +MATRYÓNA. You don't know yourself what you're jawing about. The lad +himself has no wish to leave. Besides, what do we want with him at +home? We can manage without him. + +PETER. Only one thing, Daddy Akím--if you are thinking of taking him +back in summer, I don't want him here for the winter. If he is to stay +at all, it must be for the whole year. + +MATRYÓNA. And it's for a year he'll bind himself. If we want help when +the press of work comes, we can hire help, and the lad shall remain +with you. Only give us ten roubles now.... + +PETER. Well then, is it to be for another year? + +AKÍM (sighing). Yes, it seems, it what d'you call it ... if it's so, I +mean, it seems that it must be what d'you call it. + +MATRYÓNA. For a year, counting from St. Dimítry's day. We know you'll +pay him fair wages. But give us ten roubles now. Help us out of our +difficulties. (Gets up and bows to Peter.) + + [Enter NAN and ANÍSYA. The latter sits down at one side. + +PETER. Well, if that's settled we might step across to the inn and +have a drink. Come, Daddy Akím, what do you say to a glass of vódka? + +AKÍM. No, I never drink that sort of thing. + +PETER. Well, you'll have some tea? + +AKÍM. Ah, tea! yes, I do sin that way. Yes, tea's the thing. + +PETER. And the women will also have some tea. Come. And you, Nikíta, +go and drive the sheep in and clear away the straw. + +NIKÍTA. All right. (Exeunt all but NIKÍTA. NIKÍTA lights a cigarette. +It grows darker.) Just see how they bother one. Want a fellow to tell +'em how he larks about with the wenches! It would take long to tell +'em all those stories--"Marry her," he says. Marry them all! One would +have a good lot of wives! And what need have I to marry? Am as good as +married now! There's many a chap as envies me. Yet how strange it felt +when I crossed myself before the icón. It was just as if some one +shoved me. The whole web fell to pieces at once. They say it's +frightening to swear what's not true. That's all humbug. It's all +talk, that is. It's simple enough. + +AKOULÍNA (enters with a rope, which she puts down. She takes off her +outdoor things and goes into closet). You might at least have got a +light. + +NIKÍTA. What, to look at you? I can see you well enough without. + +AKOULÍNA. Oh, bother you! + + [NAN enters and whispers to NIKÍTA. + +NAN. Nikíta, there's a person wants you. There is! + +NIKÍTA. What person? + +NAN. Marína from the railway; she's out there, round the corner. + +NIKÍTA. Nonsense! + +NAN. Blest if she isn't! Nikíta. What does she want? + +NAN. She wants you to come out. She says, "I only want to say a word +to Nikíta." I began asking, but she won't tell, but only says, "Is it +true he's leaving you?" And I say, "No, only his father wanted to take +him away and get him to marry, but he won't, and is going to stay with +us another year." And she says, "For goodness' sake send him out to +me. I must see him," she says, "I must say a word to him somehow." +She's been waiting a long time. Why don't you go? + +NIKÍTA. Bother her! What should I go for? + +NAN. She says, "If he don't come, I'll go into the hut to him." Blest +if she didn't say she'd come in! + +NIKÍTA. Not likely. She'll wait a bit and then go away. + +NAN. "Or is it," she says, "that they want him to marry Akoulína?" + + [Re-enter AKOULÍNA, passing near NIKÍTA to take her distaff. + +AKOULÍNA. Marry whom to Akoulína? + +NAN. Why, Nikíta. Akoulína. A likely thing! Who says it? + +NIKÍTA (looks at her and laughs). It seems people do say it. Would you +marry me, Akoulína? + +AKOULÍNA. Who, you? Perhaps I might have afore, but I won't now. + +NIKÍTA. And why not now? Akoulína. 'Cos you wouldn't love me. + +NIKÍTA. Why not? Akoulína. 'Cos you'd be forbidden to. + + [Laughs. + +NIKÍTA. Who'd forbid it? + +AKOULÍNA. Who? My step-mother. She does nothing but grumble, and is +always staring at you. + +NIKÍTA (laughing). Just hear her! Ain't she cute? + +AKOULÍNA. Who? Me? What's there to be cute about? Am I blind? She's +been rowing and rowing at dad all day. The fat-muzzled witch! + + [Goes into closet. + +NAN (looking out of the window). Look, Nikíta, she's coming! I'm blest +if she isn't! I'll go away. + + [Exit. + +MARÍNA (enters). What are you doing with me? + +NIKÍTA. Doing? I'm not doing anything. + +MARÍNA. You mean to desert me. + +NIKÍTA (gets up angrily). What does this look like, your coming here? + +MARÍNA. Oh, Nikíta! + +NIKÍTA. Well, you are strange! What have you come for? + +MARÍNA. Nikíta! + +NIKÍTA. That's my name. What do you want with Nikíta? Well, what next? +Go away, I tell you! + +MARÍNA. I see, you do want to throw me over. + +NIKÍTA. Well, and what's there to remember? You yourself don't know. +When you stood out there round the corner and sent Nan for me, and I +didn't come, wasn't it plain enough that you're not wanted? It seems +pretty simple. So there--go! + +MARÍNA. Not wanted! So now I'm not wanted! I believed you when you +said you would love me. And now that you've ruined me, I'm not wanted. + +NIKÍTA. Where's the good of talking? This is quite improper. You've +been telling tales to father. Now, do go away, will you? + +MARÍNA. You know yourself I never loved any one but you. Whether you +married me or not, I'd not have been angry. I've done you no wrong, +then why have you left off caring for me? Why? + +NIKÍTA. Where's the use of baying at the moon? You go away. Goodness +me! what a duffer! + +MARÍNA. It's not that you deceived me when you promised to marry me +that hurts, but that you've left off loving. No, it's not that you've +stopped loving me either, but that you've changed me for another, +that's what hurts. I know who it is! + +NIKÍTA (comes up to her viciously). Eh! what's the good of talking to +the likes of you, that won't listen to reason? Be off, or you'll drive +me to do something you'll be sorry for. + +MARÍNA. What, will you strike me, then? Well then, strike me! What are +you turning away for? Ah, Nikíta! + +NIKÍTA. Supposing some one came in. Of course, it's quite improper. +And what's the good of talking? + +MARÍNA. So this is the end of it! What has been has flown. You want me +to forget it? Well then, Nikíta, listen. I kept my maiden honor as the +apple of my eye. You have ruined me for nothing, you have deceived me. +You have no pity on a fatherless and motherless girl! (Weeping.) You +have deserted, you have killed me, but I bear you no malice. God +forgive you! If you find a better one you'll forget me, if a worse one +you'll remember me. Yes, you will remember, Nikíta! Good-bye, then, if +it is to be. Oh, how I loved you! Good-bye for the last time. + + [Takes his head in her hands and tries to kiss him. + +NIKÍTA (tossing his head back). I'm not going to talk with the likes +of you. If you won't go away I will, and you may stay here by +yourself. + +MARÍNA (screams). You are a brute. (In the doorway.) God will give you +no joy. + + [Exit, crying. + +AKOULÍNA (comes out of closet). You're a dog, Nikíta! + +NIKÍTA. What's up? + +AKOULÍNA. What a cry she gave! + + [Cries. + +NIKÍTA. What's up with you? + +AKOULÍNA. What's up? You've hurt her, ... That's the way you'll hurt +me also. You're a dog. + + [Exit into closet. + + [Silence. + +NIKÍTA. Here's a fine muddle. I'm as sweet as honey on the lasses, but +when a fellow's sinned with 'em it's a bad look-out! + +CURTAIN + + + + +ACT II + +The scene represents the village street. To the left the outside of +PETER'S hut, built of logs, with a porch in the middle; to the right +of the hut the gates and a corner of the yard buildings. ANÍSYA is +beating hemp in the street near the corner of the yard. Six months +have elapsed since the First Act. + +ANÍSYA (stops and listens). Mumbling something again. He's probably +got off the stove. + + [AKOULÍNA enters, carrying two pails on a yoke. + +ANÍSYA. He's calling. You go and see what he wants, kicking up such a +row. + +AKOULÍNA. Why don't you go? + +ANÍSYA. Go, I tell you! + + [Exit AKOULÍNA into hut. + +He's bothering me to death. Won't let out where the money is, and +that's all about it. He was out in the passage the other day. He must +have been hiding it there. Now, I don't know myself where it is. Thank +goodness he's afraid of parting with it, so that at least it will stay +in the house. If only I could manage to find it. He hadn't it on him +yesterday. Now I don't know where it can be. He has quite worn the +life out of me. + + [Enter AKOULÍNA, tying her kerchief over her head. + +ANÍSYA. Where are you off to? + +AKOULÍNA. Where? Why, he's told me to go for Aunt Martha. "Fetch my +sister," he says. "I am going to die," he says. "I have a word to say +to her." + +ANÍSYA (aside). Asking for his sister? Oh, my poor head! Sure he wants +to give it her. What shall I do? Oh! (To AKOULÍNA.) Don't go! Where +are you off to? + +AKOULÍNA. To call Aunt. + +ANÍSYA. Don't go I tell you, I'll go myself. You go and take the +clothes to the river to rinse. Else you'll not have finished by the +evening. + +AKOULÍNA. But he told me to go. + +ANÍSYA. You go and do as you're bid. I tell you I'll fetch Martha +myself. Take the shirts off the fence. + +AKOULÍNA. The shirts? But maybe you'll not go. He's given the order. + +ANÍSYA. Didn't I say I'd go? Where's Nan? + +AKOULÍNA. Nan? Minding the calves. + +ANÍSYA. Send her here. I dare say they'll not run away. + + [AKOULÍNA collects the clothes, and exit. + +ANÍSYA. If one doesn't go he'll scold. If one goes he'll give the +money to his sister. All my trouble will be wasted. I don't myself +know what I'm to do. My poor head's splitting. + + [Continues to work. + + [Enter MATRYÓNA, with a stick and a bundle, in outdoor clothes. + +MATRYÓNA. May the Lord help you, honey. + +ANÍSYA (looks round, stops working, and claps her hands with joy). +Well, I never expected this! Mother Matryóna, God has sent the right +guest at the right time. + +MATRYÓNA. Well, how are things? + +ANÍSYA. Ah, I'm driven well-nigh crazy. It's awful! + +MATRYÓNA. Well, still alive, I hear? + +ANÍSYA. Oh, don't talk about it. He doesn't live and doesn't die! + +MATRYÓNA. But the money--has he given it to anybody? + +ANÍSYA. He's just sending for his sister Martha--probably about the +money. + +MATRYÓNA. Well, naturally! But hasn't he given it to any one else? + +ANÍSYA. To no one. I watch like a hawk. + +MATRYÓNA. And where is it? + +ANÍSYA. He doesn't let out. And I can't find out in any way. He hides +it now here, now there, and I can't do anything because of Akoulína. +Idiot though she is, she keeps watch, and is always about. Oh my poor +head! I'm bothered to death. + +MATRYÓNA. Oh, my jewel, if he gives the money to any one but you, +you'll never cease regretting it as long as you live! They'll turn you +out of house and home without anything. You've been worriting, and +worriting all your life with one you don't love, and will have to go +a-begging when you are a widow. + +ANÍSYA. No need to tell me, mother. My heart's that weary, and I don't +know what to do. No one to get a bit of advice from. I told Nikíta, +but he's frightened of the job. The only thing he did was to tell me +yesterday it was hidden under the floor. + +MATRYÓNA. Well, and did you look there? + +ANÍSYA. I couldn't. The old man himself was in the room. I notice that +sometimes he carries it about on him, and sometimes he hides it. + +MATRYÓNA. But you, my lass, must remember that if once he gives you +the slip there's no getting it right again! (Whispering.) Well, and +did you give him the strong tea? + +ANÍSYA. Oh! oh!... + + [About to answer, but sees neighbor and stops. + + [The NEIGHBOR (a woman) passes the hut, and listens to a call from + within. + +NEIGHBOR (to Anísya). I say, Anísya! Oh, Anísya! There's your old man +calling, I think. + +ANÍSYA. That's the way he always coughs,--just as if he were screaming. +He's getting very bad. + +NEIGHBOR (approaches MATRYÓNA). How do you do, granny? Have you come +far? + +MATRYÓNA. Straight from home, dear. Come to see my son. Brought him +some shirts--can't help thinking of these things, you see, when it's +one's own child. + +NEIGHBOR. Yes, that's always so. (To Anísya.) And I was thinking of +beginning to bleach the linen, but it is a bit early, no one has begun +yet. + +ANÍSYA. Where's the hurry? + +MATRYÓNA. Well, and has he had communion? + +ANÍSYA. Oh, dear, yes, the priest was here yesterday. + +NEIGHBOR. I had a look at him yesterday. Dearie me! one wonders his +body and soul keep together. And, O Lord, the other day he seemed just +at his last gasp, so that they laid him under the holy icóns.[1] They +started lamenting and got ready to lay him out. + +ANÍSYA. He came to, and creeps about again. + +MATRYÓNA. Well, and is he to have extreme unction? + +ANÍSYA. The neighbors advise it. If he lives till to-morrow we'll send +for the priest. + +NEIGHBOR. Oh, Anísya dear, I should think your heart must be heavy. As +the saying goes, "Not he is sick that's ill in bed, but he that sits +and waits in dread." + +ANÍSYA. Yes, if it were only over one way or other! + +NEIGHBOR. Yes, that's true, dying for a year, it's no joke. You're +bound hand and foot like that. + +MATRYÓNA. Ah, but a widow's lot is also bitter. It's all right as long +as one's young, but who'll care for you when you're old? Oh yes, old +age is not pleasure. Just look at me. I've not walked very far, and +yet am so footsore I don't know how to stand. Where's my son? + +ANÍSYA. Ploughing. But you come in and we'll get the samovár ready; +the tea'll set you up again. + +MATRYÓNA (sitting down). Yes, it's true, I'm quite done up, my dears. +As to extreme unction, that's absolutely necessary. Besides, they say +it's good for the soul. + +ANÍSYA. Yes, we'll send to-morrow. + +MATRYÓNA. Yes, you had better. And we've had a wedding down in our +parts. + +NEIGHBOR. What, in spring?[2] + +MATRYÓNA. Ah, now if it were a poor man, then, as the saying is, it's +always unseasonable for a poor man to marry. But it's Simon +Matvéyitch, he's married that Marína. + +ANÍSYA. What luck for her! + +NEIGHBOR. He's a widower. I suppose there are children? + +MATRYÓNA. Four of 'em. What decent girl would have him! Well, so he's +taken her, and she's glad. You see, the vessel was not sound, so the +wine trickled out. + +NEIGHBOR. Oh, my! And what do people say to it? And he, a rich +peasant! + +MATRYÓNA. They are living well enough so far. + +NEIGHBOR. Yes, it's true enough. Who wants to marry where there are +children? There now, there's our Michael. He's such a fellow, dear +me.... + +PEASANT'S VOICE. Hullo, Mávra. Where the devil are you? Go and drive +the cow in. + + [Exit NEIGHBOR. + +MATRYÓNA (while the NEIGHBOR is within hearing speaks in her ordinary +voice). Yes, lass, thank goodness, she's married. At any rate my old +fool won't go bothering about Nikíta. Now (suddenly changing her +tone), she's gone! (Whispers.) I say, did you give him the tea? + +ANÍSYA. Don't speak about it. He'd better die of himself. It's no use +--he doesn't die, and I have only taken a sin on my soul. O-oh, my +head, my head! Oh, why did you give me those powders? + +MATRYÓNA. What of the powders? The sleeping powders, lass,--why not +give them? No evil can come of them. + +ANÍSYA. I am not talking of the sleeping ones, but the others, the +white ones. + +MATRYÓNA. Well, honey, those powders are medicinal. + +ANÍSYA (sighs). I know, yet it's frightening. Though he's worried me +to death. + +MATRYÓNA. Well, and did you use many? + +ANÍSYA. I gave two doses. + +MATRYÓNA. Was anything noticeable? + +ANÍSYA. I had a taste of the tea myself--just a little bitter. And he +drank them with the tea and says, "Even tea disgusts me," and I say, +"Everything tastes bitter when one's sick." But I felt that scared, +mother. + +MATRYÓNA. Don't go thinking about it. The more one thinks the worse it +is. + +ANÍSYA. I wish you'd never given them to me and led me into sin. When +I think of it something seems to tear my heart. Oh, dear, why did you +give them to me? + +MATRYÓNA. What do you mean, honey? Lord help you! Why are you turning +it on to me? Mind, lass, don't go twisting matters from the sick on to +the healthy. If anything were to happen, I stand aside! I know +nothing! I'm aware of nothing! I'll kiss the cross on it; I never gave +you any kind of powders, never saw any, never heard of any, and never +knew there were such powders. You think about yourself, lass. Why, we +were talking about you the other day. "Poor thing, what torture she +endures. The step-daughter an idiot; the old man rotten, sucking her +lifeblood. What wouldn't one be ready to do in such a case!" + +ANÍSYA. I'm not going to deny it. A life such as mine could make one +do worse than that. It could make you hang yourself or throttle him. +Is this a life? + +MATRYÓNA. That's just it. There's no time to stand gaping; the money +must be found one way or other, and then he must have his tea. + +ANÍSYA. O-oh, my head, my head! I can't think what to do. I am so +frightened; he'd better die of himself. I don't want to have it on my +soul. + +MATRYÓNA (viciously). And why doesn't he show the money? Does he mean +to take it along with him? Is no one to have it? Is that right? God +forbid such a sum should be lost all for nothing. Isn't that a sin? +What's he doing? Is he worth considering? + +ANÍSYA. I don't know anything. He's worried me to death. + +MATRYÓNA. What is it you don't know? The business is clear. If you +make a slip now, you'll repent it all your life. He'll give the money +to his sister and you'll be left without. + +ANÍSYA. O--oh dear! Yes, and he did send for her--I must go. + +MATRYÓNA. You wait a bit and light the samovár first. We'll give him +some tea and search him together--we'll find it, no fear. + +ANÍSYA. Oh dear, oh dear; supposing something were to happen. + +MATRYÓNA. What now? What's the good of waiting? Do you want the money +to slip from your hand when it's just in sight? You go and do as I +say. + +ANÍSYA. Well, I'll go and light the samovár. + +MATRYÓNA. Go, honey, do the business so as not to regret it +afterwards. That's right! + + [ANÍSYA turns to go. MATRYÓNA calls her back. + +MATRYÓNA. Just a word. Don't tell Nikíta about the business. He's +silly. God forbid he should find out about the powders. The Lord only +knows what he would do. He's so tender-hearted. D'you know, he usen't +to be able to kill a chicken. Don't tell him. 'Twould be a fine go, he +wouldn't understand things. + + [Stops horror-struck as PETER appears in the doorway. + +PETER (holding on to the wall, creeps out into the porch and calls +with a faint voice). How's it one can't make you hear? Oh, oh, Anísya! +Who's there? + + [Drops on the bench. + +ANÍSYA (steps from behind the corner). Why have you come out? You +should have stayed where you were lying. + +PETER. Has the girl gone for Martha? It's very hard.... Oh, if only +death would come quicker! + +ANÍSYA. She had no time. I sent her to the river. Wait a bit, I'll go +myself when I'm ready. + +PETER. Send Nan. Where's she? Oh, I'm that bad! Oh, death's at hand! + +ANÍSYA. I've sent for her already. Peter. Oh, dear! Then where is she? + +ANÍSYA. Where's she got to, the plague seize her! + +PETER. Oh, dear! I can't bear it. All my inside's on fire. It's as if +a gimlet were boring me. Why have you left me as if I were a dog? ... +no one to give me a drink.... Oh ... send Nan to me. + +ANÍSYA. Here she is. Nan, go to father. + + [NAN runs in. ANÍSYA goes behind the corner of the house. + +PETER. Go you. Oh ... to Aunt Martha, tell her father wants her; say +she's to come, I want her. + +NAN. All right. + +PETER. Wait a bit. Tell her she's to come quick. Tell her I'm dying. +O--oh! + +NAN. I'll just get my shawl and be off. + + [Runs off. + +MATRYÓNA (winking). Now, then, mind and look sharp, lass. Go into the +hut, hunt about everywhere, like a dog that's hunting for fleas: look +under everything, and I'll search him. + +ANÍSYA (to MATRYÓNA). I feel a bit bolder, somehow, now you're here. +(Goes up to porch. To PETER.) Hadn't I better light the samovár? +Here's Mother Matryóna come to see her son; you'll have a cup of tea +with her? + +PETER. Well, then, light it. + + [ANÍSYA goes into the house. MATRYÓNA comes up to the porch. + +PETER. How do you do? + +MATRYÓNA (bowing). How d'you do, my benefactor; how d'you do, my +precious ... still ill, I see. And my old man, he's that sorry! "Go," +says he, "see how he's getting on." He sends his respects to you. + + [Bows again. + +PETER. I'm dying. + +MATRYÓNA. Ah, yes, Peter Ignátitch, now I look at you I see, as the +saying has it, "Sickness lives where men live." You've shrivelled, +shrivelled, all to nothing, poor dear, now I come to look at you. +Seems illness does not add to good looks. + +PETER. My last hour has come. + +MATRYÓNA. Oh well, Peter Ignátitch, it's God's will you know, you've +had communion, and you'll have unction, God willing. Your missus is a +wise woman, the Lord be thanked; she'll give you a good burial, and +have prayers said for your soul, all most respectable! And my son, +he'll look after things meanwhile. + +PETER. There'll be no one to manage things! She's not steady. Has her +head full of folly--why, I know all about it, I know. And my girl is +silly and young. I've got the homestead together, and there's no one +to attend to things. One can't help feeling it. + + [Whimpers. + +MATRYÓNA. Why, if it's money, or something, you can leave orders? + +PETER (to Anísya inside the house). Has Nan gone? + +MATRYÓNA (aside). There now, he's remembered! + +ANÍSYA (from inside). She went then and there. Come inside, won't you? +I'll help you in. + +PETER. Let me sit here a bit for the last time. The air's so stuffy +inside. Oh, how bad I feel! Oh, my heart's burning.... Oh, if death +would only come! + +MATRYÓNA. If God don't take a soul, the soul can't go out. Death and +life are in God's will. Peter Ignátitch. You can't be sure of death +either. Maybe you'll recover yet. There was a man in our village just +like that, at the very point of death.... + +PETER. No, I feel I shall die to-day, I feel it. + + [Leans back and shuts his eyes. + +ANÍSYA (enters). Well, now, are you coming in or not? You do keep one +waiting. Peter! eh, Peter! + +MATRYÓNA (steps aside and beckons to ANÍSYA with her finger). Well? + +ANÍSYA (comes down the porch steps). Not there. + +MATRYÓNA. But have you searched everywhere? Under the floor? + +ANÍSYA. No, it's not there either. In the shed perhaps; he was +rummaging there yesterday. + +MATRYÓNA. Go, search, search for all you're worth. Go all over +everywhere, as if you licked with your tongue! But I see he'll die +this very day, his nails are turning blue and his face looks earthy. +Is the samovár ready? + +ANÍSYA. Just on the boil. + +NIKÍTA (comes from the other side, if possible on horse-back, up to +the gate, and does not see PETER. To MATRYÓNA). How d'you do, mother, +is all well at home? + +MATRYÓNA. The Lord be thanked, we're all alive and have a crust to +bite. + +NIKÍTA. Well and how's master? + +MATRYÓNA. Hush, there he sits. + + [Points to porch. + +NIKÍTA. Well, let him sit. What's it to me? + +PETER (opens his eyes). Nikíta, I say, Nikíta, come here! + + [NIKÍTA approaches. ANÍSYA and MATRYÓNA whisper together. + +PETER. Why have you come back so early? + +NIKÍTA. I've finished ploughing. + +PETER. Have you done the strip beyond the bridge? + +NIKÍTA. It's too far to go there. + +PETER. Too far? From here it's still farther. You'll have to go on +purpose now. You might have made one job of it. + + [ANÍSYA, without showing herself, stands and listens. + +MATRYÓNA (approaches). Oh, sonny, why don't you take more pains for +your master? Your master is ill and depends on you; you should serve +him as you would your own father, straining every muscle just as I +always tell you to. + +PETER. Well, then--o--oh!... Get out the seed potatoes, and the women +will go and sort them. + +ANÍSYA (aside). No fear, I'm not going. He's again sending every one +away; he must have the money on him now, and wants to hide it +somewhere. + +PETER. Else ... o--oh! when the time comes for planting, they'll all +be rotten. Oh, I can't stand it! + + [Rises. + +MATRYÓNA (runs up into the porch and holds PETER up). Shall I help you +into the hut? + +PETER. Help me in. (Stops.) Nikíta! + +NIKÍTA (angrily). What now? + +PETER. I shan't see you again.... I'll die to-day.... Forgive me,[3] +for Christ's sake, forgive me if I have ever sinned against you.... If +I have sinned in word or deed.... There's been all sorts of things. +Forgive me! + +NIKÍTA. What's there to forgive? I'm a sinner myself. + +MATRYÓNA. Ah, sonny, have some feeling. + +PETER. Forgive me, for Christ's sake. + + [Weeps. + +NIKÍTA (snivels). God will forgive you, Daddy Peter. I have no cause +to complain of you. You've never done me any wrong. You forgive me; +maybe I've sinned worse against you. (Weeps.) + + [PETER goes in whimpering, MATRYÓNA supporting him. + +ANÍSYA. Oh, my poor head! It's not without some reason he's hit on +that. (Approaches NIKÍTA.) Why did you say the money was under the +floor? It's not there. + +NIKÍTA (does not answer, but cries). I have never had anything bad +from him, nothing but good, and what have I gone and done! + +ANÍSYA. Enough now! Where's the money? + +NIKÍTA (angrily). How should I know? Go and look for it yourself! + +ANÍSYA. What's made you so tender? + +NIKÍTA. I am sorry for him,--that sorry. How he cried! Oh, dear! + +ANÍSYA. Look at him,--seized with pity! He has found some one to pity +too! He's been treating you like a dog, and even just now was giving +orders to have you turned out of the house. You'd better show me some +pity! + +NIKÍTA. What are you to be pitied for? + +ANÍSYA. If he dies, and the money's been hidden away.... + +NIKÍTA. No fear, he'll not hide it.... + +ANÍSYA. Oh, Nikíta darling! he's sent for his sister, and wants to +give it to her. It will be a bad lookout for us. How are we going to +live, if he gives her the money? They'll turn me out of the house! You +try and manage somehow! You said he went to the shed last night. + +NIKÍTA. I saw him coming from there, but where he's shoved it to, who +can tell? + +ANÍSYA. Oh, my poor head! I'll go and have a look there. + + [NIKÍTA steps aside. + +MATRYÓNA (comes out of the hut and down the steps of the porch to +ANÍSYA and NIKÍTA). Don't go anywhere. He's got the money on him. I +felt it on a string round his neck. + +ANÍSYA. Oh my head, my head! + +MATRYÓNA. If you don't keep wide awake now, then you may whistle for +it. If his sister comes--then good-bye to it! + +ANÍSYA. That's true. She'll come and he'll give it her. What's to be +done? Oh, my poor head! + +MATRYÓNA. What is to be done? Why, look here; the samovár is boiling, +go and make the tea and pour him out a cup, and then (whispers) put in +all that's left in the paper. When he's drunk the cup, then just take +it. He'll not tell, no fear. + +ANÍSYA. Oh! I'm afeared! + +MATRYÓNA. Don't be talking now, but look alive, and I'll keep his +sister off if need be. Mind, don't make a blunder! Get hold of the +money and bring it here, and Nikíta will hide it. + +ANÍSYA. Oh my head, my head! I don't know how I'm going to.... + +MATRYÓNA. Don't talk about it I tell you, do as I bid you. Nikíta! + +NIKÍTA. What is it? + +MATRYÓNA. You stay here--sit down--in case something is wanted. + +NIKÍTA (waves his hand). Oh, these women, what won't they be up to? +Muddle one up completely. Bother them! I'll really go and fetch out +the potatoes. + +MATRYÓNA (catches him by the arm). Stay here, I tell you. + + [NAN enters. + +ANÍSYA. Well? + +NAN. She was down in her daughter's vegetable plot--she's coming. + +ANÍSYA. Coming! What shall we do? + +MATRYÓNA. There's plenty of time if you do as I tell you. + +ANÍSYA. I don't know what to do; I know nothing, my brain's all in a +whirl. Nan! Go, daughter, and see to the calves, they'll have run +away, I'm afraid.... Oh dear, I haven't the courage. + +MATRYÓNA. Go on! I should think the samovár's boiling over. + +ANÍSYA. Oh my head, my poor head! + + [Exit. + +MATRYÓNA (approaches NIKÍTA). Now then, sonny. (Sits down beside him.) +Your affairs must also be thought about, and not left anyhow. + +NIKÍTA. What affairs? + +MATRYÓNA. Why, this affair--how you're to live your life. + +NIKÍTA. How to live my life? Others live, and I shall live! + +MATRYÓNA. The old man will probably die to-day. + +NIKÍTA. Well, if he dies, God give him rest! What's that to me? + +MATRYÓNA (keeps looking towards the porch while she speaks). Eh, +sonny! Those that are alive have to think about living. One needs +plenty of sense in these matters, honey. What do you think? I've +tramped all over the place after your affairs, I've got quite footsore +bothering about matters. And you must not forget me when the time +comes. + +NIKÍTA. And what's it you've been bothering about? + +MATRYÓNA. About your affairs, about your future. If you don't take +trouble in good time you'll get nothing. You know Iván Mosévitch? +Well, I've been to him too. I went there the other day. I had +something else to settle, you know. Well, so I sat and chatted awhile +and then came to the point. "Tell me, Iván Mosévitch," says I, "how's +one to manage an affair of this kind? Supposing," says I, "a peasant +as is a widower married a second wife, and supposing all the children +he has is a daughter by the first wife, and a daughter by the second. +Then," says I, "when that peasant dies, could an outsider get hold of +the homestead by marrying the widow? Could he," says I, "give both the +daughters in marriage and remain master of the house himself?" "Yes, +he could," says he, "but," says he, "it would mean a deal of trouble; +still the thing could be managed by means of money, but if there's no +money it's no good trying." + +NIKÍTA (laughs). That goes without saying, only fork out the money. +Who does not want money? + +MATRYÓNA. Well then, honey, so I spoke out plainly about the affair. +And he says, "First and foremost, your son will have to get himself on +the register of that village--that will cost something. The elders +will have to be treated. And they, you see, they'll sign. Everything," +says he, "must be done sensibly." Look (unwraps her kerchief and takes +out a paper), he's written out this paper; just read it, you're a +scholar, you know. + + [NIKÍTA reads. + +NIKÍTA. This paper's only a decision for the elders to sign. There's +no great wisdom needed for that. + +MATRYÓNA. But you just hear what Iván Mosévitch bids us do. "Above +all," he says, "mind and don't let the money slip away, dame. If she +don't get hold of the money," he says, "they'll not let her do it. +Money's the great thing!" So look out, sonny, things are coming to a +head. + +NIKÍTA. What's that to me? The money's hers--so let her look out. + +MATRYÓNA. Ah, sonny, how you look at it! How can a woman manage such +affairs? Even if she does get the money, is she capable of arranging +it all? One knows what a woman is! You're a man anyhow. You can hide +it, and all that. You see, you've after all got more sense, in case of +anything happening. + +NIKÍTA. Oh, your woman's notions are all so inexpedient! + +MATRYÓNA. Why inexpedient? You just collar the money, and the woman's +in your hands. And then should she ever turn snappish you'd be able to +tighten the reins! + +NIKÍTA. Bother you all,--I'm going. + +ANÍSYA (quite pale, runs out of the hut and round the corner to +MATRYÓNA). So it was, it was on him! Here it is! + + [Shows that she has something under her apron. + +MATRYÓNA. Give it to Nikíta; he'll hide it. Nikíta, take it and hide +it somewhere. + +NIKÍTA. All right, give here! + +ANÍSYA. O--oh, my poor head! No, I'd better do it myself. + + [Goes towards the gate. + +MATRYÓNA (seizing her by the arm). Where are you going to? You'll be +missed. There's the sister coming; give it him; he knows what to do. +Eh, you blockhead! + +ANÍSYA (stops irresolutely). Oh, my head, my head! + +NIKÍTA. Well, give it here. I'll shove it away somewhere. + +ANÍSYA. Where will you shove it to? + +NIKÍTA (laughing). Why, are you afraid? + + [Enter AKOULÍNA, carrying clothes from the wash. + +ANÍSYA. O--oh, my poor head! (Gives the money.) Mind, Nikíta. + +NIKÍTA. What are you afraid of? I'll hide it so that I'll not be able +to find it myself. + + [Exit. + +ANÍSYA (stands in terror). Oh dear, and supposing he.... + +MATRYÓNA. Well, is he dead? + +ANÍSYA. Yes, he seems dead. He did not move when I took it. + +MATRYÓNA. Go in, there's Akoulína. + +ANÍSYA. Well there, I've done the sin and he has the money.... + +MATRYÓNA. Have done and go in! There's Martha coming! + +ANÍSYA. There now, I've trusted him. What's going to happen now? + + [Exit. + +Martha (enters from one side, AKOULÍNA enters from the other. To +AKOULÍNA). I should have come before, but I was at my daughter's. +Well, how's the old man? Is he dying? + +AKOULÍNA (puts down the clothes). Don't know; I've been to the river. + +Martha (pointing to MATRYÓNA). Who's that? + +MATRYÓNA. I'm from Zoúevo. I'm Nikíta's mother from Zoúevo, my dearie. +Good afternoon to you. He's withering, withering away, poor dear--your +brother, I mean. He came out himself. "Send for my sister," he said, +"because," said he.... Dear me, why, I do believe he's dead! + +ANÍSYA (runs out screaming. Clings to a post, and begins wailing).[4] +Oh, oh, ah! who-o-o-o-m have you left me to, why-y-y have you +dese-e-e-e-rted me--a miserable widow ... to live my life alone.... +Why have you closed your bright eyes.... + + [Enter NEIGHBOR. MATRYÓNA and NEIGHBOR catch hold of ANÍSYA under + the arms to support her. AKOULÍNA and MARTHA go into the hut. A + crowd assembles. + +A VOICE IN THE CROWD. Send for the old women to lay out the body. + +MATRYÓNA (rolls up her sleeves). Is there any water in the copper? But +I daresay the samovár is still hot. I'll also go and help a bit. + +CURTAIN + + + + +ACT III + +The same hut. Winter. Nine months have passed since Act II. ANÍSYA, +plainly dressed, sits before a loom weaving. NAN is on the oven. + +MÍTRITCH (an old laborer, enters and slowly takes off his outdoor +things). Oh Lord, have mercy! Well, hasn't the master come home yet? + +ANÍSYA. What? + +MÍTRITCH. Nikíta isn't back from town, is he? + +ANÍSYA. No. + +MÍTRITCH. Must have been on the spree. Oh Lord! + +ANÍSYA. Have you finished in the stackyard? + +MÍTRITCH. What d'you think? Got it all as it should be, and covered +everything with straw! I don't like doing things by halves! Oh Lord! +holy Nicholas! (Picks at the corns on his hands.) But it's time he was +back. + +ANÍSYA. What need has he to hurry? He's got money. Merry-making with +that girl, I daresay.... + +MÍTRITCH. Why shouldn't one make merry if one has the money? And why +did Akoulína go to town? + +ANÍSYA. You'd better ask her. How do I know what the devil took her +there! + +MÍTRITCH. What! to town? There's all sorts of things to be got in town +if one's got the means. Oh Lord! + +NAN. Mother, I heard myself. "I'll get you a little shawl," he says, +blest if he didn't; "you shall choose it yourself," he says. And she +got herself up so fine; she put on her velveteen coat and the French +shawl. + +ANÍSYA. Really, a girl's modesty reaches only to the door. Step over +the threshold and it's forgotten. She is a shameless creature. + +MÍTRITCH. Oh my! What's the use of being ashamed? While there's plenty +of money make merry. Oh Lord! It is too soon to have supper, eh? +(ANÍSYA does not answer.) I'll go and get warm meanwhile. (Climbs on +the stove.) Oh, Lord! Blessed Virgin Mother! Holy Nicholas! + +NEIGHBOR (enters). Seems your good man's not back yet? + +ANÍSYA. No. + +NEIGHBOR. It's time he was. Hasn't he perhaps stopped at our inn? My +sister, Thekla, says there's heaps of sledges standing there as have +come from the town. + +ANÍSYA. Nan! Nan, I say! + +NAN. Yes? + +ANÍSYA. You run to the inn and see! Mayhap, being drunk, he's gone +there. + +NAN (jumps down from the oven and dresses). All right. + +NEIGHBOR. And he's taken Akoulína with him? + +ANÍSYA. Else he'd not have had any need of going. It's because of her +he's unearthed all the business there. "Must go to the bank," he says; +"it's time to receive the payments," he says. But it's all her +fooling. + +NEIGHBOR (shakes her head). It's a bad look-out. + + [Silence. + +NAN (at the door). And if he's there, what am I to say? + +ANÍSYA. You only see if he's there. + +NAN. All right. I'll be back in a winking. + + [Long silence. + +MÍTRITCH (roars). Oh Lord! merciful Nicholas! + +NEIGHBOR (starting). Oh, how he scared me! Who is it? + +ANÍSYA. Why, Mítritch, our laborer. + +NEIGHBOR. Oh dear, oh dear, what a fright he did give me! I had quite +forgotten. But tell me, dear, I've heard some one's been wooing +Akoulína? + +ANÍSYA (gets up from the loom and sits down by the table). There was +some one from Dédlovo; but it seems the affair's got wind there too. +They made a start, and then stopped; so the thing fell through. Of +course, who'd care to? + +NEIGHBOR. And the Lizounófs from Zoúevo? + +ANÍSYA. They made some steps too, but it didn't come off either. They +won't even see us. + +NEIGHBOR. Yet it's time she was married. + +ANÍSYA. Time and more than time! Ah, my dear, I'm that impatient to +get her out of the house; but the matter does not come off. He does +not wish it, nor she either. He's not yet had enough of his beauty, +you see. + +NEIGHBOR. Eh, eh, eh, what doings! Only think of it. Why, he's her +step-father! + +ANÍSYA. Ah, friend, they've taken me in completely. They've done me so +fine it's beyond saying. I, fool that I was, noticed nothing, +suspected nothing, and so I married him. I guessed nothing, but they +already understood one another. + +NEIGHBOR. Oh dear, what goings on! + +ANÍSYA. So it went on from bad to worse, and I see they begin hiding +from me. Ah, friend, I was that sick--that sick of my life! It's not +as if I didn't love him. + +NEIGHBOR. That goes without saying. + +ANÍSYA. Ah, how hard it is to bear such treatment from him! Oh, how it +hurts! + +NEIGHBOR. Yes, and I've heard say he's becoming too free with his +fists? + +ANÍSYA. And that too! There was a time when he was gentle when he'd +had a drop. He used to hit out before, but of me he was always fond! +But now when he's in a temper he goes for me and is ready to trample +me under his feet. The other day he got both my hands entangled in my +hair so that I could hardly get away. And the girl's worse than a +serpent; it's a wonder the earth bears such furies. + +NEIGHBOR. Ah, ah, my dear, now I look at you, you are a sufferer! To +suffer like that is no joke. To have given shelter to a beggar, and he +to lead you such a dance! Why don't you pull in the reins? + +ANÍSYA. Ah, but, my dear, if it weren't for my heart! Him as is gone +was stern enough, still I could twist him about any way I liked; but +with this one I can do nothing. As soon as I see him all my anger +goes. I haven't a grain of courage before him; I go about like a +drowned hen. + +NEIGHBOR. Ah, neighbor, you must be under a spell. I've heard that +Matryóna goes in for that sort of thing. It must be her. + +ANÍSYA. Yes, dear; I think so myself sometimes. Gracious me, how hurt +I feel at times! I'd like to tear him to pieces. But when I set eyes +on him, my heart won't go against him. + +NEIGHBOR. It's plain you're bewitched. It don't take long to blight a +body. There now, when I look at you, what you have dwindled to! + +ANÍSYA. Growing a regular spindle-shanks. And just look at that fool +Akoulína. Wasn't the girl a regular untidy slattern, and just look at +her now! Where has it all come from? Yes, he has fitted her out. She's +grown so smart, so puffed up, just like a bubble that's ready to +burst. And, though she's a fool, she's got it into her head. "I'm the +mistress," she says; "the house is mine; it's me father wanted him to +marry." And she's that vicious! Lord help us, when she gets into a +rage she's ready to tear the thatch off the house. + +NEIGHBOR. Oh dear, what a life yours is, now I come to look at you. +And yet there's people envying you: "They're rich," they say; but it +seems that gold don't keep tears from falling. + +ANÍSYA. Much reason for envy indeed! And the riches, too, will soon be +made ducks and drakes of. Dear me, how he squanders money! + +NEIGHBOR. But how's it, dear, you've been so simple to give up the +money? It's yours. + +ANÍSYA. Ah, if you knew all! The thing is that I've made one little +mistake. + +NEIGHBOR. Well, if I were you, I'd go straight and have the law of +him. The money's yours; how dare he squander it? There's no such +rights. + +ANÍSYA. They don't pay heed to that nowadays. + +NEIGHBOR. Ah, my dear, now I come to look at you, you've got that +weak. Anísya. Yes, quite weak, dear, quite weak. He's got me into a +regular fix. I don't myself know anything. Oh, my poor head! + +NEIGHBOR (listening). There's some one coming, I think. + + [The door opens and AKÍM enters. + +AKÍM (crosses himself, knocks the snow off his feet, and takes off his +coat). Peace be to this house! How do you do? Are you well, daughter? + +ANÍSYA. How d'you do, father? Do you come straight from home? + +AKÍM. I've been a-thinking I'll go and see what's name, go to see my +son, I mean,--my son. I didn't start early--had my dinner, I mean; I +went, and it's so what d'you call it--so snowy, hard walking, and so +there I'm what d'you call it--late, I mean. And my son--is he at home? +At home? My son, I mean. + +ANÍSYA. No; he's gone to the town. + +AKÍM (sits down on a bench). I've some business with him, d'you see, +some business, I mean. I told him t'other day, told him I was in need +--told him, I mean, that our horse was done for, our horse, you see. So +we must what d'ye call it, get a horse, I mean, some kind of a horse, +I mean. So there, I've come, you see. + +ANÍSYA. Nikíta told me. When he comes back you'll have a talk. (Goes +to the oven.) Have some supper now, and he'll soon come. Mítritch, eh, +Mítritch, come have your supper. + +MÍTRITCH. Oh Lord! merciful Nicholas! + +ANÍSYA. Come to supper. + +NEIGHBOR. I shall go now. Good-night. + + [Exit. + +MÍTRITCH (gets down from the oven). I never noticed how I fell asleep. +Oh, Lord! gracious Nicholas! How d'you do, Daddy Akím? + +AKÍM. Ah, Mítritch! What are you, what d'ye call it, I mean?... + +MÍTRITCH. Why, I'm working for your son, Nikíta. + +AKÍM. Dear me! What d'ye call ... working for my son, I mean. Dear me! + +MÍTRITCH. I was living with a tradesman in town, but drank all I had +there. Now I've come back to the village. I've no home, so I've gone +into service. (Gapes.) Oh Lord! + +AKÍM. But how's that, what d'you call it, or what's name, Nikíta, what +does he do? Has he some business, I mean besides, that he should hire +a laborer, a laborer, I mean, hire a laborer? + +ANÍSYA. What business should he have? He used to manage, but now he's +other things on his mind, so he's hired a laborer. + +MÍTRITCH. Why shouldn't he, seeing he has money? + +AKÍM. Now that's what d'you call it, that's wrong, I mean, quite +wrong, I mean. That's spoiling oneself. + +ANÍSYA. Oh, he has got spoilt, that spoilt, it's just awful. + +AKÍM. There now, what d'you call it, one thinks how to make things +better, and it gets worse I mean. Riches spoil a man, spoil, I mean. + +MÍTRITCH. Fatness makes even a dog go mad; how's one not to get spoilt +by fat living? Myself now; how I went on with fat living. I drank for +three weeks without being sober. I drank my last breeches. When I had +nothing left, I gave it up. Now I've determined not to. Bother it! + +AKÍM. And where's what d'you call, your old woman? + +MÍTRITCH. My old woman has found her right place, old fellow. She's +hanging about the gin-shops in town. She's a swell too; one eye +knocked out, and the other black, and her muzzle twisted to one side. +And she's never sober; drat her! + +AKÍM. Oh, oh, oh, how's that? + +MÍTRITCH. And where's a soldier's wife to go? She has found her right +place. + + [Silence. + +AKÍM (to ANÍSYA). And Nikíta,--has he what d'you call it, taken +anything up to town? I mean, anything to sell? + +ANÍSYA (laying the table and serving up). No, he's taken nothing. He's +gone to get money from the bank. + +AKÍM (sitting down to supper). Why? D'you wish to put it to another +use, the money I mean? + +ANÍSYA. No, we don't touch it. Only some twenty or thirty roubles as +have come due; they must be taken. + +AKÍM. Must be taken. Why take it, the money I mean? You'll take some +to-day I mean, and some to-morrow; and so you'll what d'you call it, +take it all, I mean. + +ANÍSYA. We get this besides. The money is all safe. + +AKÍM. All safe? How's that, safe? You take it, and it what d'you call +it, it's all safe. How's that? You put a heap of meal into a bin, or a +barn, I mean, and go on taking meal, will it remain there, what d'you +call it, all safe, I mean? That's, what d'you call it, it's cheating. +You'd better find out, or else they'll cheat you. Safe indeed! I mean +you what d'ye call ... you take it and it remains all safe there? + +ANÍSYA. I know nothing about it. Iván Mosévitch advised us at the +time. "Put the money in the bank," he said, "the money will be safe, +and you'll get interest," he said. + +MÍTRITCH (having finished his supper). That's so. I've lived with a +tradesman. They all do like that. Put the money in the bank, then lie +down on the oven and it will keep coming in. + +AKÍM. That's queer talk. How's that--what d'ye call, coming in, how's +that coming in, and they, who do they get it from I mean, the money I +mean? + +ANÍSYA. They take the money out of the bank. + +MÍTRITCH. Get along! Tain't a thing a woman can understand! You look +here, I'll make it all clear to you. Mind and remember. You see, +suppose you've got some money, and I, for instance, have spring coming +on, my land's idle, I've got no seeds, or I have to pay taxes. So, you +see, I go to you. "Akím," I say, "give us a ten-rouble note, and when +I've harvested in autumn I'll return it, and till two acres for you +besides, for having obliged me!" And you, seeing I've something to +fall back on--a horse say, or a cow--you say, "No, give two or three +roubles for the obligation," and there's an end of it. I'm stuck in +the mud, and can't do without. So I say, "All right!" and take a +tenner. In the autumn, when I've made my turnover, I bring it back, +and you squeeze the extra three roubles out of me. + +AKÍM. Yes, but that's what peasants do when they what d'ye call it, +when they forget God. It's not honest, I mean, it's no good, I mean. + +MÍTRITCH. You wait. You'll see it comes just to the same thing. Now +don't forget how you've skinned me. And Anísya, say, has got some +money lying idle. She does not know what to do with it, besides, she's +a woman, and does not know how to use it. She comes to you. "Couldn't +you make some profit with my money too?" she says. "Why not?" say you, +and you wait. Before the summer I come again and say, "Give me another +tenner, and I'll be obliged." Then you find out if my hide isn't all +gone, and if I can be skinned again you give me Anísya's money. But +supposing I'm clean shorn,--have nothing to eat,--then you see I can't +be fleeced any more, and you say, "Go your way, friend," and you look +out for another, and lend him your own and Anísya's money and skin +him. That's what the bank is. So it goes round and round. It's a cute +thing, old fellow! + +AKÍM (excitedly). Gracious me, whatever is that like? It's what d'ye +call it, it's filthy! The peasants--what d'ye call it, the peasants do +so I mean, and know it's, what d'ye call it, a sin! It's what d'you +call, not right, not right, I mean. It's filthy! How can people as +have learnt ... what d'ye call it.... + +MÍTRITCH. That, old fellow, is just what they're fond off And +remember, them that are stupid, or the women folk, as can't put their +money into use themselves, they take it to the bank, and they there, +deuce take 'em, clutch hold of it, and with this money they fleece the +people. It's a cute thing! + +AKÍM (sighing). Oh dear, I see, what d'ye call it, without money it's +bad, and with money it's worse! How's that? God told us to work, but +you, what d'you call ... I mean you put money into the bank and go to +sleep, and the money will what d'ye call it, will feed you while you +sleep. It's filthy, that's what I call it; it's not right. + +MÍTRITCH. Not right? Eh, old fellow, who cares about that nowadays? And +how clean they pluck you, too! That's the fact of the matter. + +AKÍM (sighs). Ah, yes, seems the time's what d'ye call it, the time's +growing ripe. There, I've had a look at the closets in town. What +they've come to! It's all polished and polished I mean, it's fine, +it's what d'ye call it, it's like inside an inn. And what's it all +for? What's the good of it? Oh, they've forgotten God. Forgotten, I +mean. We've forgotten, forgotten God, God, I mean! Thank you, my dear, +I've had enough. I'm quite satisfied. + + [Rises. MÍTRITCH climbs on to the oven. + +ANÍSYA (eats, and collects the dishes). If his father would only take +him to task! But I'm ashamed to tell him. + +AKÍM. What d'you say? + +ANÍSYA. Oh! it's nothing. + + [Enter NAN. + +AKÍM. Here's a good girl, always busy! You're cold, I should think? + +NAN. Yes, I am, terribly. How d'you do, grandfather? + +ANÍSYA. Well? Is he there? + +NAN. No. But Andriyán is there. He's been to town, and he says he saw +them at an inn in town. He says Dad's as drunk as drunk can be! + +ANÍSYA. Do you want anything to eat? Here you are. + +NAN (goes to the oven). Well, it is cold. My hands are quite numb. + + [AKÍM takes off his leg-bands and bast-shoes. ANÍSYA washes up. + +ANÍSYA. Father! + +AKÍM. Well, what is it? + +ANÍSYA. And is Marína living well? + +AKÍM. Yes, she's living all right. The little woman is what d'ye call +it, clever and steady; she's living, and what d'ye call it, doing her +best. She's all right; the little woman's of the right sort I mean; +painstaking and what d'ye call it, submissive; the little woman's all +right I mean, all right, you know. + +ANÍSYA. And is there no talk in your village that a relative of +Marína's husband thinks of marrying our Akoulína? Have you heard +nothing of it? + +AKÍM. Ah; that's Mirónof. Yes, the women did chatter something. But I +didn't pay heed, you know. It don't interest me I mean, I don't know +anything. Yes, the old women did say something, but I've a bad memory, +bad memory, I mean. But the Mirónofs are what d'ye call it, they're +all right, I mean they're all right. + +ANÍSYA. I'm that impatient to get her settled. + +AKÍM. And why? + +NAN (listens). They've come! + +ANÍSYA. Well, don't you go bothering them. + + [Goes on washing the spoons without turning her head. + +NIKÍTA (enters). Anísya! Wife! who has come? + + [ANÍSYA looks up and turns away in silence. + +NIKÍTA (severely). Who has come? Have you forgotten? + +ANÍSYA. Now don't humbug. Come in! + +NIKÍTA (still more severely). Who's come? + +ANÍSYA (goes up and takes him by the arm). Well, then, husband has +come. Now then, come in! + +NIKÍTA (holds back). Ah, that's it! Husband! And what's husband +called? Speak properly. + +ANÍSYA. Oh bother you! Nikíta! + +NIKÍTA. Where have you learnt manners? The full name. + +ANÍSYA. Nikíta Akímitch! Now then! + +NIKÍTA. (still in the doorway). Ah, that's it! But now--the surname? + +ANÍSYA (laughs and pulls him by the arm). Tchilíkin. Dear me, what +airs! + +NIKÍTA. Ah, that's it. (Holds on to the door-post.) No, now say with +which foot Tchilíkin steps into this house! + +ANÍSYA. That's enough! You're letting the cold in! + +NIKÍTA. Say with which foot he steps? You've got to say it,--that's +flat. + +ANÍSYA (aside). He'll go on worrying. (To NIKÍTA.) Well then, with the +left. Come in! + +NIKÍTA. Ah, that's it. + +ANÍSYA. You look who's in the hut! + +NIKÍTA. Ah, my parent! Well, what of that? I'm not ashamed of my +parent. I can pay my respects to my parent. How d'you do, father? +(Bows and puts out his hand.) My respects to you. + +AKÍM (does not answer). Drink, I mean drink, what it does! It's +filthy! + +NIKÍTA. Drink, what's that? I've been drinking? I'm to blame, that's +flat! I've had a glass with a friend, drank his health. + +ANÍSYA. Go and lie down, I say. + +NIKÍTA. Wife, say where am I standing? + +ANÍSYA. Now then, it's all right, lie down! + +NIKÍTA. No, I'll first drink a samovár with my parent. Go and light +the samovár. Akoulína, I say, come here! + + [Enter AKOULÍNA, smartly dressed and carrying their purchases. + +AKOULÍNA. Why have you thrown everything about? Where's the yarn? + +NIKÍTA. The yarn? The yarn's there. Hullo, Mítritch, where are you? +Asleep? Asleep? Go and put the horse up. + +AKÍM (not seeing AKOULÍNA but looking at his son). Dear me, what is he +doing? The old man's what d'ye call it, quite done up, I mean,--been +thrashing,--and look at him, what d'ye call it, putting on airs! Put +up the horse! Faugh, what filth! + +MÍTRITCH (climbs down from the oven, and puts on felt boots). Oh, +merciful Lord! Is the horse in the yard? Done it to death, I dare say. +Just see how he's been swilling, the deuce take him. Up to his very +throat. Oh Lord, Holy Nicholas! + + [Puts on sheepskin and exit. + +NIKÍTA (sits down). You must forgive me, father. It's true I've had a +drop; well, what of that? Even a hen will drink. Ain't it true? So you +must forgive me. Never mind Mítritch, he doesn't mind, he'll put it +up. + +ANÍSYA. Shall I really light the samovár? + +NIKÍTA. Light it! My parent has come. I wish to talk to him, and shall +drink tea with him. (To AKOULÍNA.) Have you brought all the parcels? + +AKOULÍNA. The parcels? I've brought mine, the rest's in the sledge. +Hi, take this, this isn't mine! + + [Throws a parcel on the table and puts the others into her box. + NAN watches her while she puts them away. AKÍM does not look at + his son, but puts his leg-bands and bast-shoes on the oven. + +ANÍSYA (going out with the samovár). Her box is full as it is, and +still he's bought more! + +NIKÍTA (pretending to be sober). You must not be cross with me, +father. You think I'm drunk? I am all there, that's flat! As they say, +"Drink, but keep your wits about you." I can talk with you at once, +father. I can attend to any business. You told me about the money; +your horse is worn-out,--I remember! That can all be managed. That's +all in our hands. If it was an enormous sum that's wanted, then we +might wait; but as it is I can do everything. That's the case. + +AKÍM (goes on fidgeting with the leg-bands). Eh, lad, "It's ill +sledging when the thaw has set in." + +NIKÍTA. What do you mean by that? "And it's ill talking with one who +is drunk?" But don't you worry, let's have some tea. And I can do +anything; that's flat! I can put everything to rights. + +AKÍM (shakes his head). Eh, eh, eh! + +NIKÍTA. The money, here it is. (Puts his hand in his pocket, pulls out +pocket-book, handles the notes in it and takes out a ten-rouble +note.) Take this to get a horse; I can't forget my parent. I shan't +forsake him, that's flat. Because he's my parent! Here you are, take +it! Really now, I don't grudge it. (Comes up and pushes the note +towards AKÍM, who won't take it. NIKÍTA catches hold of his father's +hand.) Take it, I tell you. I don't grudge it. + +AKÍM. I can't what d'you call it, I mean, can't take it! And can't +what d'ye call it, talk to you, because you're not yourself, I mean. + +NIKÍTA. I'll not let you go! Take it! + + [Puts the money into AKÍM'S hand. + +ANÍSYA (enters, and stops). You'd better take it, he'll give you no +peace! + +AKÍM (takes it, and shakes his head). Oh! that liquor. Not like a man, +I mean! + +NIKÍTA. That's better! If you repay it you'll repay it, if not I'll +make no bother. That's what I am! (Sees AKOULÍNA.) Akoulína, show your +presents. + +AKOULÍNA. What? + +NIKÍTA. Show your presents. + +AKOULÍNA. The presents, what's the use of showing 'em? I've put 'em +away. + +NIKÍTA. Get them, I tell you. Nan will like to see 'em. Undo the +shawl. Give it here. + +AKÍM. Oh, oh! It's sickening! + + [Climbs on the oven. + +AKOULÍNA (gets out the parcels and puts them on the table). Well, +there you are,--what's the good of looking at 'em? + +NAN. Oh how lovely! It's as good as Stepanída's. + +AKOULÍNA. Stepanída's? What's Stepanída's compared to this? +(Brightening up and undoing the parcels.) Just look here,--see the +quality! It's a French one. + +NAN. The print is fine! Mary has a dress like it, only lighter on a +blue ground. This is pretty. + +NIKÍTA. Ah, that's it! + + [ANÍSYA passes angrily into the closet, returns with a tablecloth + and the chimney of the Samovár, and goes up to the table. + +ANÍSYA. Drat you, littering the table! + +NIKÍTA. You look here! + +ANÍSYA. What am I to look at? Have I never seen anything? Put it away! + + [Sweeps the shawl on to the floor with her arm. + +AKOULÍNA. What are you pitching things down for? You pitch your own +things about! + + [Picks up the shawl. + +NIKÍTA. Anísya! Look here! + +ANÍSYA. Why am I to look? + +NIKÍTA. You think I have forgotten you? Look here! (Shows her a parcel +and sits down on it.) It's a present for you. Only you must earn it! +Wife, where am I sitting? + +ANÍSYA. Enough of your humbug. I'm not afraid of you. Whose money are +you spreeing on and buying your fat wench presents with? Mine! + +AKOULÍNA. Yours indeed? No fear! You wished to steal it, but it did +not come off! Get out of the way! + + [Pushes her while trying to pass. + +ANÍSYA. What are you shoving for? I'll teach you to shove! + +AKOULÍNA. Shove me? You try! + + [Presses against ANÍSYA. + +NIKÍTA. Now then, now then, you women. Have done now! + + [Steps between them. + +AKOULÍNA. Comes shoving herself in! You ought to keep quiet and +remember your doings! You think no one knows! + +ANÍSYA. Knows what? Out with it, out with it! What do they know? + +AKOULÍNA. I know something about you! + +ANÍSYA. You're a slut who goes with another's husband! + +AKOULÍNA. And you did yours to death! + +ANÍSYA (throwing herself on AKOULÍNA). You're raving! + +NIKÍTA (holding her back). Anísya, you seem to have forgotten! + +ANÍSYA. Want to frighten me! I'm not afraid of you! + +NIKÍTA (turns ANÍSYA round and pushes her out). Be off! + +ANÍSYA. Where am I to go? I'll not go out of my own house! + +NIKÍTA. Be off, I tell you, and don't dare to come in here! + +ANÍSYA. I won't go! (NIKÍTA pushes her, ANÍSYA cries and screams and +clings to the door.) What! am I to be turned out of my own house by +the scruff of the neck? What are you doing, you scoundrel? Do you +think there's no law for you? You wait a bit! + +NIKÍTA. Now then! + +ANÍSYA. I'll go to the Elder! To the policeman! + +NIKÍTA. Off, I tell you! + + [Pushes her out. + +ANÍSYA (behind the door). I'll hang myself! + +NIKÍTA. No fear! + +NAN. Oh, oh, oh! Mother, dear, darling! + + [Cries. + +NIKÍTA. Me frightened of her! A likely thing! What are you crying for? +She'll come back, no fear. Go and see to the samovár. + + [Exit NAN. + +AKOULÍNA (collects and folds her presents). The mean wretch, how she's +messed it up. But wait a bit, I'll cut up her jacket for her! Sure I +will! + +NIKÍTA. I've turned her out; what more do you want? + +AKOULÍNA. She's dirtied my new shawl. If that bitch hadn't gone away, +I'd have torn her eyes out! + +NIKÍTA. That's enough. Why should you be angry? Now if I loved her.... + +AKOULÍNA. Loved her? She's worth loving, with her fat mug! If you'd +have given her up, then nothing would have happened. You should have +sent her to the devil. And the house was mine all the same, and the +money was mine! Says she is the mistress, but what sort of mistress is +she to her husband? She's a murderess, that's what she is! She'll +serve you the same way! + +NIKÍTA. Oh dear, how's one to stop a woman's jaw? You don't yourself +know what you're jabbering about! + +AKOULÍNA. Yes, I do. I'll not live with her! I'll turn her out of the +house! She can't live here with me. The mistress indeed! She's not the +mistress,--that jailbird! + +NIKÍTA. That's enough! What have you to do with her? Don't mind her. +You look at me! I am the master! I do as I like. I've ceased to love +her, and now I love you. I love who I like! The power is mine, she's +under me. That's where I keep her. (Points to his feet.) A pity we've +no concertina. + + [Sings. + +"We have loaves on the stoves, We have porridge on the shelf. So we'll +live and be gay, Making merry every day, And when death comes, Then +we'll die! We have loaves on the stoves, We have porridge on the +shelf...." + + [Enter MÍTRITCH. He takes off his outdoor things and climbs on + the oven. + +MÍTRITCH. Seems the women have been fighting again! Tearing each +other's hair. Oh Lord, gracious Nicholas! + +AKÍM. (sitting on the edge of the oven, takes his leg-bands and shoes +and begins putting them on). Get in, get into the corner. + +MÍTRITCH. Seems they can't settle matters between them. Oh Lord! + +NIKÍTA. Get out the liquor, we'll have some with our tea. + +NAN (to AKOULÍNA). Sister, the samovár is just boiling over. + +NIKÍTA. And where's your mother? + +NAN. She's standing and crying out there in the passage. + +NIKÍTA. Oh, that's it! Call her, and tell her to bring the samovár. +And you, Akoulína, get the tea things. + +AKOULÍNA. The tea things? All right. + + [Brings the things. + +NIKÍTA (unpacks spirits, rusks, and salt herrings). That's for myself. +This is yarn for the wife. The paraffin is out there in the passage, +and here's the money. Wait a bit (takes a counting-frame); I'll add it +up. (Adds.) Wheat-flour, 80 kopeykas, oil ... Father, 10 roubles ... +Father, come let's have some tea! + + [Silence. AKÍM sits on the oven and winds the bands round his + legs. Enter ANÍSYA with samovár. + +ANÍSYA. Where shall I put it? + +NIKÍTA. Here on the table. Well! have you been to the Elder? Ah, +that's it! Have your say and then eat your words. Now then, that's +enough. Don't be cross; sit down and drink this. (Fills a wine-glass +for her.) And here's your present. + + [Gives her the parcel he had been sitting on. ANÍSYA takes it + silently and shakes her head. + +AKÍM (gets down and puts on his sheepskin, then comes up to the table +and puts down the money). Here, take your money back! Put it away. + +NIKÍTA (does not see the money). Why have you put on your things? + +AKÍM. I'm going, going, I mean; forgive me, for the Lord's sake. + + [Takes up his cap and belt. + +NIKÍTA. My gracious! Where are you going to at this time of night? + +AKÍM. I can't, I mean what d'ye call 'em, in your house, what d'ye +call 'em, can't stay I mean, stay, can't stay, forgive me. + +NIKÍTA. But are you going without having any tea? + +AKÍM (fastens his belt). Going because, I mean, it's not right in your +house, I mean, what d'you call it, not right, Nikíta, in the house, +what d'ye call it, not right! I mean, you are living a bad life, +Nikíta, bad,--I'll go. + +NIKÍTA. Eh, now! Have done talking! Sit down and drink your tea! + +ANÍSYA. Why, father, you'll shame us before the neighbors. What has +offended you? + +AKÍM. Nothing what d'ye call it, nothing has offended me, nothing at +all! I mean only, I see, what d'you call it, I mean, I see my son, to +ruin, I mean, to ruin, I mean my son's on the road to ruin, I mean. + +NIKÍTA. What ruin? Just prove it! + +AKÍM. Ruin, ruin; you're in the midst of it! What did I tell you that +time? + +NIKÍTA. You said all sorts of things! Akím. I told you, what d'ye call +it, I told you about the orphan lass. That you had wronged an orphan-- +Marína, I mean, wronged her! + +NIKÍTA. Eh! he's at it again. Let bygones be bygones.... All that's +past! + +AKÍM (excited). Past! No, lad, it's not past. Sin, I mean, fastens on +to sin--drags sin after it, and you've stuck fast, Nikíta, fast in +sin! Stuck fast in sin! I see you're fast in sin. Stuck fast, sunk in +sin, I mean! + +NIKÍTA. Sit down and drink your tea, and have done with it! + +AKÍM. I can't, I mean can't what d'ye call it, can't drink tea. +Because of your filth, I mean; I feel what d'ye call it, I feel sick, +very sick! I can't what d'ye call it, I can't drink tea with you. + +NIKÍTA. Eh! There he goes rambling! Come to the table. + +AKÍM. You're in your riches same as in a net--you're in a net, I mean. +Ah, Nikíta, it's the soul that God needs! + +NIKÍTA. Now really, what right have you to reprove me in my own house? +Why do you keep on at me? Am I a child that you can pull by the hair? +Nowadays those things have been dropped! + +AKÍM. That's true. I have heard that nowadays, what d'ye call it, that +nowadays children pull their fathers' beards, I mean! But that's ruin, +that's ruin, I mean! + +NIKÍTA (angrily). We are living without help from you, and it's you +who came to us with your wants! + +AKÍM. The money? There's your money! I'll go begging, begging I mean, +before I'll take it, I mean. + +NIKÍTA. That's enough! Why be angry and upset the whole company! + + [Holds him by the arm. + +AKÍM (shrieks). Let go! I'll not stay. I'd rather sleep under some +fence than in the midst of your filth! Faugh! God forgive me! + + [Exit. + +NIKÍTA. Here's a go! + +AKÍM (reopens the door). Come to your senses, Nikíta! It's the soul +that God wants! + + [Exit. + +AKOULÍNA (takes cups). Well, shall I pour out the tea? + + [Takes a cup. All are silent. + +MÍTRITCH (roars). Oh Lord be merciful to me a sinner! + + [All start. + +NIKÍTA (lies down on the bench). Oh, it's dull, it's dull! (To +AKOULÍNA.) Where's the concertina? + +AKOULÍNA. The concertina? He's bethought himself of it. Why, you took +it to be mended. I've poured out your tea. Drink it! + +NIKÍTA. I don't want it! Put out the light.... Oh, how dull I feel, +how dull! + + [Sobs. + +CURTAIN + + + + +ACT IV + +Autumn. Evening. The moon is shining. The stage represents the +interior of courtyard. The scenery at the back shows, in the middle, +the back porch of the hut. To the right the winter half of the hut and +the gate; to the left the summer half and the cellar. To the right of +the stage is a shed. The sound of tipsy voices and shouts are heard +from the hut.[5] SECOND NEIGHBOR WOMAN comes out of the hut and +beckons to FIRST NEIGHBOR WOMAN. + +SECOND NEIGHBOR. How's it Akoulína has not shown herself? + +FIRST NEIGHBOR. Why hasn't she shown herself? She'd have been glad to; +but she's too ill, you know. The suitor's relatives have come, and +want to see the girl; and she, my dear, she's lying in the cold hut +and can't come out, poor thing! + +SECOND NEIGHBOR. But how's that? + +FIRST NEIGHBOR. They say she's been bewitched by an evil eye! She's +got pains in the stomach! + +SECOND NEIGHBOR. You don't say so? + +FIRST NEIGHBOR. What else could it be? + + [Whispers. + +SECOND NEIGHBOR. Dear me! There's a go! But his relatives will surely +find it out? + +FIRST NEIGHBOR. They find it out! They're all drunk! Besides, they are +chiefly after her dowry. Just think what they give with the girl! Two +furs, my dear, six dresses, a French shawl, and I don't know how many +pieces of linen, and money as well,--two hundred roubles, it's said! + +SECOND NEIGHBOR. That's all very well, but even money can't give much +pleasure in the face of such a disgrace. + +FIRST NEIGHBOR. Hush!... There's his father, I think. + + [They cease talking and go into the hut. + + [The SUITOR'S FATHER comes out of the hut hiccoughing. + +THE FATHER. Oh, I'm all in a sweat. It's awfully hot! Will just cool +myself a bit. (Stands puffing.) The Lord only knows what--something +is not right. I can't feel happy.--Well, it's the old woman's affair. + + [Enter MATRYÓNA from hut. + +MATRYÓNA. And I was just thinking, where's the father? Where's the +father? And here you are, dear friend.... Well, dear friend, the Lord +be thanked! Everything is as honorable as can be! When one's arranging +a match one should not boast. And I have never learnt to boast. But as +you've come about the right business, so with the Lord's help, you'll +be grateful to me all your life! She's a wonderful girl! There's no +other like her in all the district! + +THE FATHER. That's true enough, but how about the money? + +MATRYÓNA. Don't you trouble about the money! All she had from her +father goes with her. And it's more than one gets easily, as things +are nowadays. Three times fifty roubles! + +THE FATHER. We don't complain, but it's for our own child. Naturally +we want to get the best we can. + +MATRYÓNA. I'll tell you straight, friend: if it hadn't been for me, +you'd never have found anything like her! They've had an offer from +the Karmilins, but I stood out against it. And as for the money, I'll +tell you truly: when her father, God be merciful to his soul, was +dying, he gave orders that the widow should take Nikíta into the +homestead--of course I know all about it from my son,--and the money +was to go to Akoulína. Why, another one might have thought of his own +interests, but Nikíta gives everything clean! It's no trifle. Fancy +what a sum it is! + +THE FATHER. People are saying that more money was left her? The lad's +sharp too! + +MATRYÓNA. Oh, dear soul alive! A slice in another's hand always looks +big; all she had will be handed over. I tell you, throw doubts to the +wind and make all sure! What a girl she is! as fresh as a daisy! + +THE FATHER. That's so. But my old woman and I were only wondering +about the girl; why has she not come out? We've been thinking, suppose +she's sickly? + +MATRYÓNA. Ah, ah.... Who? She? Sickly? Why, there's none to compare +with her in the district. The girl's as sound as a bell; you can't +pinch her. But you saw her the other day! And as for work, she's +wonderful! She's a bit deaf, that's true, but there are spots on the +sun, you know. And her not coming out, you see, it's from an evil eye! +A spell's been cast on her! And I know the bitch who's done the +business! They know of the betrothal and they bewitched her. But I +know a counter-spell. The girl will get up to-morrow. Don't you worry +about the girl! + +THE FATHER. Well, of course, the thing's settled. + +MATRYÓNA. Yes, of course! Don't you turn back. And don't forget me, +I've had a lot of trouble. Don't forget.... + + [A woman's voice from the hut. + +Voice. If we are to go, let's go. Come along, Iván! + +THE FATHER. I'm coming. + + [Exeunt. Guests crowd together in the passage and prepare to go + away. + +NAN (runs out of the hut and calls to ANÍSYA). Mother! + +ANÍSYA (from inside.) What d'you want? + +NAN. Mother, come here, or they'll hear. + + [ANÍSYA enters and they go together to the shed. + +ANÍSYA. Well? What is it? Where's Akoulína? + +NAN She's gone into the barn. It's awful what's she's doing there! I'm +blest! "I can't bear it," she says. "I'll scream," she says, "I'll +scream out loud." Blest if she didn't. + +ANÍSYA. She'll have to wait. We'll see our visitors off first. + +NAN. Oh, mother! She's so bad! And she's angry too. "What's the good +of their drinking my health?" she says. "I shan't marry," she says. "I +shall die," she says. Mother, supposing she does die! It's awful. I'm +so frightened! + +ANÍSYA. No fear, she'll not die. But don't you go near her. Come +along. + + [Exit ANÍSYA and NAN. + +MÍTRITCH (comes in at the gate and begins collecting the scattered +hay). Oh, Lord! Merciful Nicholas! What a lot of liquor they've been +and swilled, and the smell they've made! It smells even out here! But +no, I don't want any, drat it! See how they've scattered the hay +about. They don't eat it, but only trample it under foot. A truss gone +before you know it. Oh, that smell, it seems to be just under my nose! +Drat it! (Yawns.) It's time to go to sleep! But I don't care to go +into the hut. It seems to float just round my nose! It has a strong +scent, the damned stuff! (The guests are heard driving off.) They're +off at last. Oh Lord! Merciful Nicholas! There they go, binding +themselves and gulling one another. And it's all gammon! + + [Enter NIKÍTA. + +NIKÍTA. Mítritch, you get off to sleep and I'll put this straight. + +MÍTRITCH. All right, you throw it to the sheep. Well, have you seen +'em all off? + +NIKÍTA. Yes, they're off! But things are not right! I don't know what +to do! + +MÍTRITCH. It's a fine mess. But there's the Foundlings'[6] for that +sort of thing. Whoever likes may drop one there; they'll take 'em all. +Give 'em as many as you like, they ask no questions, and even pay--if +the mother goes in as a wet-nurse. It's easy enough nowadays. + +NIKÍTA. But mind, Mítritch, don't go blabbing. + +MÍTRITCH. It's no concern of mine. Cover the tracks as you think best. +Dear me, how you smell of liquor! I'll go in. Oh, Lord! + + [Exit, yawning. + + [NIKÍTA is long silent. Sits down on a sledge. + +NIKÍTA. Here's a go! + + [Enter ANÍSYA. + +ANÍSYA. Where are you? + +NIKÍTA. Here. + +ANÍSYA. What are you doing there? There's no time to be lost! We must +take it out directly! + +NIKÍTA. What are we to do? + +ANÍSYA. I'll tell you what you are to do. And you'll have to do it! + +NIKÍTA. You'd better take it to the Foundlings'--if anything. + +ANÍSYA. Then you'd better take it there yourself if you like! You've a +hankering for smut, but you're weak when it comes to settling up, I +see! + +NIKÍTA. What's to be done? + +ANÍSYA. Go down into the cellar, I tell you, and dig a hole! + +NIKÍTA. Couldn't you manage, somehow, some other way? + +ANÍSYA (imitating him). "Some other way?" Seems we can't "some other +way!" You should have thought about it a year ago. Do what you're told +to! Nikíta. Oh, dear, what a go! + + [Enter NAN. + +NAN. Mother! Grandmother's calling! I think sister's got a baby! I'm +blest if it didn't scream! + +ANÍSYA. What are you babbling about? Plague take you! It's kittens +whining there. Go into the hut and sleep, or I'll give it you! + +NAN. Mammy dear, truly, I swear.... + +ANÍSYA (raising her arm as if to strike). I'll give it you! You be off +and don't let me catch sight of you! (Nan runs into hut. To Nikíta.) +Do as you're told, or else mind! + + [Exit. + +NIKÍTA (alone. After a long silence). Here's a go! Oh, these women! +What a fix! Says you should have thought of it a year ago. When's one +to think beforehand? When's one to think? Why, last year this Anísya +dangled after me. What was I to do? Am I a monk? The master died; and +I covered my sin as was proper, so I was not to blame there. Aren't +there lots of such cases? And then those powders. Did I put her up to +that? Why, had I known what the bitch was up to, I'd have killed her! +I'm sure I should have killed her! She's made me her partner in these +horrors--that jade! And she became loathsome to me from that day! She +became loathsome, loathsome to me as soon as mother told me about it. +I can't bear the sight of her! Well, then, how could I live with her? +And then it begun.... That wench began hanging round. Well, what was I +to do! If I had not done it, some one else would. And this is what +comes of it! Still I'm not to blame in this either. Oh, what a go! +(Sits thinking.) They are bold, these women! What a plan to think of! +But I won't have a hand in it! + + [Enter MATRYÓNA with a lantern and spade, panting. + +MATRYÓNA. Why are you sitting there like a hen on a perch? What did +your wife tell you to do? You just get things ready! + +NIKÍTA. What do you mean to do? + +MATRYÓNA. We know what to do. You do your share! + +NIKÍTA. You'll be getting me into a mess! + +MATRYÓNA. What? You're not thinking of backing out, are you? Now it's +come to this, and you back out! + +NIKÍTA. Think what a thing it would be! It's a living soul. + +MATRYÓNA. A living soul indeed! Why, it's more dead than alive. And +what's one to do with it? Go and take it to the Foundlings'--it will +die just the same, and the rumor will get about, and people will talk, +and the girl be left on our hands. + +NIKÍTA. And supposing it's found out? + +MATRYÓNA. Not manage to do it in one's own house? We'll manage it so +that no one will have an inkling. Only do as I tell you. We women +can't do it without a man. There, take the spade, and get it done +there,--I'll hold the light. + +NIKÍTA. What am I to get done? + +MATRYÓNA (in a low voice). Dig a hole; then we'll bring it out and get +it out of the way in a trice! There, she's calling again. Now then, +get in, and I'll go. + +NIKÍTA. Is it dead then? + +MATRYÓNA. Of course it is. Only you must be quick, or else people will +notice! They'll see or they'll hear! The rascals must needs know +everything. And the policeman went by this evening. Well then, you see +(gives him the spade), you get down into the cellar and dig a hole +right in the corner; the earth is soft there, and you'll smooth it +over. Mother earth will not blab to any one; she'll keep it close. Go +then; go, dear. + +NIKÍTA. You'll get me into a mess, bother you! I'll go away! You do it +alone as best you can! + +ANÍSYA (through the doorway). Well? Has he dug it? + +MATRYÓNA. Why have you come away? What have you done with it? + +ANÍSYA. I've covered it with rags. No one can hear it. Well, has he +dug it? + +MATRYÓNA. He doesn't want to! + +ANÍSYA (springs out enraged). Doesn't want to! How will he like +feeding vermin in prison! I'll go straight away and tell everything to +the police! It's all the same if one must perish. I'll go straight and +tell! + +NIKÍTA (taken aback). What will you tell? + +ANÍSYA. What? Everything! Who took the money? You! (NIKÍTA is silent.) +And who gave the poison? I did! But you knew! You knew! You knew! We +were in agreement! + +MATRYÓNA. That's enough now. Nikíta dear, why are you obstinate? +What's to be done now? One must take some trouble. Go, honey. + +ANÍSYA. See the fine gentleman! He doesn't like it! You've put upon me +long enough! You've trampled me under foot! Now it's my turn! Go, I +tell you, or else I'll do what I said.... There, take the spade; +there, now go! + +NIKÍTA. Drat you! Can't you leave a fellow alone! (Takes the spade, +but shrinks.) If I don't choose to, I'll not go! + +ANÍSYA. Not go? (Begins to shout.) Neighbors! Heh! heh! + +MATRYÓNA (closes her mouth). What are you about? You're mad! He'll +go.... Go, sonny, go, my own. + +ANÍSYA. I'll cry murder! + +NIKÍTA. Now stop! Oh, what people! You'd better be quick.... As well +be hung for a sheep as a lamb! + + [Goes towards the cellar. + +MATRYÓNA. Yes, that's just it, honey. If you know how to amuse +yourself, you must know how to hide the consequences. + +ANÍSYA (still excited). He's trampled on me ... he and his slut! But +it's enough! I'm not going to be the only one! Let him also be a +murderer! Then he'll know how it feels! + +MATRYÓNA. There, there! How she flares up! Don't you be cross, lass, +but do things quietly little by little, as it's best. You go to the +girl, and he'll do the work. + + [Follows NIKÍTA to the cellar with a lantern. He descends into + the cellar. + +ANÍSYA. And I'll make him strangle his dirty brat! (Still excited.) +I've worried myself to death all alone, with Peter's bones weighing on +my mind! Let him feel it too! I'll not spare myself; I've said I'll +not spare myself! + +NIKÍTA (from the cellar). Show a light! + +MATRYÓNA (holds up the lantern to him. To ANÍSYA). He's digging. Go +and bring it. + +ANÍSYA. You stay with him, or he'll go away, the wretch! And I'll go +and bring it. + +MATRYÓNA. Mind, don't forget to baptize it, or I will if you like. +Have you a cross? + +ANÍSYA. I'll find one. Ï know how to do it. + + [Exit. + + * * * * * + +See at end of Act, VARIATION, which may be used instead of the +following. + + * * * * * + +MATRYÓNA. How the woman bristled up! But one must allow she's been put +upon. Well, but with the Lord's help, when we've covered this +business, there'll be an end of it. We'll shove the girl off without +any trouble. My son will live in comfort. The house, thank God, is as +full as an egg. They'll not forget me either. Where would they have +been without Matryóna? They'd not have known how to contrive things. +(Peering into the cellar.) Is it ready, sonny? Nikíta (puts out his +head). What are you about there? Bring it quick! What are you dawdling +for? If it is to be done, let it be done. + +MATRYÓNA (goes towards door of the hut and meets ANÍSYA. ANÍSYA comes +out with a baby wrapped in rags). Well, have you baptized it? + +ANÍSYA. Why, of course. It was all I could do to take it away--she +wouldn't give it up! + + [Comes forward and hands it to NIKÍTA. + +NIKÍTA (does not take it). You bring it yourself! + +ANÍSYA. Take it, I tell you! + + [Throws the baby to him. + +NIKÍTA (catches it). It's alive! Gracious me, it's moving! It's alive! +What am I to.... + +ANÍSYA (snatches the baby from him and throws it into the cellar). Be +quick and smother it, and then it won't be alive! (Pushes NIKÍTA +down.) It's your doing, and you must finish it. + +MATRYÓNA (sits on the doorstep of the hut). He's tender-hearted. It's +hard on him, poor dear. Well, what of that? Isn't it also his sin? + + [ANÍSYA stands by the cellar. + +MATRYÓNA (sits looking at her and discourses). Oh, oh, oh! How +frightened he was: well, but what of that? If it is hard, it's the +only thing to be done. Where was one to put it? And just think, how +often it happens that people pray to God to have children! But no, God +gives them none; or they are all still-born. Look at our priest's wife +now.... And here, where it's not wanted, here it lives. (Looks towards +the cellar.) I suppose he's finished. (To ANÍSYA.) Well? + +ANÍSYA (looking into the cellar). He's put a board on it and is +sitting on it. It must be finished! + +MATRYÓNA. Oh, oh! One would be glad not to sin, but what's one to do? + + [Re-enter NIKÍTA from cellar, trembling all over. + +NIKÍTA. It's still alive! I can't! It's alive! + +ANÍSYA. If it's alive, where are you off to? + + [Tries to stop him. + +NIKÍTA (rushes at her). Go away! I'll kill you! (Catches hold of her +arms; she escapes, he runs after her with the spade. MATRYÓNA runs +towards him and stops him. ANÍSYA runs into the porch. MATRYÓNA tries +to wrench the spade from him. To his mother.) I'll kill you! I'll kill +you! Go away! (MATRYÓNA runs to ANÍSYA in the porch. NIKÍTA stops.) +I'll kill you! I'll kill you all! + +MATRYÓNA. That's because he's so frightened! Never mind, it will pass! + +NIKÍTA. What have they made me do? What have they made me do? How it +whimpered.... How it crunched under me! What have they done with +me?... And it's really alive, still alive! (Listens in silence.) It's +whimpering... There, it's whimpering. + + [Runs to the cellar. + +MATRYÓNA (to ANÍSYA). He's going; it seems he means to bury it. +Nikíta, you'd better take the lantern! + +NIKÍTA (does not heed her, but listens by the cellar door). I can hear +nothing! I suppose it was fancy! (Moves away, then stops.) How the +little bones crunched under me. Krr ... kr.... What have they made me +do? (Listens again.) Again whimpering! It's really whimpering! What +can it be? Mother! Mother, I say! + + [Goes up to her. + +MATRYÓNA. What is it, sonny? + +NIKÍTA. Mother, my own mother, I can't do any more! Can't do any more! +My own mother, have some pity on me! + +MATRYÓNA. Oh dear, how frightened you are, my darling! Come, come, +drink a drop to give you courage! + +NIKÍTA. Mother, mother! It seems my time has come! What have you done +with me? How the little bones crunched, and how it whimpered! My own +mother! What have you done with me? + + [Steps aside and sits down on the sledge. + +MATRYÓNA. Come, my own, have a drink! It certainly does seem uncanny +at night-time. But wait a bit. When the day breaks, you know, and one +day and another passes, you'll forget even to think of it. Wait a bit; +when the girl's married we'll even forget to think of it. But you go +and have a drink; have a drink! I'll go and put things straight in the +cellar myself. + +NIKÍTA (rouses himself). Is there any drink left? Perhaps I can drink +it off! + + [Exit. + + [ANÍSYA, who has stood all the time by the door, silently makes + way for him. + +MATRYÓNA. Go, go, honey, and I'll set to work! I'll go down myself and +dig! Where has he thrown the spade to? (Finds the spade, and goes down +into the cellar.) Anísya, come here! Hold the light, will you? + +ANÍSYA. And what of him? + +MATRYÓNA. He's so frightened! You've been too hard with him. Leave him +alone, he'll come to his senses. God help him! I'll set to work +myself. Put the lantern down here. I can see. + + [MATRYÓNA disappears into the cellar. + +ANÍSYA. (looking towards the door by which Nikíta entered the hut). +Well, have you had enough spree? You've been puffing yourself up, but +now you'll know how it feels! You'll lose some of your bluster! + +NIKÍTA (rushes out of the hut towards the cellar). Mother! Mother, I +say! + +MATRYÓNA (puts out her head). What is it, sonny? + +NIKÍTA (listening) Don't bury it, it's alive? Don't you hear? Alive! +There--it's whimpering! There ... quite plain! + +MATRYÓNA. How can it whimper? Why, you've flattened it into a pancake! +The whole head is smashed to bits! + +NIKÍTA. What is it then? (Stops his ears.) It's still whimpering! I am +lost! Lost! What have they done with me?... Where shall I go? + + [Sits down on the step. + +CURTAIN + + * * * * * + +VARIATION + +Instead of the end of Act IV. (from the words, "ANÍSYA. I'll find one. +I know how to do it. [Exit]") the following variation may be read, and +is the one usually acted. + + * * * * * + +SCENE II + +The interior of the hut as in Act I. + +NAN lies on the bench, and is covered with a coat. MÍTRITCH is sitting +on the oven smoking. + +MÍTRITCH. Dear me! How they've made the place smell I Drat 'em! +They've been spilling the fine stuff. Even tobacco don't get rid of +the smell! It keeps tickling one's nose so. Oh Lord! But it's bedtime, +I guess. + + [Approaches the lamp to put it out. + +NAN (jumps up, and remains sitting up). Daddy dear,[7] don't put it +out! + +MÍTRITCH. Not put it out? Why? + +NAN. Didn't you hear them making a row in the yard? (Listens.) D'you +hear, there in the barn again now? + +MÍTRITCH. What's that to you? I guess no one's asked you to mind! Lie +down and sleep! And I'll turn down the light. + + [Turns down lamp. + +NAN. Daddy darling! Don't put it right out; leave a little bit if only +as big as a mouse's eye, else it's so frightening! + +MÍTRITCH (laughs). All right, all right. (Sits down by her.) What's +there to be afraid of? + +NAN. How can one help being frightened, daddy! Sister did go on so! +She was beating her head against the box! (Whispers.) You know, I know +... a little baby is going to be born.... It's already born, I +think.... + +MÍTRITCH. Eh, what a little busybody it is! May the frogs tick her! +Must needs know everything. Lie down and sleep! (NAN lies down.) +That's right! (Tucks her up.) That's right! There now, if you know too +much you'll grow old too soon. + +NAN. And you are going to lie on the oven? + +Mitrich. Well, of course! What a little silly you are, now I come to +look at you! Must needs know everything. (Tucks her up again, then +stands up to go.) There now, lie still and sleep! + + [Goes up to the oven. + +NAN. It gave just one cry, and now there's nothing to be heard. + +MÍTRITCH. Oh Lord! Gracious Nicholas! What is it you can't hear? + +NAN. The baby. + +MÍTRITCH. There is none, that's why you can't hear it. + +NAN. But I heard it! Blest if I didn't hear it! Such a thin voice! + +MÍTRITCH. Heard indeed! Much you heard! Well, if you know,--why then +it was just such a little girl as you that the bogey popped into his +bag and made off with. + +NAN. What bogey? + +MÍTRITCH. Why, just his very self! (Climbs up on to the oven.) The +oven is beautifully warm to-night. Quite a treat! Oh Lord! Gracious +Nicholas! + +NAN. Daddy! are you going to sleep? + +MÍTRITCH. What else? Do you think I'm going to sing songs? + + [Silence. + +NAN. Daddy! Daddy, I say! They are digging! they're digging--don't +you hear? Blest if they're not, they're digging! + +MÍTRITCH. What are you dreaming about? Digging! Digging in the night! +Who's digging? The cow's rubbing herself, that's all. Digging indeed! +Go to sleep I tell you, else I'll just put out the light! + +NAN. Daddy darling, don't put it out! I won't ... truly, truly, I +won't. It's so frightful! + +MÍTRITCH. Frightful? Don't be afraid and then it won't be frightful. +Look at her, she's afraid, and then says it's frightful. How can it +help being frightful if you are afraid? Eh, what a stupid little girl! + + [Silence. The cricket chirps. + +NAN (whispers). Daddy! I say, daddy! Are you asleep? + +MÍTRITCH. Now then, what d'you want? + +NAN. What's the bogey like? + +MÍTRITCH. Why, like this! When he finds such a one as you, who won't +sleep, he comes with a sack and pops the girl into it, then in he gets +himself, head and all, lifts her dress, and gives her a fine whipping! + +NAN. What with? + +MÍTRITCH. He takes a birch-broom with him. + +NAN. But he can't see there--inside the sack! + +MÍTRITCH. He'll see, no fear! + +NAN. But I'll bite him. + +MÍTRITCH. No, friend, him you can't bite! + +NAN. Daddy, there's some one coming! Who is it? Oh gracious goodness! +Who can it be? + +MÍTRITCH. Well, if some one's coming, let them come! What's the matter +with you? I suppose it's your mother! + + [Enter ANÍSYA. + +ANÍSYA (NAN pretends to be asleep). Mítritch! + +MÍTRITCH. What? + +ANÍSYA. What's the lamp burning for? We are going to sleep in the +summer-hut. + +MÍTRITCH. Why, you see I've only just got straight. I'll put the light +out all right. + +ANÍSYA (rummages in her box and grumbles). When a thing's wanted one +never can find it! + +MÍTRITCH. Why, what is it you are looking for? + +ANÍSYA. I'm looking for a cross. Suppose it were to die unbaptized! It +would be a sin, you know! + +MÍTRITCH. Of course it would! Everything in due order.... Have you +found it? + +ANÍSYA. Yes, I've found it. + + [Exit. + +MÍTRITCH. That's right, else I'd have lent her mine. Oh Lord! + +NAN (jumps up trembling). Oh, oh, daddy! Don't go to sleep; for +goodness' sake, don't! It's so frightful! + +MÍTRITCH. What's frightful? + +NAN. It will die--the little baby will! At Aunt Irene's the old woman +also baptized the baby, and it died! + +MÍTRITCH. If it dies, they'll bury it! + +NAN. But maybe it wouldn't have died, only old Granny Matryóna's +there! Didn't I hear what granny was saying? I heard her! Blest if I +didn't! + +MÍTRITCH. What did you hear? Go to sleep, I tell you. Cover yourself +up, head and all, and let's have an end of it! + +NAN. If it lived, I'd nurse it! + +MÍTRITCH (roars). Oh Lord! + +NAN. Where will they put it? + +MÍTRITCH. In the right place! It's no business of yours! Go to sleep I +tell you, else mother will come; she'll give it you! + + [Silence. + +NAN. Daddy! Eh, daddy! That girl, you know, you were telling about +--they didn't kill her? + +MÍTRITCH. That girl? Oh yes. That girl turned out all right! + +NAN. How was it? You were saying you found her? + +MÍTRITCH. Well, we just found her! + +NAN. But where did you find her? Do tell! + +MÍTRITCH. Why, in their own house; that's where! We came to a village, +the soldiers began hunting about in the house, when suddenly there's +that same little girl lying on the floor, flat on her stomach. We were +going to give her a knock on the head, but all at once I felt that +sorry, that I took her up in my arms; but no, she wouldn't let me! +Made herself so heavy, quite a hundredweight, and caught hold where +she could with her hands, so that one couldn't get them off! Well, so +I began stroking her head. It was so bristly,--just like a hedgehog! So +I stroked and stroked, and she quieted down at last. I soaked a bit of +rusk and gave it her. She understood that, and began nibbling. What +were we to do with her? We took her; took her, and began feeding and +feeding her, and she got so used to us that we took her with us on the +march, and so she went about with us. Ah, she was a fine girl! + +NAN. Yes, and not baptized? + +MÍTRITCH. Who can tell! They used to say, not altogether. 'Cos why, +those people weren't our own. + +NAN. Germans? + +MÍTRITCH. What an idea! Germans! Not Germans, but Asiatics. They are +just the same as Jews, but still not Jews. Polish, yet Asiatics. Curls +... or, Curdlys is their name.... I've forgotten what it is![8] We +called the girl Sáshka. She was a fine girl, Sáshka was! There now, +I've forgotten everything I used to know! But that girl--the deuce +take her--seems to be before my eyes now! Out of all my time of +service, I remember how they flogged me, and I remember that girl. +That's all I remember! She'd hang round one's neck, and one 'ud carry +her so. That was a girl,--if you wanted a better you'd not find one! +We gave her away afterwards. The captain's wife took her to bring up +as her daughter. So--she was all right! How sorry the soldiers were to +let her go! + +NAN. There now, daddy, and I remember when father was dying,--you +were not living with us then. Well, he called Nikíta and says, +"Forgive me, Nikíta!" he says, and begins to cry. (Sighs.) That also +felt very sad! + +MÍTRITCH. Yes; there now, so it is.... + +NAN. Daddy! Daddy, I say! There they are again, making a noise in the +cellar! Oh gracious heavens! Oh dear! Oh dear! Oh, daddy! They'll do +something to it! They'll make away with it, and it's so little! Oh, +oh! + + [Covers up her head and cries. + +MÍTRITCH (listening). Really they're up to some villainy, blow them to +shivers! Oh, these women are vile creatures! One can't say much for +men either; but women!... They are like wild beasts, and stick at +nothing! + +NAN (rising). Daddy; I say, daddy! + +MÍTRITCH. Well, what now? + +NAN. The other day a traveller stayed the night; he said that when an +infant died its soul goes up straight to heaven. Is that true? + +MÍTRITCH. Who can tell? I suppose so. Well? + +NAN. Oh, it would be best if I died too. + + [Whimpers. + +MÍTRITCH. Then you'd be off the list! + +NAN. Up to ten one's an infant, and maybe one's soul would go to God. +Else one's sure to go to the bad! + +MÍTRITCH. And how to the bad? How should the likes of you not go to +the bad? Who teaches you? What do you see? What do you hear? Only +vileness! I, though I've not been taught much, still know a thing or +two. I'm not quite like a peasant woman. A peasant woman, what is she? +Just mud! There are many millions of the likes of you in Russia, and +all as blind as moles--knowing nothing! All sorts of spells: how to +stop the cattle-plague with a plough, and how to cure children by +putting them under the perches in the hen-house! That's what they +know! + +NAN. Yes, mother also did that! + +MÍTRITCH. Yes,--there it is,--just so! So many millions of girls and +women, and all like beasts in a forest! As she grows up, so she dies! +Never sees anything; never hears anything. A peasant,--he may learn +something at the pub, or maybe in prison, or in the army,--as I did. +But a woman? Let alone about God, she doesn't even know rightly what +Friday it is! Friday! Friday! But ask her what's Friday? She don't +know! They're like blind puppies, creeping about and poking their +noses into the dungheap.... All they know are their silly songs. Ho, +ho, ho, ho! But what they mean by ho-ho, they don't know themselves! + +NAN. But I, daddy, I do know half the Lord's Prayer! + +MÍTRITCH. A lot you know! But what Can one expect of you? Who teaches +you? Only a tipsy peasant--with the strap perhaps! That's all the +teaching you get! I don't know who'll have to answer for you. For a +recruit, the drill-sergeant or the corporal has to answer; but for the +likes of you there's no one responsible! Just as the cattle that have +no herdsman are the most mischievous, so with you women--you are the +stupidest class! The most foolish class is yours! + +NAN. Then what's one to do? + +MÍTRITCH. That's what one has to do.... You just cover up your head +and sleep! Oh Lord! + + [Silence. The cricket chirps. + +NAN (jumps up). Daddy! Some one's screaming awfully! Blest if some one +isn't screaming! Daddy darling, it's coming here! + +MÍTRITCH. Cover up your head, I tell you! + + [Enter NIKÍTA, followed by MATRYÓNA. + +NIKÍTA. What have they done with me? What have they done with me? + +MATRYÓNA. Have a drop, honey; have a drop of drink! What's the matter? + + [Fetches the spirits and sets the bottle before him. + +NIKÍTA. Give it here! Perhaps the drink will help me! + +MATRYÓNA. Mind! They're not asleep! Here you are, have a drop! + +NIKÍTA. What does it all mean? Why did you plan it? You might have +taken it somewhere! + +MATRYÓNA (whispers). Sit still a bit and drink a little more, or have +a smoke. It will ease your thoughts! + +NIKÍTA. My own mother! My turn seems to have come! How it began to +whimper, and how the little bones crunched ... krr.... I'm not a man +now! + +MATRYÓNA. Eh, now, what's the use of talking so silly! Of course it +does seem fearsome at night, but wait till the daylight comes, and a +day or two passes, and you'll forget to think of it! + + [Goes up to NIKÍTA and puts her hand on his shoulder. + +NIKÍTA. Go away from me! What have you done with me? + +MATRYÓNA. Come, come, sonny! Now, really, what's the matter with you? + + [Takes his hand. + +NIKÍTA. Go away from me! I'll kill you! It's all one to me now! I'll +kill you! + +MATRYÓNA. Oh, oh, how frightened he's got! You should go and have a +sleep now! + +NIKÍTA. I have nowhere to go; I'm lost! + +MATRYÓNA (shaking her head). Oh, oh, I'd better go and tidy things up. +He'll sit and rest a bit, and it will pass! + + [Exit. + + [NIKÍTA sits with his face in his hands. MÍTRITCH and NAN seem +stunned. + +NIKÍTA. It's whining! It's whining! It is really--there, there, quite +plain! She'll bury it, really she will! (Runs to the door.) Mother, +don't bury it, it's alive.... + + [Enter MATRYÓNA. + +MATRYÓNA (whispers). Now then, what is it? Heaven help you! Why won't +you get to rest? How can it be alive? All its bones are crushed! + +NIKÍTA. Give me more drink. + + [Drinks. + +MATRYÓNA. Now go, sonny. You'll fall asleep now all right. + +NIKÍTA (stands listening). Still alive ... there ... it's whining! +Don't you hear?... There! + +MATRYÓNA (whispers). No! I tell you! + +NIKÍTA. Mother! My own mother! I've ruined my life! What have you done +with me? Where am I to go? + + [Runs out of the hut; MATRYÓNA follows him. + +NAN. Daddy dear, darling, they've smothered it! + +MÍTRITCH (angrily). Go to sleep, I tell you! Oh dear, may the frogs +kick you! I'll give it to you with the broom! Go to sleep, I tell you! + +NAN. Daddy, my treasure! Something is catching hold of my shoulders, +something is catching hold with its paws! Daddy dear ... really, +really ... I must go! Daddy, darling! let me get up on the oven with +you! Let me, for Heaven's sake! Catching hold ... catching hold! Oh! + + [Runs to the stove. + +MÍTRITCH. See how they've frightened the girl.... What vile creatures +they are! May the frogs kick them! Well then, climb up. Nan (climbs on +oven). But don't you go away! Mítritch. Where should I go to? Climb +up, climb up! Oh Lord! Gracious Nicholas! Holy Mother!... How they +have frightened the girl. (Covers her up.) There's a little fool-- +really a little fool! How they've frightened her; really, they are +vile creatures! The deuce take 'em! + +CURTAIN + + + + +ACT V + +SCENE I + +In front of scene a stack-stand, to the left a thrashing ground, to +the right a barn. The barn doors are open. Straw is strewn about in +the doorway. The hut with yard and out-buildings is seen in the +background, whence proceed sounds of singing and of a tambourine. Two +GIRLS are walking past the barn towards the hut. + +FIRST GIRL. There, you see we've managed to pass without so much as +getting our boots dirty! But to come by the street is terribly muddy! +(Stop and wipe their boots on the straw. FIRST GIRL looks at the straw +and sees something .) What's that? + +SECOND GIRL (looks where the straw lies and sees some one). It's +MÍTRITCH, their laborer. Just look how drunk he is! + +FIRST GIRL. Why, I thought be didn't drink. + +SECOND GIRL. It seems he didn't, until it was going around. First +Girl. Just see! He must have come to fetch some straw. Look! he's got +a rope in his hand, and he's fallen asleep. + +SECOND GIRL (listening). They're still singing the praises.[9] So I +s'pose the bride and bridegroom have not yet been blessed! They say +Akoulína didn't even lament![10] + +FIRST GIRL. Mammie says she is marrying against her will. Her +stepfather threatened her, or else she'd not have done it for the +world! Why, you know what they've been saying about her? + +MARÍNA (catching up the GIRLS). How d'you you do, lassies? + +GIRLS. How d'you do? + +MARÍNA. Going to the wedding, my dears? + +FIRST GIRL. It's nearly over! We've come just to have a look. + +MARÍNA. Would you call my old man for me? Simon, from Zoúevo; but +surely you know him? + +FIRST GIRL. To be sure we do; he's a relative of the bridegroom's, I +think? + +MARÍNA. Of course; he's my old man's nephew, the bridegroom is. + +SECOND GIRL. Why don't you go yourself? Fancy not going to a wedding! + +MARÍNA. I have no mind for it, and no time either. It's time for us to +be going home. We didn't mean to come to the wedding. We were taking +oats to town. We only stopped to feed the horse, and they made my old +man go in. + +FIRST GIRL. Where did you put up then? At Fyódoritch's? + +MARÍNA. Yes. Well then, I'll stay here and you go and call him, my +dear--my old man. Call him, my pet, and say "Your missis, Marína, says +you must go now!" His mates are harnessing. + +FIRST GIRL. Well, all right--if you won't go in yourself. + + [The GIRLS go away towards the house along a footpath. Sounds of + songs and tambourine. + +MARÍNA (alone, stands thinking). I might go in, but I don't like to, +because I have not met him since that day he threw me over. It's more +than a year now. But I'd have liked to have a peep and see how he +lives with his Anísya. People say they don't get on. She's a coarse +woman, and with a character of her own. I should think he's remembered +me more than once. He's been caught by the idea of a comfortable life +and has changed me for it. But, God help him, I don't cherish +ill-will! Then it hurt! Oh dear, it was pain! But now it's worn away +and been forgotten. But I'd like to have seen him. (Looks towards hut +and sees NIKÍTA.) Look there! Why, he is coming here! Have the girls +told him? How's it he has left his guests? I'll go away! (NIKÍTA +approaches, hanging his head down, swinging his arms, and muttering.) +And how sullen he looks! + +NIKÍTA (sees and recognises MARÍNA). Marína, dearest friend, little +MARÍNA, what do you want? + +MARÍNA. I have come for my old man. + +NIKÍTA. Why didn't you come to the wedding? You might have had a look +round, and a laugh at my expense! + +MARÍNA. What have I to laugh at? I've come for my husband. + +NIKÍTA. Ah, Marína dear! + + [Tries to embrace her. + +MARÍNA (steps angrily aside). You'd better drop that sort of thing, +Nikíta! What has been is past! I've come for my husband. Is he in your +house? + +NIKÍTA. So I must not remember the past? You won't let me? + +MARÍNA. It's no use recalling the past! What used to be is over now! + +NIKÍTA. And can never come back, you mean? + +MARÍNA. And will never come back! But why have you gone away? You, the +master,--and to go away from the feast! + +NIKÍTA (sits down on the straw). Why have I gone away? Eh, if you +knew, if you had any idea.... I'm dull, Marína, so dull that I wish my +eyes would not see! I rose from the table and left them, to get away +from the people. If I could only avoid seeing any one! + +MARÍNA (coming nearer to him). How's that? + +NIKÍTA. This is how it is: when I eat, it's there! When I drink, it's +there! When I sleep, it's there! I'm so sick of it--so sick! But it's +chiefly because I'm all alone that I'm so sick, Marína. I have no one +to share my trouble. + +MARÍNA. You can't live your life without trouble, Nikíta. However, +I've wept over mine and wept it away. + +NIKÍTA. The former, the old trouble! Ah, dear friend, you've wept +yours away, and I've got mine up to there! + + [Puts his hand to his throat. + +MARÍNA. But why? + +NIKÍTA. Why, I'm sick of my whole life! I am sick of myself! Ah, +MARÍNA, why did you not know how to keep me? You've ruined me, and +yourself too! Is this life? + +MARÍNA (stands by the barn crying, but restrains herself). I do not +complain of my life, Nikíta! God grant every one a life like mine. I +do not complain. I confessed to my old man at the time, and he forgave +me. And he does not reproach me. I'm not discontented with my life. +The old man is quiet, and is fond of me, and I keep his children +clothed and washed! He is really kind to me. Why should I complain? It +seems God willed it so. And what's the matter with your life? You are +rich.... + +NIKÍTA. My life!... It's only that I don't wish to disturb the wedding +feast, or I'd take this rope here (takes hold of the rope on the +straw) and throw it across that rafter there. Then I'd make a noose +and stretch it out, and I'd climb on to that rafter and jump down with +my head in the noose! That's what my life is! + +MARÍNA. That's enough! Lord help you! + +NIKÍTA. You think I'm joking? You think I'm drunk? I'm not drunk! +To-day even drink takes no hold on me! I'm devoured by misery! Misery +is eating me up completely, so that I care for nothing! Oh little +Marína, it's only with you I ever lived! Do you remember how we used +to while away the nights together at the railway? + +MARÍNA. Don't you rub the sores, Nikíta! I'm bound legally now, and +you too. My sin has been forgiven, don't disturb... + +NIKÍTA. What shall I do with my heart? Where am I to turn to? + +MARÍNA. What's there to be done? You've got a wife. Don't go looking +at others, but keep to your own! You loved Anísya, then go on loving +her! + +NIKÍTA. Oh, that Anísya, she's gall and wormwood to me, but she's +round my feet like rank weeds! + +MARÍNA. Whatever she is, still she's your wife.... But what's the use +of talking; you'd better go to your visitors, and send my husband to +me. + +NIKÍTA. Oh dear, if you knew the whole business... but there's no good +talking! + + [Enter MARÍNA'S husband, red and tipsy, and NAN. + +MARÍNA'S HUSBAND. Marína! Missis! My old woman! are you here? + +NIKÍTA. There's your husband calling you. Go! + +MARÍNA. And you? + +NIKÍTA. I? I'll lie down here for a bit! + + [Lies down on the straw. + +Husband. Where is she then? + +NAN. There she is, near the barn. + +HUSBAND. What are you standing there for? Come to the feast! The hosts +want you to come and do them honor! The wedding party is just going to +start, and then we can go too. + +MARÍNA (going towards her husband). I didn't want to go in. + +HUSBAND. Come on, I tell you! You'll drink a glass to our nephew +Peter's health, the rascal! Else the hosts might take offense! There's +plenty of time for our business. + + [MARÍNA'S husband puts his arm around her, and goes reeling out + with her. + +NIKÍTA (rises and sits down on the straw). Ah, now that I've seen her, +life seems more sickening than ever! It was only with her that I ever +really lived! I've ruined my life for nothing! I've done for myself! +(Lies down.) Where can I go? If mother earth would but open and +swallow me! + +NAN (sees NIKÍTA, and runs towards him). Daddy, I say, daddy! They're +looking for you! Her godfather and all of them have already blessed +her. Truly they have, they're getting cross! + +NIKÍTA (aside). Where can I go to? + +NAN. What? What are you saying? + +NIKÍTA. I'm not saying anything! Don't bother! + +NAN. Daddy! Come, I say! (NIKÍTA is silent, NAN pulls him by the +hand.) Dad, go and bless them! My word, they're angry, they're +grumbling! + +NIKÍTA (drags away his hand). Leave me alone! + +NAN. Now then! + +NIKÍTA (threatens her with the rope). Go, I say! I'll give it you! + +NAN. Then I'll send mother! + + [Runs away. + +NIKÍTA (rises). How can I go? How can I take the holy icón in my +hands? How am I to look her in the face! (Lies down again.) Oh, if +there were a hole in the ground, I'd jump in! No one should see me, +and I should see no one! (Rises again.) No, I shan't go.... May they +all go to the devil, I shan't go! (Takes the rope and makes a noose, +and tries it on his neck.) That's the way! + + [Enter MATRYÓNA. NIKÍTA sees his mother, takes the rope off his + neck, and again lies down in the straw. + +MATRYÓNA (comes in hurriedly). Nikíta! Nikíta, I say! He don't even +answer! Nikíta, what's the matter? Have you had a drop too much? Come, +Nikíta dear; come, honey! The people are tired of waiting. + +NIKÍTA. Oh dear, what have you done with me? I'm a lost man! + +MATRYÓNA. But what is the matter then? Come, my own; come, give them +your blessing, as is proper and honorable, and then it'll all be over! +Why, the people are waiting! + +NIKÍTA. How can I give blessings? + +MATRYÓNA. Why, in the usual way! Don't you know? + +NIKÍTA. I know, I know! But who is it I am to bless? What have I done +to her? + +MATRYÓNA. What have you done? Eh, now he's going to remember it! Why, +who knows anything about it? Not a soul! And the girl is going of her +own accord. + +NIKÍTA. Yes, but how? + +MATRYÓNA. Because she's afraid, of course. But still she's going. +Besides, what's to be done now? She should have thought sooner! Now +she can't refuse. And his kinsfolks can't take offense either. They +saw the girl twice, and get money with her too! It's all safe and +sound! + +NIKÍTA. Yes, but what's in the cellar? + +MATRYÓNA (laughs). In the cellar? Why, cabbages, mushrooms, potatoes, +I suppose! Why remember the past? + +NIKÍTA. I'd be only too glad to forget it; but I can't! When I let my +mind go, it's just as if I heard.... Oh, what have you done with me? + +MATRYÓNA. Now, what are you humbugging for? + +NIKÍTA (turns face downward). Mother! Don't torment me! I've got it up +to there! + + [Puts his hand to his throat. + +MATRYÓNA. Still it has to be done! As it is, people are talking. "The +master's gone away and won't come; he can't make up his mind to give +his blessing." They'll be putting two and two together. As soon as +they see you're frightened they'll begin guessing. "The thief none +suspect who walks bold and erect!" But you'll be getting out of the +frying-pan into the fire! Above all, lad, don't show it; don't lose +courage, else they'll find out all the more! + +NIKÍTA. Oh dear! You have snared me into a trap! + +MATRYÓNA. That'll do, I tell you; come along! Come in and give your +blessing, as is right and honorable;--and there's an end of the +matter! + +NIKÍTA (lies face down). I can't! + +MATRYÓNA (aside). What has come over him? He seemed all right, and +suddenly this comes over him! It seems he's bewitched! Get up, Nikíta! +See! There's Anísya coming; she's left her guests! + + [ANÍSYA enters, dressed up, red and tipsy. + +ANÍSYA. Oh, how nice it is, mother! So nice, so respectable! And how +the people are pleased.... But where is he? + +MATRYÓNA. Here, honey, he's here; he's laid down on the straw and +there he lies! He won't come! + +NIKÍTA (looking at his wife). Just see, she's tipsy too! When I look +at her my heart seems to turn! How can one live with her? (Turns on +his face.) I'll kill her some day! It'll be worse then! + +ANÍSYA. Only look, how he's got all among the straw! Is it the drink? +(Laughs.) I'd not mind lying down there with you, but I've no time! +Come, I'll lead you! It is so nice in the house! It's a treat to look +on! A concertina! And the women singing so well! All tipsy! Everything +so respectable, so nice! + +NIKÍTA. What's nice? + +ANÍSYA. The wedding--such a jolly wedding! They all say it's quite an +uncommon fine wedding. All so respectable, so nice! Come along! We'll +go together! I have had a drop, but I can give you a hand yet! + + [Takes his hand. + +NIKÍTA. (pulls it back with disgust). Go alone! I'll come! + +ANÍSYA. What, are you humbugging for? We've got rid of all the bother, +we've got rid of her as came between us; now we have nothing to do but +to live and be merry! And all so respectable, and quite legal! I'm so +pleased! I have no words for it! It's just as if I were going to marry +you over again! And oh, the people, they are pleased! They're all +thanking us! And the guests are all of the best: Iván Mosévitch is +there, and the Police Officer; they've also been singing songs of +praise! + +NIKÍTA. Then you should have stayed with them! What have you come for? + +ANÍSYA. True enough, I must go back! Else what does it look like! The +hosts both go and leave the visitors! And the guests are all of the +best! + +NIKÍTA (gets up and brushes the straw off himself). Go, and I'll come +at once! + +MATRYÓNA. Just see! He listens to the young bird, but wouldn't listen +to the old one! He would not hear me, but he follows his wife at once! +(MATRYÓNA and ANÍSYA turn to go.) Well, are you coming? + +NIKÍTA. I'll come directly! You go and I'll follow! I'll come and give +my blessing! (The women stop.) Go on! I'll follow! Now then, go! (Exit +women. Sits down and takes his boots off.) Yes, I'm going! A likely +thing! No, you'd better look at the rafter for me! I'll fix the noose +and jump with it from the rafter, then you can look for me! And the +rope is here just handy. (Ponders.) I'd have got over it, over any +sorrow--I'd have got over that. But this now--here it is, deep in my +heart, and I can't get over it! (Looks towards the yard.) Surely she's +not coming back? (Imitates ANÍSYA.) "So nice, so nice. I'd lie down +here with you." Oh, the baggage! Well, then, here I am! Come and +cuddle when they've taken me down from the rafter! There's only one +way! + + [Takes the rope and pulls it. + + [MÍTRITCH, who is tipsy, sits up and won't let go of the rope. + +MÍTRITCH. Shan't give it up! Shan't give it to no one! I'll bring it +myself! I said I'd bring the straw--and so I will! Nikíta, is that +you? (Laughs.) Oh, the devil! Have you come to get the straw? + +NIKÍTA. Give me the rope! + +Mítrich. No, you wait a bit! The peasants sent me! I'll bring it.... +(Rises to his feet and begins getting the straw together, but reels +for a time, then falls.) It has beaten me. It's stronger.... + +NIKÍTA. Give me the rope! + +MÍTRITCH. Didn't I say I won't! Oh, Nikíta, you're as stupid as a hog! +(Laughs.) I love you, but you're a fool! You see that I'm drunk ... +devil take you! You think I need you?... You just look at me; I'm a +Non ... fool, can't say it--Non-commissioned Officer of Her Majesty's +very First Regiment of Grenadier Guards! I've served Tsar and country, +loyal and true! But who am I? You think I'm a warrior? No, I'm not a +warrior; I'm the very least of men, a poor lost orphan! I swore not to +drink, and now I had a smoke, and.... Well then, do you think I'm +afraid of you? No fear; I'm afraid of no man! I've taken to drink, and +I'll drink! Now I'll go it for a fortnight; I'll go it hard! I'll +drink my last shirt; I'll drink my cap; I'll pawn my passport; and I'm +afraid of no one! They flogged me in the army to stop me drinking! +They switched and switched! "Well," they say, "will you leave off?" +"No," says I! Why should I be afraid of them? Here I am! Such as I am, +God made me! I swore off drinking, and didn't drink. Now I've took to +drink, and I'll drink! And I fear no man! 'Cos I don't lie; but just +as.... Why should one mind them--such muck as they are! "Here you +are," I say; that's me. A priest told me, the devil's the biggest +bragger! "As soon," says he, "as you begin to brag, you get +frightened; and as soon as you fear men then the hoofed one just +collars you and pushes you where he likes!" But as I don't fear men, +I'm easy! I can spit in the devil's beard, and at the sow his mother! +He can't do me no harm! There, put that in your pipe! + +NIKÍTA (crossing himself). True enough! What was I about? + + [Throws down the rope. + +MÍTRITCH. What? + +NIKÍTA (rises). You tell me not to fear men? + +MÍTRITCH. Why fear such muck as they are? You look at 'em in the +bath-house! All made of one paste! One has a bigger belly, another a +smaller; that's all the difference there is! Fancy being afraid of +'em! Deuce take 'em! + +MATRYÓNA (from the yard). Well, are you coming? + +NIKÍTA. Ah! Better so! I'm coming! + + [Goes towards yard. + + +SCENE II + +Interior of hut, full of people, some sitting round tables and others +standing. In the front corner AKOULÍNA and the BRIDEGROOM. On one of +the tables an Icon and a loaf of rye-bread. Among the visitors are +MARÍNA, her husband, and a POLICE OFFICER, also a HIRED DRIVER, the +MATCHMAKER, and the BEST MAN. The women are singing. ANÍSYA carries +round the drink. The singing stops. + +THE DRIVER. If we are to go, let's go! The church ain't so near. + +THE BEST MAN. All right; you wait a bit till the step-father has given +his blessing. But where is he? + +ANÍSYA. He is coming--coming at once, dear friends! Have another +glass, all of you; don't refuse! + +THE MATCHMAKER. Why is he so long? We've been waiting such a time! + +ANÍSYA. He's coming; coming directly, coming in no time! He'll be here +before one could plait a girl's hair who's had her hair cropped! +Drink, friends! (Offers the drink.) Coming at once! Sing again, my +pets, meanwhile! + +THE DRIVER. They've sung all their songs, waiting here! + + [The women sing. NIKÍTA and AKÍM enter during the singing. + +NIKÍTA (holds his father's arm and pushes him in before him). Go, +father; I can't do without you! + +AKÍM. I don't like--I mean what d'ye call it.... + +NIKÍTA (to the women). Enough! Be quiet! (Looks round the hut.) +Marína, are you there? + +THE MATCHMAKER. Go, take the icón, and give them your blessing! + +NIKÍTA. Wait a while! (Looks round.) Akoulína, are you there? + +MATCHMAKER. What are you calling everybody for? Where should she be? +How queer he seems! + +ANÍSYA. Gracious goodness! Why, he's barefoot! + +NIKÍTA. Father, you are here! Look at me! Christian Commune, you are +all here, and I am here! I am.... + + [Falls on his knees. + +ANÍSYA. Nikíta, darling, what's the matter with you? Oh, my head, my +head! + +MATCHMAKER. Here's a go! + +MATRYÓNA. I did say he was taking too much of that French wine! Come +to your senses; what are you about? + + [They try to lift him; he takes no heed of them, but looks in + front of him. + +NIKÍTA. Christian Commune! I have sinned, and I wish to confess! + +MATRYÓNA (shakes him by the shoulder). Are you mad? Dear friends, he's +gone crazy! He must be taken away! + +NIKÍTA (shakes her off). Leave me alone! And you, father, hear me! And +first, Marína, look here! (Bows to the ground to her and rises.) I +have sinned towards you! I promised to marry you, I tempted you, and +forsook you! Forgive me, in Christ's name! + + [Again bows to the ground before her. + +ANÍSYA. And what are you drivelling about? It's not becoming! No one +wants to know! Get up! It's like your impudence! + +MATRYÓNA. Oh, oh, he's bewitched! And however did it happen? It's a +spell! Get up! what nonsense are you jabbering? + + [Pulls him. + +NIKÍTA (shakes his head). Don't touch me! Forgive me my sin towards +you, Marína! Forgive me, for Christ's sake! + + [MARÍNA covers her face with her hands in silence. + +ANÍSYA. Get up, I tell you! Don't be so impudent! What are you +thinking about--to recall it? Enough humbug! It's shameful! Oh my poor +head! He's quite crazy! + +NIKÍTA (pushes his wife away and turns to AKOULÍNA). Akoulína, now +I'll speak to you! Listen, Christian Commune! I'm a fiend, Akoulína! I +have sinned against you! Your father died no natural death! He was +poisoned! + +ANÍSYA (screams). Oh my head! What's he about? + +MATRYÓNA. The man's beside himself! Lead him away! + + [The folk come up and try to seize him. + +AKÍM (motions them back with his arms). Wait! You lads, what d'ye call +it, wait, I mean! + +NIKÍTA. Akoulína, I poisoned him! Forgive me, in Christ's name! + +AKOULÍNA (jumps up). He's telling lies! I know who did it! + +MATCHMAKER. What are you about? You sit still! + +AKÍM. Oh Lord, what sins, what sins! + +POLICE OFFICER. Seize him, and send for the Elder! We must draw up an +indictment and have witnesses to it! Get up and come here! + +AKÍM (to POLICE OFFICER). Now you--with the bright buttons--I mean, +you wait! Let him, what d'ye call it, speak out, I mean! + +POLICE OFFICER. Mind, old man, and don't interfere! I have to draw up +an indictment! + +AKÍM. Eh, what a fellow you are; wait, I say! Don't talk, I mean, +about, what d'ye call it, 'ditements' Here God's work is being +done.... A man is confessing, I mean! And you, what d'ye call it ... +'ditements! + +POLICE OFFICER. The Elder! + +AKÍM. Let God's work be done, I mean, and then you. I mean you, do +your business! + +NIKÍTA. And, Akoulína, my sin is great towards you; I seduced you; +forgive me in Christ's name! + + [Bows to the ground before her. + +AKOULÍNA (leaves the table). Let me go! I shan't be married! He told +me to, but I shan't now! + +POLICE OFFICER. Repeat what you have said. + +NIKÍTA. Wait, sir, let me finish! + +AKÍM (with rapture). Speak, my son! Tell everything--you'll feel +better! Confess to God, don't fear men! God--God! It is He! + +NIKÍTA. I poisoned the father, dog that I am, and I ruined the +daughter! She was in my power, and I ruined her, and her baby! + +AKOULÍNA. True, that's true! + +NIKÍTA. I smothered the baby in the cellar with a board! I sat on it +and smothered it--and its bones crunched! (Weeps.) And I buried it! I +did it, all alone! + +AKOULÍNA. He raves! I told him to! + +NIKÍTA. Don't shield me! I fear no one now! Forgive me, Christian +Commune! + + [Bows to the ground. + + [Silence. + +POLICE OFFICER. Bind him! The marriage is evidently off! + + [Men come up with their belts. + +NIKÍTA. Wait, there's plenty of time! (Bows to the ground before his +father.) Father, dear father, forgive me too,--fiend that I am! You +told me from the first, when I took to bad ways, you said then, "If a +claw is caught, the bird is lost!" I would not listen to your words, +dog that I was, and it has turned out as you said! Forgive me, for +Christ's sake! + +AKÍM (rapturously). God will forgive you, my own son! (Embraces him.) +You have had no mercy on yourself; He will show mercy on you! God-- +God! It is He! + + [Enter ELDER. + +ELDER. There are witnesses enough here. + +POLICE OFFICER. We will have the examination at once. + + [NIKÍTA is bound. + +AKOULÍNA. (goes and stands by his side). I shall tell the truth! Ask +me! + +NIKÍTA (bound). No need to ask! I did it all myself. The design was +mine, and the deed was mine. Take me where you like. I will say no +more! + +CURTAIN + + + + +FOOTNOTES FOR THE POWER OF DARKNESS + +1. It is customary to place a dying person under the icón. One or + more icóns hang in the hut of each Orthodox peasant. + +2. Peasant weddings are usually in autumn. They are forbidden in + Lent, and soon after Easter the peasants become too busy to marry + till harvest is over. + +3. A formal request for forgiveness is customary among Russians, but + it is often no mere formality. Nikíta's first reply is evasive; + his second reply, "God will forgive you," is the correct one + sanctioned by custom. + +4. Loud public wailing of this kind is customary, and considered + indispensable, among the peasants. + +5. Where not otherwise mentioned in the stage directions, it is + always the winter half of the hut that is referred to as "the + hut." The summer half is not heated, and not used in winter + under ordinary circumstances. + +6. The Foundlings' Hospital in Moscow, where 80 to 90 percent of the + children die. + +7. Nan calls Mítritch "daddy" merely as a term of endearment. + +8. Probably Kurds + +9. This refers to the songs customary at the wedding of Russian + peasants, praising the bride and bridegroom. + +10. It is etiquette for a bride to bewail the approaching loss of her + maidenhood. + +END OF _THE POWER OF DARKNESS_ + +* * * * * + +FRUITS OF CULTURE + + + + +CHARACTERS + +LEONÍD FYÓDORITCH ZVEZDÍNTSEF. A retired Lieutenant of the Horse +Guards. Owner of more than 60,000 acres of land in various provinces. +A fresh-looking, bland, agreeable gentleman of 60. Believes in +Spiritualism, and likes to astonish people with his wonderful stories. + +ANNA PÁVLOVNA ZVEZDÍNTSEVA. Wife of Leoníd. Stout; pretends to be +young; quite taken up with the conventionalities of life; despises her +husband, and blindly believes in her doctor. Very irritable. + +BETSY. Their daughter. A young woman of 20, fast, tries to be mannish, +wears a pince-nez, flirts and giggles. Speaks very quickly and +distinctly. + +VASÍLY LEONÍDITCH ZVEZDÍNTSEF. Their son, aged 25; has studied law, +but has no definite occupation. Member of the Cycling Club, Jockey +Club, and of the Society for Promoting the Breeding of Hounds. Enjoys +perfect health, and has imperturbable self-assurance. Speaks loud and +abruptly. Is either perfectly serious--almost morose, or is noisily +gay and laughs loud. Is nicknamed Vovo. + +ALEXÉY VLADÍMIROVITCH KROUGOSVÉTLOF. A professor and scientist of +about 50, with quiet and pleasantly self-possessed manners, and quiet, +deliberate, harmonious speech. Likes to talk. Is mildly disdainful of +those who do not agree with him. Smokes much. Is lean and active. + +THE DOCTOR. About 40. Healthy, fat, red-faced, loud-voiced, and rough; +with a self-satisfied smile constantly on his lips. + +MÁRYA KONSTANTÍNOVNA. A girl of 20, from the Conservatoire, teacher of +music. Wears a fringe, and is super-fashionably dressed. Obsequious, +and gets easily confused. + +PETRÍSTCHEF. About 28; has taken his degree in philology, and is +looking out for a position. Member of the same clubs as Vasíly +Leoníditch, and also of the Society for the Organisation of Calico +Balls. [1] Is bald-headed, quick in movement and speech, and very +polite. + +THE BARONESS. A pompous lady of about 50, slow in her movements, +speaks with monotonous intonation. + +THE PRINCESS. A society woman, a visitor. + +HER DAUGHTER. An affected young society woman, a visitor. + +THE COUNTESS. An ancient dame, with false hair and teeth. Moves with +great difficulty. + +GROSSMAN. A dark, nervous, lively man of Jewish type. Speaks very +loud. + +THE FAT LADY: MÁRYA VASÍLYEVNA TOLBOÚHINA. A very distinguished, rich, +and kindly woman, acquainted with all the notable people of the last +and present generations. Very stout. Speaks hurriedly, trying to be +heard above every one else. Smokes. + +BARON KLÍNGEN (nicknamed KOKO). A graduate of Petersburg University. +Gentleman of the Bedchamber, Attaché to an Embassy. Is perfectly +correct in his deportment, and therefore enjoys peace of mind and is +quietly gay. + +TWO SILENT LADIES. + +SERGÉY IVÁNITCH SAHÁTOF. About 50, an ex-Assistant Minister of State. +An elegant gentleman, of wide European culture, engaged in nothing and +interested in everything. His carriage is dignified and at times even +severe. + +THEODORE IVÁNITCH. Personal attendant on Zvezdíntsef, aged about 60. A +man of some education and fond of information. Uses his pince-nez and +pocket-handkerchief too much, unfolding the latter very slowly. Takes +an interest in politics. Is kindly and sensible. + +GREGORY. A footman, about 28, handsome, profligate, envious, and +insolent. + +JACOB. Butler, about 40, a bustling, kindly man, to whom the interests +of his family in the village are all-important. + +SIMON. The butler's assistant, about 20, a healthy, fresh, peasant +lad, fair, beardless as yet; calm and smiling. + +THE COACHMAN. A man of about 35, a dandy. Has moustaches but no beard. +Rude and decided. + +A DISCHARGED MAN-COOK. About 45, dishevelled, unshaved, bloated, +yellow and trembling. Dressed in a ragged, light summer-overcoat and +dirty trousers. Speaks hoarsely, ejecting the words abruptly. + +THE SERVANTS' COOK. A talkative, dissatisfied woman of 30. + +THE DOORKEEPER. A retired soldier. + +TÁNYA (TATYÁNA MÁRKOVNA). LADY's-maid, 19, energetic, strong, merry, +with quickly-changing moods. At moments, when strongly excited, she +shrieks with joy. + +FIRST PEASANT. About 60. Has served as village Elder. Imagines that he +knows how to treat gentlefolk, and likes to hear himself talk. + +SECOND PEASANT. About 45, head of a family. A man of few words. Rough +and truthful. The father of Simon. + +THIRD PEASANT. About 70. Wears shoes of plaited bast. Is nervous, +restless, hurried, and tries to cover his confusion by much talking. + +FIRST FOOTMAN (in attendance on the Countess). An old man, with +old-fashioned manners, and proud of his place. + +SECOND FOOTMAN. Of enormous size, strong, and rude. + +A PORTER FROM A FASHIONABLE DRESSMAKER'S SHOP. A fresh-faced man in +dark-blue long coat. Speaks firmly, emphatically, and clearly. + + +The action takes place in Moscow, in Zvesdíntsef's house. + + + + +ACT I + +The entrance hall of a wealthy house in Moscow. There are three doors: +the front door, the door of LEONÍD FYÓDORITCH'S study, and the door of +VASÍLY LEONÍDITCH'S room. A staircase leads up to the other rooms; +behind it is another door leading to the servants' quarters. + + +SCENE I + +GREGORY (looks at himself in the glass and arranges his hair, etc.). I +am sorry about those moustaches of mine! "Moustaches are not becoming +to a footman," she says! And why? Why, so that any one might see +you're a footman,--else my looks might put her darling son to shame. +He's a likely one! There's not much fear of his coming anywhere near +me, moustaches or no moustaches! (Smiling into the glass.) And what a +lot of 'em swarm round me. And yet I don't care for any of them as +much as for that Tánya. And she only a lady's-maid! Ah well, she's +nicer than any young lady. (Smiles.) She's a duck! (Listening.) Ah, +here she comes. (Smiles.) Yes, that's her, clattering with her little +heels. Oh! + + [Enter TÁNYA, carrying a cloak and boots. + +GREGORY. My respects to you, Tatyána Márkovna. + +TÁNYA. What are you always looking in the glass for? Do you think +yourself so good-looking? + +GREGORY. Well, and are my looks not agreeable? + +TÁNYA. So, so; neither agreeable nor disagreeable, but just betwixt +and between! Why are all those cloaks hanging there? + +GREGORY. I am just going to put them away, your lady-ship! (Takes down +a fur cloak and, wrapping it round her, embraces her.) I say, Tánya, +I'll tell you something.... + +TÁNYA. Oh, get away, do! What do you mean by it? (Pulls herself +angrily away.) Leave me alone, I tell you! + +GREGORY (looks cautiously around). Then give me a kiss! + +TÁNYA. Now, really, what are you bothering for? I'll give you such a +kiss! + + [Raises her hand to strike. + +VASÍLY LEONÍDITCH (off the scene, rings and then shouts). Gregory! + +TÁNYA. There now, go! Vasíly Leoníditch is calling you. + +GREGORY. He'll wait! He's only just opened his eyes! I say, why don't +you love me? + +TÁNYA. What sort of loving have you imagined now? I don't love +anybody. + +GREGORY. That's a fib. You love Simon! You have found a nice one to +love--a common, dirty-pawed peasant, a butler's assistant! + +TÁNYA. Never mind; such as he is, you are jealous of him! + +VASÍLY LEONÍDITCH (off the scene). Gregory! + +GREGORY. All in good time.... Jealous indeed! Of what? Why, you have +only just begun to get licked into shape, and who are you tying +yourself up with? Now, wouldn't it be altogether a different matter if +you loved me?.... I say, Tánya.... + +TÁNYA (angrily and severely). You'll get nothing from me, I tell you! + +VASÍLY LEONÍDITCH (off the scene). Gregory! + +GREGORY. You're mighty particular, ain't you? + +VASÍLY LEONÍDITCH (off the scene, shouts persistently, monotonously, +and with all his might) Gregory! Greg--ory! Gregory! + + [TÁNYA and GREGORY laugh. + +GREGORY. You should have seen the girls that have been sweet on me. + + [Bell rings. + +TÁNYA. Well then, go to them, and leave me alone! + +GREGORY. You are a silly, now I think of it. I'm not Simon! + +TÁNYA. Simon means marriage, and not tomfoolery! + + [Enter PORTER, carrying a large cardboard box. + +PORTER. Good morning! + +GREGORY. Good morning! Where are you from? + +PORTER. From Bourdey's. I've brought a dress, and here's a note for +the lady. + +TÁNYA (taking the note). Sit down, and I'll take it in. + + [Exit. + + [VASÍLY LEONÍDITCH looks out of the door in shirt-sleeves and + slippers. + +VASÍLY LEONÍDITCH. Gregory! + +GREGORY. Yes, sir. + +VASÍLY LEONÍDITCH. Gregory! Don't you hear me call? + +GREGORY. I've only just come, sir. + +VASÍLY LEONÍDITCH. Hot water, and a cup of tea. + +GREGORY. Yes, sir; Simon will bring them directly. + +VASÍLY LEONÍDITCH. And who is this? Ah, from Bourdier? + +PORTER. Yes, sir. + + [Exeunt VASÍLY LEONÍDITCH and GREGORY. Bell rings. TÁNYA runs in + at the sound of the bell and opens the front door. + +TÁNYA (to PORTER). Please wait a little. Porter. I am waiting. + + [SAHÁTOF enters at front door. + +TÁNYA. I beg your pardon, but the footman has just gone away. This +way, sir. Allow me, please. + + [Takes his fur cloak. + +SAHÁTOF (adjusting his clothes). Is Leoníd Fyódoritch at home? Is he +up? + + [Bell rings. + +TÁNYA. Oh yes, sir. He's been up a long time. + + [DOCTOR enters and looks around for the footman. Sees SAHÁTOF and + addresses him in an offhand manner. + +DOCTOR. Ah, my respects to you! + +SAHÁTOF (looks fixedly at him). The Doctor, I believe? + +DOCTOR. And I thought you were abroad! Dropped in to see Leoníd +Fyódoritch? + +SAHÁTOF. Yes. And you? Is any one ill? + +DOCTOR (laughing). Not exactly ill but, you know.... It's awful with +these ladies! Sits up at cards till three every morning, and pulls her +waist into the shape of a wine-glass. And the lady is flabby and fat, +and carries the weight of a good many years on her back. + +SAHÁTOF. Is this the way you state your diagnosis to Anna Pávlovna? I +should hardly think it quite pleases her! + +DOCTOR (laughing). Well, it's the truth. They do all these tricks--and +then come derangements of the digestive organs, pressure on the liver, +nerves, and all sorts of things, and one has to come and patch them +up. It's just awful! (Laughs.) And you? You are also a spiritualist, +it seems? + +SAHÁTOF. I? No, I am not also a spiritualist.... Good morning! + + [Is about to go, but is stopped by the DOCTOR. + +DOCTOR. No! But I can't myself, you know, positively deny the +possibility of it, when a man like Krougosvétlof is connected with it +all. How can one? Is he not a professor,--a European celebrity? There +must be something in it. I should like to see for myself, but I never +have the time. I have other things to do. + +SAHÁTOF. Yes, yes! Good morning. + + [Exit, bowing slightly. + +DOCTOR (to Tánya). Is Anna Pávlovna up? + +TÁNYA. She's in her bedroom, but please come up. + + [DOCTOR goes upstairs. + + [THEODORE IVÁNITCH enters with a newspaper In his hand. + +THEODORE IVÁNITCH (to PORTER). What is it you want? + +PORTER. I'm from Bourdey's. I brought a dress and a note, and was told +to wait. + +THEODORE IVÁNITCH. Ah, from Bourdey's! (To Tánya.) Who came in just +now? + +TÁNYA. It was Sergéy Ivánitch Sahátof and the Doctor. They stood +talking here a bit. It was all about spiritalism. + +THEODORE IVÁNITCH (correcting her). Spiritualism. + +TÁNYA. Yes, that's just what I said--spiritalism. Have you heard how +well it went off last time, Theodore Ivánitch? (Laughs). There was +knocks, and things flew about! + +THEODORE IVÁNITCH. And how do you know? + +TÁNYA. Miss Elizabeth told me. + + [JACOB runs in with a tumbler of tea on a tray. + +JACOB (to the PORTER). Good morning! + +PORTER (disconsolately). Good morning! + + [JACOB knocks at VASÍLY LEONÍDITCH'S door. + + [GREGORY enters. + +GREGORY. Give it here. + +JACOB. You didn't bring back all yesterday's tumblers, nor the tray +Vasíly Leoníditch had. And it's me that have to answer for them! + +GREGORY. The tray is full of cigars. + +JACOB. Well, put them somewhere else. It's me who's answerable for it. + +GREGORY. I'll bring it back! I'll bring it back! + +JACOB. Yes, so you say, but it is not where it ought to be. The other +day, just as the tea had to be served, it was not to be found. + +GREGORY. I'll bring it back, I tell you. What a fuss! + +JACOB. It's easy for you to talk. Here am I serving tea for the third +time, and now there's the lunch to get ready. One does nothing but +rush about the livelong day. Is there any one in the house who has +more to do than me? Yet they are never satisfied with me. + +GREGORY. Dear me! Who could wish for any one more satisfactory? You're +such a fine fellow! + +TÁNYA. Nobody is good enough for you! You alone.... + +GREGORY (to TÁNYA). No one asked your opinion! + + [Exit. + +JACOB. Ah, well, I don't mind. Tatyána Márkovna, did the mistress say +anything about yesterday? + +TÁNYA. About the lamp, you mean? + +JACOB. And how it managed to drop out of my hands, the Lord only +knows! Just as I began rubbing it, and was going to take hold of it in +another place, out it slips and goes all to pieces. It's just my luck! +It's easy for that Gregory Miháylitch to talk--a single man like him! +But when one has a family, one has to consider things: they have to be +fed. I don't mind work.... So she didn't say anything? The Lord be +thanked!... Oh, Theodore Ivánitch, have you one spoon or two? + +THEODORE IVÁNITCH. One. Only one! + + [Reads newspaper. + + [Exit JACOB. + + [Bell rings. Enter GREGORY carrying a tray and the DOORKEEPER. + +DOORKEEPER (to GREGORY). Tell the master some peasants have come from +the village. + +GREGORY (pointing to THEODORE IVÁNITCH). Tell the major-domo here, +it's his business. I have no time. + + [Exit. + +TÁNYA. Where are these peasants from? + +DOORKEEPER. From Koursk, I think. + +TÁNYA. (shrieks with delight). It's them.... It's Simon's father come +about the land! I'll go and meet them! + + [Runs off. + +DOORKEEPER. Well, then what shall I say to them? Shall they come in +here? They say they've come about the land--the master knows, they +say. + +THEODORE IVÁNITCH. Yes, they want to purchase some land. All right! +But he has a visitor now, so you had better tell them to wait. + +DOORKEEPER. Where shall they wait? + +THEODORE IVÁNITCH. Let them wait outside. I'll send for them when the +time comes. + + [Exit DOORKEEPER. + + [Enter TÁNYA, followed by three PEASANTS. + +TÁNYA. To the right. In here! In here! + +THEODORE IVÁNITCH. I did not want them brought in here! + +GREGORY. Forward minx! + +TÁNYA. Oh, Theodore Ivánitch, it won't matter, they'll stand in this +corner. + +THEODORE IVÁNITCH. They'll dirty the floor. + +TÁNYA. They've scraped their shoes, and I'll wipe the floor up +afterwards. (To PEASANTS.) Here, stand just here. + + [PEASANTS come forward, carrying presents tied in cotton + handkerchiefs: cake, eggs and embroidered towels. They look + around for an icón before which to cross themselves; not finding + one, they cross themselves, looking at the staircase. + +GREGORY (to THEODORE IVÁNITCH). There now, Theodore Ivánitch, they say +Pironnet's boots are an elegant shape. But those there are ever so +much better. + + [Pointing to the third PEASANT'S bast shoes. + +THEODORE IVÁNITCH. Why will you always be ridiculing people? + + [Exit GREGORY. + +THEODORE IVÁNITCH (rises and goes up to the PEASANTS). So you are from +Koursk? And have come to arrange about buying some land? + +FIRST PEASANT. Just so. We might say, it is for the completion of the +purchase of the land we have come. How could we announce ourselves to +the master? + +THEODORE IVÁNITCH. Yes, yes, I know. You wait a bit and I'll go and +inform him. + + [Exit. + + [The PEASANTS look around; they are embarrassed where to put their + presents. + +FIRST PEASANT. There now, couldn't we have what d'you call it? +Something to present these here things on? To do it in a genteel way, +like,--a little dish or something. + +TÁNYA. All right, directly; put them down here for the present. + + [Puts bundles on settle. + +FIRST PEASANT. There now,--that respectable gentleman that was here +just now,--what might be his station? + +TÁNYA. He's the master's valet. + +FIRST PEASANT. I see. So he's also in service. And you, now, are you a +servant too? + +TÁNYA. I am lady's-maid. Do you know, I also come from Démen! I know +you, and you, but I don't know him. + + [Pointing to THIRD PEASANT. + +THIRD PEASANT. Them two you know, but me you don't know? + +TÁNYA. You are Efím Antónitch. + +FIRST PEASANT. That's just it! + +TÁNYA. And you are Simon's father, Zachary Trifánitch. + +SECOND PEASANT. Right! + +THIRD PEASANT. And let me tell you, I'm Mitry Vlásitch Tchilikin. Now +do you know? + +TÁNYA. Now I shall know you too! + +SECOND PEASANT. And who may you be? + +TÁNYA. I am Aksínya's, the soldier's wife's, orphan. + +FIRST AND THIRD PEASANTS (with surprise). Never! + +SECOND PEASANT. The proverb says true: "Buy a penny pig, put it in the +rye, And you'll have a wonderful fat porker by-and-by." + +FIRST PEASANT. That's just it! She's got the resemblance of a duchess! + +THIRD PEASANT. That be so truly. Oh Lord! + +VASÍLY LEONÍDITCH (off the scene, rings, and then shouts). Gregory! +Gregory! + +FIRST PEASANT. Now who's that, for example, disturbing himself in such +a way, if I may say so? + +TÁNYA. That's the young master. + +THIRD PEASANT. Oh Lord! Didn't I say we'd better wait outside until +the time comes? + + [Silence. + +SECOND PEASANT. Is it you, Simon wants to marry? + +TÁNYA. Why, has he been writing? + + [Hides her face in her apron. + +SECOND PEASANT. It's evident he's written! But it's a bad business +he's imagined here. I see the lad's got spoilt! + +TÁNYA (quickly). No, he's not at all spoilt! Shall I send him to you? + +SECOND PEASANT. Why send him? All in good time. Where's the hurry? + +VASÍLY LEONÍDITCH (desperately, behind scene). Gregory! Where the +devil are you?... + + [Enters from his room in shirt-sleeves, adjusting his pince-nez. + +VASÍLY LEONÍDITCH. Is every one dead? + +TÁNYA. He's not here, sir.... I'll send him to you at once. + + [Moves towards the back door. + +VASÍLY LEONÍDITCH. I could hear you talking, you know. How have these +scarecrows sprung up here? Eh? What? + +TÁNYA. They're peasants from the Koursk village, sir. + + [PEASANTS bow. + +VASÍLY LEONÍDITCH. And who is this? Oh yes, from Bourdier. + + [VASÍLY LEONÍDITCH pays no attention to the PEASANTS' bow. TÁNYA + meets GREGORY at the doorway and remains on the scene. + +VASÍLY LEONÍDITCH (to GREGORY). I told you the other boots.... I can't +wear these! + +GREGORY. Well, the others are also there. + +VASÍLY LEONÍDITCH. But where is there? + +GREGORY. Just in the same place! + +VASÍLY LEONÍDITCH. They're not! + +GREGORY. Well, come and see. + + [Exeunt GREGORY and VASÍLY LEONÍDITCH. + +THIRD PEASANT. Say, now, might we not in the meantime just go and +wait, say, in some lodging-house or somewhere? + +TÁNYA. No, no, wait a little. I'll go and bring you some plates to put +the presents on. + + [Exit. + + [Enter SAHÁTOF and LEONÍD FYÓDORITCH, followed by THEODORE IVÁNITCH. + + [The PEASANTS take up the presents, and pose themselves. + +LEONÍD FYÓDORITCH (to PEASANTS). Presently, presently! Wait a bit! +(Points to PORTER.) Who is this? + +PORTER. From Bourdey's. + +LEONÍD FYÓDORITCH. Ah, from Bourdier. + +SAHÁTOF (smiling). Well, I don't deny it: still you understand that, +never having seen it, we, the uninitiated, have some difficulty in +believing. + +LEONÍD FYÓDORITCH. You say you find it difficult to believe! We do not +ask for faith; all we demand of you is to investigate! How can I help +believing in this ring? Yet this ring came from there! + +SAHÁTOF. From there? What do you mean? From where? + +LEONÍD FYÓDORITCH. From the other world. Yes! + +SAHÁTOF (smiling). That's very interesting--very interesting! + +LEONÍD FYÓDORITCH. Well, supposing we admit that I'm a man carried +away by an idea, as you think, and that I am deluding myself. Well, +but what of Alexéy Vladímiritch Krougosvétlof--he is not just an +ordinary man, but a distinguished professor, and yet he admits it to +be a fact. And not he alone. What of Crookes? What of Wallace? + +SAHÁTOF. But I don't deny anything. I only say it is very interesting. +It would be interesting to know how Krougosvétlof explains it! + +LEONÍD FYÓDORITCH. He has a theory of his own. Could you come +to-night?--he is sure to be here. First we shall have Grossman--you +know, the famous thought-reader? + +SAHÁTOF. Yes, I have heard of him but have never happened to meet him. + +LEONÍD FYÓDORITCH. Then you must come! We shall first have Grossman, +then Kaptchítch, and our mediumistic séance.... (To THEODORE +IVÁNITCH.) Has the man returned from Kaptchítch? + +THEODORE IVÁNITCH. Not yet, sir. + +SAHÁTOF. Then how am I to know? + +LEONÍD FYÓDORITCH. Never mind, come in any case! If Kaptchítch can't +come we shall find our own medium. Márya Ignátievna is a medium--not +such a good one as Kaptchítch, but still.... + + [TÁNYA enters with plates for the presents, and stands listening. + +SAHÁTOF (smiling). Oh, yes, yes. But here is one puzzling point:--how +is it that the mediums are always of the, so-called, educated class, +such as Kaptchítch and Márya Ignátievna? If there were such a special +force, would it not be met with also among the common people--the +peasants? + +LEONÍD FYÓDORITCH. Oh yes, and it is! That is very common. Even here +in our own house we have a peasant whom we discovered to be a medium. +A few days ago we called him in--a sofa had to be moved, during a +séance--and we forgot all about him. In all probability he fell +asleep. And, fancy, after our séance was over and Kaptchítch had come +to again, we suddenly noticed mediumistic phenomena in another part of +the room, near the peasant: the table gave a jerk and moved! + +TÁNYA (aside). That was when I was getting out from under it! + +LEONÍD FYÓDORITCH. It is quite evident he also is a medium. Especially +as he is very like Home in appearance. You remember Home--a +fair-haired naïf sort of fellow? + +SAHÁTOF (shrugging his shoulders). Dear me, this is very interesting, +you know. I think you should try him. + +LEONÍD FYÓDORITCH. So we will! And he is not alone; there are +thousands of mediums, only we do not know them. Why, only a short time +ago a bedridden old woman moved a brick wall! + +SAHÁTOF. Moved a brick ... a brick wall? + +LEONÍD FYÓDORITCH. Yes, yes. She was lying in bed, and did not even +know she was a medium. She just leant her arm against the wall, and +the wall moved! + +SAHÁTOF. And did not cave in? + +LEONÍD FYÓDORITCH. And did not cave in. + +SAHÁTOF. Very strange! Well, then, I'll come this evening. + +LEONÍD FYÓDORITCH. Pray, do. We shall have a séance in any case. + + [SAHATOF puts on his outdoor things; LEONÍD FYÓDORITCH sees him + to the door. + +PORTER (to TÁNYA). Do tell your mistress! Am I to spend the night +here? + +TÁNYA. Wait a little; she's going to drive out with the young lady, so +she'll soon be coming downstairs. + + [Exit. + +LEONÍD FYÓDORITCH (comes up to the PEASANTS, who bow and offer him +their presents). That's not necessary! + +FIRST PEASANT (smiling). Oh, but this-here is our first duty, it is! +It's also the Commune's orders that we should do it! + +SECOND PEASANT. That's always been the proper way. + +THIRD PEASANT. Say no more about it! 'Cause as we are much +satisfied.... As our parents, let's say, served, let's say, your +parents, so we would like the same with all our hearts ... and not +just anyhow! + + [Bows. + +LEONÍD FYÓDORITCH. But what is it about? What do you want? + +FIRST PEASANT. It's to your honor we've come.... + + [Enter PETRÍSTCHEF briskly, in fur-lined overcoat. + +PETRÍSTCHEF. Is Vasíly Leoníditch awake yet? + + [Seeing LEONÍD FYÓDORITCH, bows, moving only his head. + +LEONÍD FYÓDORITCH. You have come to see my son? + +PETRÍSTCHEF. I? Yes, just to see Vovo for a moment. + +LEONÍD FYÓDORITCH. Step in, step in. + + [PETRÍSTCHEF takes off his overcoat and walks in briskly. Exit. + +LEONÍD FYÓDORITCH (to PEASANTS). Well, what is it you want? + +SECOND PEASANT. Please accept our presents! + +FIRST PEASANT (smiling). That's to say, the peasants' offerings. + +THIRD PEASANT. Say no more about it; what's the good? We wish you the +same as if you were our own father! Say no more about it! + +LEONÍD FYÓDORITCH. All right. Here, Theodore, take these. + +THEODORE IVÁNITCH (to PEASANTS). Give them here. + + [Takes the presents. + +LEONÍD FYÓDORITCH. Well, what is the business? + +FIRST PEASANT. We've come to your honor.... + +LEONÍD FYÓDORITCH. I see you have; but what do you want? + +FIRST PEASANT. It's about making a move towards completing the sale of +the land. It comes to this.... + +LEONÍD FYÓDORITCH. Do you mean to buy the land? + +FIRST PEASANT. That's just it. It comes to this.... I mean the buying +of the property of the land. The Commune has given us, let's say, the +power of atturning, to enter, let's say, as is lawful, through the +Government bank, with a stamp for the lawful amount. + +LEONÍD FYÓDORITCH. You mean that you want to buy the land through the +land-bank. + +FIRST PEASANT. That's just it. Just as you offered it to us last year. +It comes to this, then, the whole sum in full for the buying of the +property of the land is 32,864 roubles. + +LEONÍD FYÓDORITCH. That's all right, but how about paying up? + +FIRST PEASANT. As to the payment, the Commune offers just as it was +said last year--to pay in 'stalments, and your receipt of the ready +money by lawful regulations, 4000 roubles in full. [2] + +SECOND PEASANT. Take 4000 now, and wait for the rest of the money. + +THIRD PEASANT (unwrapping a parcel of money). And about this be quite +easy. We should pawn our own selves rather than do such a thing just +anyhow say, but in this way, let's say, as it ought to be done. + +LEONÍD FYÓDORITCH. But did I not write and tell you that I should not +agree to it unless you brought the whole sum? + +FIRST PEASANT. That's just it. It would be more agreeable, but it is +not in our possibilities, I mean. + +LEONÍD FYÓDORITCH. Well then, the thing can't be done! + +FIRST PEASANT. The Commune, for example, relied its hopes on that, +that you made the offer last year to sell it in easy 'stalments.... + +LEONÍD FYÓDORITCH. That was last year. I would have agreed to it then, +but now I can't. + +SECOND PEASANT. But how's that? We've been depending on your promise-- +we've got the papers ready and have collected the money! + +THIRD PEASANT. Be merciful, master! We're short of land; we'll say +nothing about cattle, but even a hen, let's say, we've no room to +keep. (Bows.) Don't wrong us, master! + + [Bows. + +LEONÍD FYÓDORITCH. Of course it's quite true, that I agreed last year +to let you have the land for payment by instalments, but now +circumstances are such that it would be inconvenient. + +SECOND PEASANT. Without this land we cannot live! + +FIRST PEASANT. That's just it. Without land our lives must grow weaker +and come to a decline. + +THIRD PEASANT (bowing). Master, we have so little land, let's not talk +about the cattle, but even a chicken, let's say, we've no room for. +Master, be merciful, accept the money, master! + +LEONÍD FYÓDORITCH (examining the document). I quite understand, and +should like to help you. Wait a little; I will give you an answer in +half-an-hour.... Theodore, say I am engaged and am not to be +disturbed. + +THEODORE IVÁNITCH. Yes, sir. + + [Exit LEONÍD FYODORITCH. + + [The PEASANTS look dejected. + +SECOND PEASANT. Here's a go! "Give me the whole sum," he says. And +where are we to get it from? + +FIRST PEASANT. If he had not given us hopes, for example. As it is we +felt quite insured it would be as was said last year. + +THIRD PEASANT. Oh, Lord! and I had begun unwrapping the money. (Begins +wrapping up the bundle of bank-notes again.) What are we to do now? + +THEODORE IVÁNITCH. What is your business, then? + +FIRST PEASANT. Our business, respected sir, depends in this. Last year +he made us the offer of our buying the land in 'stalments. The Commune +entered upon these terms and gave us the powers of atturning, and now +d'you see he makes the offering that we should pay the whole in full! +And as it turns out, the business is no ways convenient for us. + +THEODORE IVÁNITCH. What is the whole sum? + +FIRST PEASANT. The whole sum in readiness is 4000 roubles, you see. + +THEODORE IVÁNITCH. Well, what of that? Make an effort and collect +more. + +FIRST PEASANT. Such as it is, it was collected with much effort. We +have, so to say, in this sense, not got ammunition enough. + +SECOND PEASANT. You can't get blood out of a stone. + +THIRD PEASANT. We'd be glad with all our hearts, but we have swept +even this together, as you might say, with a broom. + + [VASÍLY LEONÍDITCH and PETRÍSTCHEF appear in the doorway both + smoking cigarettes. + +VASÍLY LEONÍDITCH. I have told you already I'll do my best, so, of +course, I will do all that is possible! Eh, what? + +PETRÍSTCHEF. You must just understand that if you do not get it, the +devil only knows what a mess we shall be in! + +VASÍLY LEONÍDITCH. But I've already said I'll do my best, and so I +will. Eh, what? + +PETRÍSTCHEF. Nothing. I only say, get some at any cost; I will wait. + + [Exit into VASÍLY LEONÍDITCH'S room, closing door. + +VASÍLY LEONÍDITCH (waving his arm). It's a deuce of a go! + + [The PEASANTS bow. + +VASÍLY LEONÍDITCH (looking at PORTER, to THEODORE IVÁNITCH). Why don't +you attend to this fellow from Bourdier? He hasn't come to take +lodgings with us, has he? Just look, he is asleep! Eh, what? + +THEODORE IVÁNITCH. The note he brought has been sent in, and he has +been told to wait until Anna Pávlovna comes down. + +VASÍLY LEONÍDITCH (looks at PEASANTS and notices the money). And what +is this? Money? For whom? Is it for us? (To THEODORE IVÁNITCH.) Who +are they? + +THEODORE IVÁNITCH. They are peasants from Koursk. They are buying +land. + +VASÍLY LEONÍDITCH. Has it been sold them? + +THEODORE IVÁNITCH. No, they have not yet come to any agreement. They +are too stingy? + +VASÍLY LEONÍDITCH. Eh? Well, we must try and persuade them. (To the +PEASANTS.) Here, I say, are you buying land? Eh? + +FIRST PEASANT. That's just it. We have made an offering as how we +should like to acquire the possession of the land. + +VASÍLY LEONÍDITCH. Then you should not be so stingy, you know. Just +let me tell you how necessary land is to peasants! Eh, what? It's very +necessary, isn't it? + +FIRST PEASANT. That's just it. The land appears as the very first and +foremost necessity to a peasant. That's just it. + +VASÍLY LEONÍDITCH. Then why be so stingy? Just you think what land is! +Why, one can sow wheat on it in rows! I tell you, you could get eighty +bushels of wheat, at a rouble and a half a bushel--that would be 120 +roubles. Eh, what? Or else mint! I tell you, you could collar 400 +roubles off an acre by sowing mint! + +FIRST PEASANT. That's just it. All sorts of products one could put +into action if one had the right understanding. + +VASÍLY LEONÍDITCH. Mint! Decidedly mint! I have learnt about it, you +know. It's all printed in books. I can show them you. Eh, what? + +FIRST PEASANT. That's just it, all concerns are clearer to you through +your books. That's learnedness, of course. + +VASÍLY LEONÍDITCH. Then pay up and don't be stingy! (To THEODORE +IVÁNITCH.) Where's papa? + +THEODORE IVÁNITCH. He gave orders not to be disturbed just now. + +VASÍLY LEONÍDITCH. Oh, I suppose he's consulting a spirit whether to +sell the land or not? Eh, what? + +THEODORE IVÁNITCH. I can't say. All I know is that be went away +undecided about it. + +VASÍLY LEONÍDITCH. What d'you think, Theodore Ivánitch, is he flush of +cash? Eh, what? + +THEODORE IVÁNITCH. I don't know. I hardly think so. But what does it +matter to you? You drew a good sum not more than a week ago. + +VASÍLY LEONÍDITCH. But didn't I pay for those dogs? And now, you know, +there's our new Society, and Petrístchef has been chosen, and I had +borrowed money from Petrístchef and must pay the subscription both for +him and for myself. Eh, what? + +THEODORE IVÁNITCH. And what is this new Society? A Cycling Club? + +VASÍLY LEONÍDITCH. No. Just let me tell you. It is quite a new +Society. It is a very serious Society, you know. And who do you think +is President? Eh, what? + +THEODORE IVÁNITCH. What's the object of this new Society? + +VASÍLY LEONÍDITCH. It is a "Society to Promote the Breeding of +Pure-Bred Russian Hounds." Eh, what? And I'll tell you, they're +having the first meeting and a lunch, to-day. And I've no money. I'll +go to him and have a try! + + [Exit through study door. + +FIRST PEASANT (to THEODORE IVÁNITCH). And who might he be, respected +sir? + +THEODORE IVÁNITCH (smiles). The young master. + +THIRD PEASANT. The heir, so to say. Oh, Lord! (Puts away the money.) +I'd better hide it meanwhile. + +FIRST PEASANT. And we were told he was in military service, in the +cav'rely, for example. + +THEODORE IVÁNITCH. No, as an only son he is exempt from military +service. + +THIRD PEASANT. Left for to keep his parents, so to say! That's right! + +SECOND PEASANT (shaking his head). He's the right sort. He'll feed +them finely! + +THIRD PEASANT. Oh, Lord! + + [Enter VASÍLY LEONÍDITCH, followed by LEONÍD FYÓDORITCH. + +VASÍLY LEONÍDITCH. That's always the way. It's really surprising! +First I'm asked why I have no occupation, and now when I have found a +field and am occupied, when a Society with serious and noble aims has +been founded, I can't even have 300 roubles to go on with!... + +LEONÍD FYÓDORITCH. I tell you I can't do it, and I can't! I haven't +got it. + +VASÍLY LEONÍDITCH. Why, you have just sold some land. + +LEONÍD FYÓDORITCH. In the first place I have not sold it! And above +all, do leave me in peace! Weren't you told I was engaged? + + [Exit, slamming door. + +THEODORE IVÁNITCH. I told you this was not the right moment. + +VASÍLY LEONÍDITCH. Well, I say! Here's a position to be in! I'll go +and see mamma--that's my only hope. He's going crazy over his +spiritualism and forgets everything else. + + [Goes upstairs. + + [THEODORE IVÁNITCH takes newspaper and is just going to sit down, + when BETSY and MÁRYA KONSTANTÍNOVNA, followed by GREGORY, come + down the stairs. + +BETSY. Is the carriage ready? + +GREGORY. Just coming to the door. + +BETSY (to MÁRYA KONSTANTÍNOVNA). Come along, come along, I know it is +he. + +MÁRYA KONSTANTÍNOVNA. Which he? + +BETSY. You know very well whom I mean--Petrístchef, of course. + +MÁRYA KONSTANTÍNOVNA. But where is he? + +BETSY. Sitting in Vovo's room. You'll see! + +MÁRYA KONSTANTÍNOVNA. And suppose it is not he? + + [The PEASANTS and PORTER bow. + +BETSY (to PORTER). You brought a dress from Bourdier's? + +PORTER. Yes, Miss. May I go? + +BETSY. Well, I don't know. Ask my mother. + +PORTER. I don't know whose it is, Miss; I was ordered to bring it here +and receive the money. + +BETSY. Well, then, wait. + +MÁRYA KONSTANTÍNOVNA. Is it still that costume for the charade? + +BETSY. Yes, a charming costume. But mamma won't take it or pay for it. + +MÁRYA KONSTANTÍNOVNA. But why not? + +BETSY. You'd better ask mamma. She doesn't grudge Vovo 500 roubles for +his dogs, but 100 is too much for a dress. I can't act dressed like a +scarecrow. (Pointing to PEASANTS.) And who are these? + +GREGORY. Peasants who have come to buy some land or other. + +BETSY. And I thought they were the beaters. Are you not beaters? + +FIRST PEASANT. No, no, lady. We have come to see Leoníd Fyódoritch +about the signing into our possession of the title-deeds to some land. + +BETSY. Then how is it? Vovo was expecting some beaters who were to +come to-day. Are you sure you are not the beaters? (The PEASANTS are +silent.) How stupid they are! (Goes to VASÍLY LEONÍDITCH'S door.) +Vovo? + + [Laughs. + +MÁRYA KONSTANTÍNOVNA. But we met him just now upstairs! + +BETSY. Why need you remember that? Vovo, are you there? + + [PETRÍSTCHEF enters. + +PETRÍSTCHEF. Vovo is not here, but I am prepared to fulfil on his +behalf anything that may be required. How do you do? How do you do, +Márya Konstantínovna? + + [Shakes hands long and violently with BETSY, and then with MÁRYA + KONSTANTÍNOVNA. + +SECOND PEASANT. See, it's as if he were pumping water! + +BETSY. You can't replace him,--still you're better than nobody. +(Laughs.) What are these affairs of yours with Vovo? + +PETRÍSTCHEF. What affairs? Our affairs are fie-nancial that is, our +business is fie! It's also nancial, and besides it is financial. + +BETSY. What does nancial mean? + +PETRÍSTCHEF. What a question! It means nothing, that's just the point. + +BETSY. No, no, you have missed fire. + + [Laughs. + +PETRÍSTCHEF. One can't always hit the mark, you know. It's something +like a lottery. Blanks and blanks again, and at last you win! + + [THEODORE IVÁNITCH goes into the study. + +BETSY. Well, this was blank then; but tell me, were you at the +Mergásofs' last night? + +PETRÍSTCHEF. Not exactly at the Mère Gásof's, but rather at the Père +Gásof's, or better still, at the Fils Gásof's. + +BETSY. You can't do without puns. It's an illness. And were the +Gypsies there? [3] + + [Laughs. + +PETRÍSTCHEF (sings). "On their aprons silken threads, little birds +with golden heads!".... + +BETSY. Happy mortals! And we were yawning at Fofo's. + +PETRÍSTCHEF (continues to sing). "And she promised and she swore, she +would ope' her ... her ... her...." how does it go on, Márya +Konstantínovna? + +MÁRYA KONSTANTÍNOVNA. "Closet door." + +PETRÍSTCHEF. How? What? How, Márya Konstantínovna? + +BETSY. Cessez, vous devenez impossible! [4] + +PETRÍSTCHEF. J'ai cessé, j'ai bébé, j'ai dédé....[5] + +BETSY. I see the only way to rid ourselves of your wit is to make you +sing! Let us go into Vovo's room, his guitar is there. Come, Márya +Konstantínovna, come! + + [Exeunt BETSY, MÁRYA KONSTANTÍNOVNA, and PETRÍSTCHEF. + +FIRST PEASANT. Who be they? + +GREGORY. One is our young lady, the other is a girl who teaches her +music. + +FIRST PEASANT. Administrates learning, so to say. And ain't she smart? +A reg'lar picture! + +SECOND PEASANT. Why don't they marry her? She is old enough, I should +say. + +GREGORY. Do you think it's the same as among you peasants,--marry at +fifteen? + +FIRST PEASANT. And that man, for example, is he also in the musitional +line? + +GREGORY (mimicking him). "Musitional," indeed! You don't understand +anything! + +FIRST PEASANT. That's just so. And stupidity, one might say, is our +ignorance. + +THIRD PEASANT. Oh, Lord! + + [Gypsy songs and guitar accompaniment are heard from VASÍLY + LEONÍDITCH'S room. + + [Enter SIMON, followed by TÁNYA, who watches the meeting between + father and son. + +GREGORY (to SIMON). What do you want? + +SIMON. I have been to Mr. Kaptchítch. + +GREGORY. Well, and what's the answer? + +SIMON. He sent word he couldn't possibly come to-night. + +GREGORY. All right, I'll let them know. + + [Exit. + +SIMON (to his father). How d'you do, father! My respects to Daddy Efím +and Daddy Mítry! How are all at home? + +SECOND PEASANT. Very well, Simon. + +FIRST PEASANT. How d'you do, lad? + +THIRD PEASANT. How d'you do, sonny? + +SIMON (smiles). Well, come along, father, and have some tea. + +SECOND PEASANT. Wait till we've finished our business. Don't you see +we are not ready yet? + +SIMON. Well, I'll wait for you by the porch. + + [Wishes to go away. + +TÁNYA (running after him). I say, why didn't you tell him anything? + +SIMON. How could I before all those people? Give me time, I'll tell +him over our tea. + + [Exit. + + [THEODORE IVÁNITCH enters and sits down by the window. + +FIRST PEASANT. Respected sir, how's our business proceeding? + +THEODORE IVÁNITCH. Wait a bit, he'll be out presently, he's just +finishing. + +TÁNYA (to THEODORE IVÁNITCH). And how do you know, Theodore Ivánitch, +he is finishing? + +THEODORE IVÁNITCH. I know that when he has finished questioning, he +reads the question and answer aloud. + +TÁNYA. Can one really talk with spirits by means of a saucer? + +THEODORE IVÁNITCH. It seems so. + +TÁNYA. But supposing they tell him to sign, will he sign? + +THEODORE IVÁNITCH. Of course he will. + +TÁNYA. But they do not speak with words? + +THEODORE IVÁNITCH. Oh, yes. By means of the alphabet. He notices at +which letter the saucer stops. + +TÁNYA. Yes, but at a si-ance?.... + + [Enter LEONÍD FYÓDORITCH. + +LEONÍD FYÓDORITCH. Well, friends, I can't do it! I should be very glad +to, but it is quite impossible. If it were for ready money it would be +a different matter. + +FIRST PEASANT. That's just so. What more could any one desire? But the +people are so inpennycuous--it is quite impossible! + +LEONÍD FYÓDORITCH. Well, I can't do it, I really can't. Here is your +document; I can't sign it. + +THIRD PEASANT. Show some pity, master; be merciful! + +SECOND PEASANT. How can you act so? It is doing us a wrong. + +LEONÍD FYÓDORITCH. Nothing wrong about it, friends. I offered it you +in summer, but then you did not agree; and now I can't agree to it. + +THIRD PEASANT. Master, be merciful! How are we to get along? We have +so little land. We'll say nothing about the cattle; a hen, let's say, +there's no room to let a hen run about. + + [LEONÍD FYÓDORITCH goes up to the door and stops. Enter, + descending the staircase, ANNA PÁVLOVNA and DOCTOR, followed by + VASÍLY LEONÍDITCH, who is in a merry and playful mood and is + putting some bank-notes into his purse. + +ANNA PÁVLOVNA (tightly laced, and wearing a bonnet). Then I am to take +it? + +DOCTOR. If the symptoms recur you must certainly take it, but above +all, you must behave better. How can you expect thick syrup to pass +through a thin little hair tube, especially when we squeeze the tube? +It's impossible; and so it is with the biliary duct. It's simple +enough. + +ANNA PÁVLOVNA. All right, all right! + +DOCTOR. Yes. "All right, all right," and you go on in the same old +way. It won't do, madam--it won't do. Well, good-bye! + +ANNA PÁVLOVNA. No, not good-bye, only au revoir! For I still expect +you to-night. I shall not be able to make up my mind without you. + +DOCTOR. All right, if I have time I'll pop in. + + [Exit. + +ANNA PÁVLOVNA (noticing the PEASANTS). What's this? What? What people +are these? + + [PEASANTS bow. + +THEODORE IVÁNITCH. These are peasants from Koursk, come to see Leoníd +Fyódoritch about the sale of some land. + +ANNA PÁVLOVNA. I see they are peasants, but who let them in? + +THEODORE IVÁNITCH. Leoníd Fyódoritch gave the order. He has just been +speaking to them about the sale of the land. + +ANNA PÁVLOVNA. What sale? There is no need to sell any. But above all, +how can one let in people from the street into the house? One can't +let people in from the street! One can't let people into the house who +have spent the night heaven knows where!... (Getting more and more +excited.) I daresay every fold of their clothes is full of microbes-- +of scarlet-fever microbes, of smallpox microbes, of diphtheria +microbes! Why, they are from Koursk Government, where there is an +epidemic of diphtheria ... Doctor! Doctor! Call the doctor back! + + [LEONÍD FYÓDORITCH goes into his room and shuts the door. GREGORY + goes to recall the DOCTOR. + +VASÍLY LEONÍDITCH (smokes at the PEASANTS). Never mind, mamma; if you +like I'll fumigate them so that all the microbes will go to pot! Eh, +what? + + [ANNA PÁVLOVNA remains severely silent, awaiting the DOCTOR'S + return. + +VASÍLY LEONÍDITCH (to PEASANTS). And do you fatten pigs? There's a +first-rate business! + +FIRST PEASANT. That's just so. We do go in for the pig-fattening line +now and then. + +VASÍLY LEONÍDITCH. This kind?... + + [Grunts like a pig. + +ANNA PÁVLOVNA. Vovo, Vovo, leave off! + +VASÍLY LEONÍDITCH. Isn't it like? Eh, what? + +FIRST PEASANT. That's just so. It's very resemblant. + +ANNA PÁVLOVNA. Vovo, leave off, I tell you! + +SECOND PEASANT. What's it all about? + +THIRD PEASANT. I said, we'd better go to some lodging meanwhile! + + [Enter DOCTOR and GREGORY. + +DOCTOR. What's the matter? What's happened? + +ANNA PÁVLOVNA. Why, you're always saying I must not get excited. Now, +how is it possible to keep calm? I do not see my own sister for two +months, and am careful about any doubtful visitor--and here are people +from Koursk, straight from Koursk, where there is an epidemic of +diphtheria, right in my house! + +DOCTOR. These good fellows you mean, I suppose? + +ANNA PÁVLOVNA. Of course. Straight from a diphtheric place! + +DOCTOR. Well, of course, if they come from an infected place it is +rash; but still there is no reason to excite yourself so much about +it. + +ANNA PÁVLOVNA. But don't you yourself advise carefulness? + +DOCTOR. Of course, of course. Still, why excite yourself? + +ANNA PÁVLOVNA. How can I help it? Now we shall have to have the house +completely disinfected. + +DOCTOR. Oh, no! Why completely? That would cost 300 roubles or more. +I'll arrange it cheaply and well for you. Take, to a large bottle of +water.... + +ANNA PÁVLOVNA. Boiled? + +DOCTOR. It's all the same. Boiled would be better. To one bottle of +water take a tablespoon of salicylic acid, and have everything they +have come in contact with washed with the solution. As to the fellows +themselves, they must be off, of course. That's all. Then you're quite +safe. And it would do no harm to sprinkle some of the same solution +through a spray--two or three tumblers--you'll see how well it will +act. No danger whatever. + +ANNA PÁVLOVNA. Tánya! Where is Tánya? + + [Enter TÁNYA. + +TÁNYA. Did you call, M'm? + +ANNA PÁVLOVNA. You know that big bottle in my dressing-room? + +TÁNYA. Out of which we sprinkled the laundress yesterday? + +ANNA PÁVLOVNA. Well, of course! What other bottle could I mean? Well, +then, take that bottle and first wash with soap the place where they +have been standing, and then with.... + +TÁNYA. Yes, M'm; I know how. + +ANNA PÁVLOVNA. And then take the spray.... However, I had better do +that myself when I get back. + +DOCTOR. Well, then, do so, and don't be afraid! Well, au revoir till +this evening. + + [Exit. + +ANNA PÁVLOVNA. And they must be off! Not a trace of them must remain! +Get out, get out! Go--what are you looking at? + +FIRST PEASANT. That's just so. It's because of our stupidity, as we +were instructed.... + +GREGORY (pushes the PEASANTS out). There, there; be off! + +SECOND PEASANT. Let me have my handkerchief back! + + [The handkerchief in which the presents were wrapped. + +THIRD PEASANT. Oh, Lord, oh, Lord! didn't I say--some lodging-house +meanwhile! + + [GREGORY pushes him out. Exeunt PEASANTS. + +PORTER (who has repeatedly tried to say something).--Will there be any +answer? + +ANNA PÁVLOVNA. Ah, from Bourdier? (Excitedly.) None! None! You can +take it back. I told her I never ordered such a costume, and I will +not allow my daughter to wear it! + +PORTER. I know nothing about it. I was sent.... + +ANNA PÁVLOVNA. Go, go, take it back! I will call myself about it! + +VASÍLY LEONÍDITCH (solemnly). Sir Messenger from Bourdier, depart! + +PORTER. I might have been told that long ago. I have sat here nearly +five hours! + +VASÍLY LEONÍDITCH. Ambassador from Bourdier, begone! + +ANNA PÁVLOVNA. Cease, please! + + [Exit PORTER. + +ANNA PÁVLOVNA. Betsy! Where is she? I always have to wait for her. + +VASÍLY LEONÍDITCH (shouting at the top of his voice). Betsy! +PETRÍSTCHEF! Come quick, quick, quick! Eh? What? + + [Enter PETRÍSTCHEF, BETSY, and MÁRYA KONSTANTÍNOVNA. + +ANNA PÁVLOVNA. You always keep one waiting! + +BETSY. On the contrary, I was waiting for you! + + [PETRÍSTCHEF bows with his head only, then kisses ANNA PÁVLOVNA'S + hand. + +ANNA PÁVLOVNA. How d'you do! (To BETSY.) You always have an answer +ready! + +BETSY. If you are upset, mamma, I had better not go. + +ANNA PÁVLOVNA. Are we going or not? + +BETSY. Well, let us go; it can't be helped. + +ANNA PÁVLOVNA. Did you see the man from Bourdier? + +BETSY. Yes, and I was very glad. I ordered the costume, and am going +to wear it when it is paid for. + +ANNA PÁVLOVNA. I am not going to pay for a costume that is indecent! + +BETSY. Why has it become indecent? First it was decent, and now you +have a fit of prudery. + +ANNA PÁVLOVNA. Not prudery at all! If the bodice were completely +altered, then it would do. + +BETSY. Mamma, that is quite impossible. + +ANNA PÁVLOVNA. Well, get dressed. + + [They sit down. GREGORY puts on their over-shoes for them. + +VASÍLY LEONÍDITCH. Márya Konstantínovna, do you notice a vacuum in the +hall? + +MÁRYA KONSTANTÍNOVNA. What is it? + + [Laughs in anticipation. + +VASÍLY LEONÍDITCH. Bourdier's man has gone! Eh, what? Good, eh? + + [Laughs loudly. + +ANNA PÁVLOVNA. Well, let us go. (Goes out of the door, but returns at +once.) Tánya! + +TÁNYA. Yes, M'm? + +ANNA PÁVLOVNA. Don't let Frisk catch cold while I am away. If she +wants to be let out, put on her little yellow cloak. She is not quite +well to-day. + +TÁNYA. Yes, M'm. + + [Exeunt ANNA PÁVLOVNA, BETSY, and GREGORY. + +PETRÍSTCHEF. Well, have you got it? + +VASÍLY LEONÍDITCH. Not without trouble, I can tell you! First I rushed +at the gov'nor; he began to bellow and turned me out. Off to the +mater--I got it out of her. It's here! (Slaps his breast pocket.) If +once I make up my mind, there's no getting away from me. I have a +deadly grip! Eh, what? And d'you know, my wolf-hounds are coming +to-day. + + [PETRÍSTCHEF and VASÍLY LEONÍDITCH put on their outdoor things + and go out. TÁNYA follows. + +THEODORE IVÁNITCH (alone). Yes, nothing but unpleasantness. How is it +they can't live in peace? But one must say the new generation are not +--the thing. And as to the women's dominion!... Why, Leoníd Fyódoritch +just now was going to put in a word, but seeing what a frenzy she was +in--slammed the door behind him. He is a wonderfully kind-hearted man. +Yes, wonderfully kind. What's this? Here's Tánya bringing them back +again! + +TÁNYA. Come in, come in, grand-dads, never mind! + + [Enter TÁNYA and the PEASANTS. + +THEODORE IVÁNITCH. Why have you brought them back? + +TÁNYA. Well, Theodore Ivánitch, we must do something about their +business. I shall have to wash the place anyhow. + +THEODORE IVÁNITCH. But the business will not come off, I see that +already. + +FIRST PEASANT. How could we best put our affair into action, respected +sir? Your reverence might take a little trouble over it, and we should +give you full thankings from the Commune for your trouble. + +THIRD PEASANT. Do try, honey! We can't live! We have so little land. +Talk of cattle--why, we have no room to keep a hen! + + [They bow. + +THEODORE IVÁNITCH. I am sorry for you, friends, but I can't think of +any way to help you. I understand your case very well, but he has +refused. So what can one do? Besides, the lady is also against it. +Well, give me your papers--I'll try and see what I can do, but I +hardly hope to succeed. + + [Exit. + + [TÁNYA and the three PEASANTS sigh. + +TÁNYA. But tell me, grand-dads, what is it that is wanted? + +FIRST PEASANT. Why, only that he should put his signature to our +document. + +TÁNYA. That the master should sign? Is that all? + +FIRST PEASANT. Yes, only lay his signature on the deed and take the +money, and there would be an end of the matter. + +THIRD PEASANT. He only has to write and sign, as the peasants, let's +say, desire, so, let's say, I also desire. That's the whole affair--if +he'd only take it and sign it, it's all done. + +TÁNYA (considering). He need only sign the paper and it's done? + +FIRST PEASANT. That's just so. The whole matter is in dependence on +that, and nothing else. Let him sign, and we ask no more. + +TÁNYA. Just wait and see what Theodore Ivánitch will say. If he cannot +persuade the master, I'll try something. + +FIRST PEASANT. Get round him, will you? + +TÁNYA. I'll try. + +THIRD PEASANT. Ay, the lass is going to bestir herself. Only get the +thing settled, and the Commune will bind itself to keep you all your +life. See there, now! + +FIRST PEASANT. If the affair can be put into action, truly we might +put her in a gold frame. + +SECOND PEASANT. That goes without saying! + +TÁNYA. I can't promise for certain, but as the saying is: "An attempt +is no sin, if you try...." + +FIRST PEASANT. "You may win." That's just so. + + [Enter THEODORE IVÁNITCH. + +THEODORE IVÁNITCH. No, friends, it's no go! He has not done it, and he +won't do it. Here, take your document. You may go. + +FIRST PEASANT (gives TÁNYA the paper). Then it's on you we pin all our +reliance, for example. + +TÁNYA. Yes, yes! You go into the street, and I'll run out to you in a +minute and have a word with you. + + [Exeunt PEASANTS. + +TÁNYA. Theodore Ivánitch, dear Theodore Ivánitch, ask the master to +come out and speak to me for a moment. I have something to say to him. + +THEODORE IVÁNITCH. What next? + +TÁNYA. I must, Theodore Ivánitch. Ask him, do; there's nothing wrong +about it, on my sacred word. + +THEODORE IVÁNITCH. But what do you want with him? + +TÁNYA. That's a little secret. I will tell you later on, only ask him. + +THEODORE IVÁNITCH (smiling). I can't think what you are up to! All +right, I'll go and ask him. + + [Exit. + +TÁNYA. I'll do it! Didn't he say himself that there is that power in +Simon? And I know how to manage. No one found me out that time, and +now I'll teach Simon what to do. If it doesn't succeed it's no great +matter. After all it's not a sin. + + [Enter LEONÍD FYÓDORITCH, followed by THEODORE IVÁNITCH. + +LEONÍD FYÓDORITCH (smiling). Is this the petitioner? Well, what is +your business? + +TÁNYA. It's a little secret, Leoníd Fyódoritch; let me tell it you +alone. + +LEONÍD FYÓDORITCH. What is it? Theodore, leave us for a minute. + + [Exit THEODORE IVÁNITCH. + +TÁNYA. As I have grown up and lived in your house, Leoníd Fyódoritch, +and as I am very grateful to you for everything, I shall open my heart +to you as to a father. Simon, who is living in your house, wants to +marry me. + +LEONÍD FYÓDORITCH. So that's it! + +TÁNYA. I open my heart to you as to a father! I have no one to advise +me, being an orphan. + +LEONÍD FYÓDORITCH. Well, and why not? He seems a nice lad. + +TÁNYA. Yes, that's true. He would be all right; there is only one +thing I have my doubts about. It's something about him that I have +noticed and can't make out ... perhaps it is something bad. + +LEONÍD FYÓDORITCH. What is it? Does he drink? + +TÁNYA. God forbid! But since I know that there is such a thing as +spiritalism.... + +LEONÍD FYÓDORITCH. Ah, you know that? + +TÁNYA. Of course! I understand it very well. Some, of course, through +ignorance, don't understand it. + +LEONÍD FYÓDORITCH. Well, what then? + +TÁNYA. I am very much afraid for Simon. It does happen to him. + +LEONÍD FYÓDORITCH. What happens to him? + +TÁNYA. Something of a kind like spiritalism. You ask any of the +servants. As soon as he gets drowsy at the table, the table begins to +tremble, and creak like that: tuke, ... tuke! All the servants have +heard it. + +LEONÍD FYÓDORITCH. Why, it's the very thing I was saying to Sergéy +Ivánitch this morning! Yes?... + +TÁNYA. Or else ... when was it?... Oh, yes, last Wednesday. We sat +down to dinner, and the spoon just jumps into his hand of itself! + +LEONÍD FYÓDORITCH. Ah, that is interesting! Jumps into his hand? When +he was drowsing? + +TÁNYA. That I didn't notice. I think he was, though. + +LEONÍD FYÓDORITCH. Yes?... + +TÁNYA. And that's what I'm afraid of, and what I wanted to ask you +about. May not some harm come of it? To live one's life together, and +him having such a thing in him! + +LEONÍD FYÓDORITCH (smiling). No, you need not be afraid, there is +nothing bad in that. It only proves him to be a medium--simply a +medium. I knew him to be a medium before this. + +TÁNYA. So that's what it is! And I was afraid! + +LEONÍD FYÓDORITCH. No, there's nothing to be afraid of. (Aside.) +That's capital! Kaptchítch can't come, so we will test him +to-night.... (To TÁNYA.) No, my dear, don't be afraid, he will be a +good husband and ... that is only a kind of special power, and every +one has it, only in some it is weaker and in others stronger. + +TÁNYA. Thank you, sir. Now I shan't think any more about it; but I was +so frightened.... What a thing it is, our want of education! + +LEONÍD FYÓDORITCH. No, no, don't be frightened.... Theodore! + + [Enter THEODORE IVÁNITCH. + +LEONÍD FYÓDORITCH. I am going out now. Get everything ready for +to-night's séance. + +THEODORE IVÁNITCH. But Mr. Kaptchítch is not coming. + +LEONÍD FYÓDORITCH. That does not matter. (Puts on overcoat.) We shall +have a trial séance with our own medium. + + [Exit. THEODORE IVÁNITCH goes out with him. + +TÁNYA (alone). He believes it! He believes it! (Shrieks and jumps with +joy.) He really believes it! Isn't it wonderful! (Shrieks.) Now I'll +do it, if only Simon has pluck for it! + + [THEODORE IVÁNITCH returns. + +THEODORE IVÁNITCH. Well, have you told him your secret? + +TÁNYA. I'll tell you, too, only later on.... But I have a favor to ask +of you, too, Theodore Ivánitch. + +THEODORE IVÁNITCH. Yes? What is it? + +TÁNYA (shyly). You have been a second father to me, and I will open my +heart before you as before God. + +THEODORE IVÁNITCH. Don't beat about the bush, but come straight to the +point. + +TÁNYA. The point is ... well, the point is, that Simon wants to marry +me. + +THEODORE IVÁNITCH. Is that it? I thought I noticed.... + +TÁNYA. Well, why should I hide it? I am an orphan, and you know +yourself how matters are in these town establishments. Every one comes +bothering; there's that Gregory Miháylitch, for instance, he gives me +no peace. And also that other one ... you know. They think I have no +soul, and am only here for their amusement. + +THEODORE IVÁNITCH. Good girl, that's right! Well, what then? + +TÁNYA. Well, Simon wrote to his father; and he, his father, sees me +to-day, and says: "He's spoilt"--he means his son. Theodore Ivánitch +(bows), take the place of a father to me, speak to the old man,--to +Simon's father! I could take them into the kitchen, and you might come +in and speak to the old man! + +THEODORE IVÁNITCH (smiling). Then I am to turn match-maker--am I? +Well, I can do that. + +TÁNYA. Theodore Ivánitch, dearest, be a father to me, and I'll pray +for you all my life long. + +THEODORE IVÁNITCH. All right, all right, I'll come later on. Haven't I +promised? + + [Takes up newspaper. + +TÁNYA. You are a second father to me! + +THEODORE IVÁNITCH. All right, all right. + +TÁNYA. Then I'll rely on you. + + [Exit. + +THEODORE IVÁNITCH (alone, shaking his head). A good affectionate girl. +To think that so many like her perish! Get but once into trouble and +she'll go from hand to hand until she sinks into the mire, and can +never be found again! There was that dear little Nataly. She, too, was +a good girl, reared and cared for by a mother. (Takes up paper.) Well, +let's see what tricks Ferdinand is up to in Bulgaria. + +CURTAIN + + + + +ACT II + +Evening of the same day. The scene represents the interior of the +servants' kitchen. The PEASANTS have taken off their outer garments +and sit drinking tea at the table, and perspiring. THEODORE IVÁNITCH +is smoking a cigar at the other side of the stage. The discharged COOK +is lying on the brick oven, and is unseen during the early part of the +scene. + +THEODORE IVÁNITCH. My advice is, don't hinder him! If it's his wish +and hers, in Heaven's name, let him do it. She is a good, honest girl. +Never mind her being a bit dressy; she can't help that, living in +town: she is a good girl all the same. + +SECOND PEASANT. Well, of course, if it is his wish, let him! He'll +have to live with her, not me. But she's certainly uncommon spruce. +How's one to take her into one's hut? Why, she'll not let her +mother-in-law so much as pat her on the head. + +THEODORE IVÁNITCH. That does not depend on the spruceness, but on +character. If her nature is good, she's sure to be docile and +respectful. + +SECOND PEASANT. Ah, well, we'll have her if the lad's bent on having +her. After all, it's a bad job to live with one as one don't care for. +I'll consult my missus, and then may Heaven bless them! + +THEODORE IVÁNITCH. Then let's shake hands on it! + +SECOND PEASANT. Well, it seems it will have to come off. + +FIRST PEASANT. Eh, Zachary! fortune's a-smiling on you! You've come to +accomplish a piece of business, and just see what a duchess of a +daughter-in-law you've obtained. All that's left to be done is to have +a drink on it, and then it will be all in order. + +THEODORE IVÁNITCH. That's not at all necessary. + + [An awkward silence. + +THEODORE IVÁNITCH. I know something of your way of life, too, you +know. I am even thinking of purchasing a bit of land, building a +cottage, and working on the land myself somewhere; maybe in your +neighborhood. + +SECOND PEASANT. A very good thing, too. + +FIRST PEASANT. That's just it. When one has got the money one can get +all kinds of pleasure in the country. + +THIRD PEASANT. Say no more about it! Country life let's say, is freer +in every way, not like the town! + +THEODORE IVÁNITCH. There now, would you let me join your Commune if I +settled among you? + +SECOND PEASANT. Why not? If you stand drink for the Elders, they'll +accept you soon enough! + +FIRST PEASANT. And if you open a public-house, for example, or an inn, +why, you'd have such a life you'd never need to die! You might live +like a king, and no mistake. + +THEODORE IVÁNITCH. Well, we'll see. I should certainly like to have a +few quiet years in my old age. Though my life here is good enough, and +I should be sorry to leave. Leoníd Fyódoritch is an exceedingly +kind-hearted man. + +FIRST PEASANT. That's just it. But how about our business? Is it +possible that he is going to leave it without any termination? + +THEODORE IVÁNITCH. He'd do it willingly. + +SECOND PEASANT. It seems he's afraid of his wife. + +THEODORE IVÁNITCH. It's not that he's afraid, but they don't hit +things off together. + +THIRD PEASANT. But you should try, father! How are we to live else? +We've so little land.... + +THEODORE IVÁNITCH. We'll see what comes of Tánya's attempt. She's +taken the business into her hands now! + +THIRD PEASANT (takes a sip of tea). Father, be merciful. We've so +little land. A hen, let's say, we've no room for a hen, let alone the +cattle. + +THEODORE IVÁNITCH. If the business depended on me.... (To SECOND +PEASANT.) Well, friend, so we've done our bit of match-making! It's +agreed then about Tánya? + +SECOND PEASANT. I've given my word, and I'll not go back on it without +a good reason. If only our business succeeds! + + [Enter SERVANTS' COOK, who looks up at the oven, makes a sign, + and then begins to speak animatedly to THEODORE IVÁNITCH. + +SERVANTS' COOK. Just now Simon was called upstairs from the front +kitchen! The master and that other bald-headed one who calls up +spirits with him, ordered him to sit down and take the place of +Kaptchítch! + +THEODORE IVÁNITCH. You don't say so! + +SERVANTS' COOK. Yes, Jacob told Tánya. + +THEODORE IVÁNITCH. Extraordinary! + + [Enter COACHMAN. + +THEODORE IVÁNITCH. What do you want? + +COACHMAN (to THEODORE IVÁNITCH). You may just tell them I never agreed +to live with a lot of dogs! Let any one who likes do it, but I will +never agree to live among dogs! + +THEODORE IVÁNITCH. What dogs? + +COACHMAN. Three dogs have been sent into our room by Vasíly +Leoníditch! They've messed it all over. They're whining, and if one +comes near them they bite--the devils! They'd tear you to pieces if +you didn't mind. I've a good mind to take a club and smash their legs +for them! + +THEODORE IVÁNITCH. But when did they come? + +COACHMAN. Why, to-day, from the Dog Show; the devil knows what kind +they are, but they're an expensive sort. Are we or the dogs to live in +the coachmen's quarters? You just go and ask! + +THEODORE IVÁNITCH. Yes, that will never do. I'll go and ask about it. + +COACHMAN. They'd better be brought here to Loukérya. + +SERVANTS' COOK (angrily). People have to eat here, and you'd like to +lock dogs in here! As it is.... + +COACHMAN. And I've got the liveries, and the sledge-covers and the +harness there, and they expect things kept clean! Perhaps the porter's +lodge might do. + +THEODORE IVÁNITCH. I must ask Vasíly Leoníditch. + +COACHMAN (angrily). He'd better hang the brutes round his neck and lug +them about with him! But no fear: he'd rather ride on horseback +himself. It's he as spoilt. Beauty without rhyme or reason. That was a +horse!... Oh, dear! what a life! + + [Exit, slamming door. + +THEODORE IVÁNITCH. That's not right! Certainly not right! (To +PEASANTS.) Well, then, it's time we were saying good-bye, friends. + +PEASANTS. Good-bye! + + [Exit THEODORE IVÁNITCH. + + [As soon as he is gone a sound of groaning is heard from the top + of the oven. + +SECOND PEASANT. He's sleek, that one; looks like a general. + +SERVANTS' COOK. Rather! Why he has a room all to himself; he gets his +washing, his tea and sugar, and food from the master's table. + +DISCHARGED COOK (on the oven). Why shouldn't the old beggar live well? +He's lined his pockets all right! + +SECOND PEASANT. Who's that up there, on the oven? + +SERVANTS' COOK. Oh, it's only a man. + + [Silence. + +FIRST PEASANT. Well, and you, too, as I noticed a while since when you +were supping, have capital food to eat. + +SERVANTS' COOK. We can't complain. She's not mean about the food. We +have wheat bread every Sunday, and fish when a holiday happens to be a +fast-day, too, and those who like may eat meat. + +SECOND PEASANT. And does any one tuck into flesh on fast-days? + +SERVANTS' COOK. Oh, they nearly all do! Only the old coachman--not the +one who was here just now but the old one--and Simon, and I and the +housekeeper, fast--all the others eat meat. + +SECOND PEASANT. And the master himself? + +SERVANTS' COOK. Catch him! Why, I bet he's forgotten there is such a +thing as fasting! + +THIRD PEASANT. Oh, Lord! + +FIRST PEASANT. That's the gentlefolks' way: they have got it all out +of their books. 'Cos of their intelex! + +THIRD PEASANT. Shouldn't wonder if they feed on wheat bread every day! + +SERVANTS' COOK. Wheat bread, indeed! Much they think of wheat bread! +You should see what food they eat. No end of different things! + +FIRST PEASANT. In course gentlefolks' food is of an airial kind. + +SERVANTS' COOK. Airial, of course, but all the same they're good at +stuffing themselves, they are! + +FIRST PEASANT. Have healthy appekites, so to say. + +SERVANTS' COOK. 'Cos they always rinse it down! All with sweet wines, +and spirits, and fizzy liquors. They have a different one to suit +every kind of food. They eat and rinse it down, and eat and rinse it +down, they do. + +FIRST PEASANT. And so the food's floated down in proportion, so to +say. + +SERVANTS' COOK. Ah, yes, they are good at stuffing! It's awful! You +see, it's not just sitting down, eating, then saying grace and going +away--they're always at it! + +SECOND PEASANT. Like pigs with their feet in the trough! + + [Peasants laugh. + +SERVANTS' COOK. As soon as, by God's grace, they have opened their +eyes, the samovár is brought in--tea, coffee, chocolate. Hardly is the +second samovár emptied, a third has to be set. Then lunch, then +dinner, then again coffee. They've hardly left off, then comes tea, +and all sorts of tit-bits and sweetmeats--there's never an end to it! +They even lie in bed and eat! + +THIRD PEASANT. There now; that's good. + + [Laughs. + +FIRST AND SECOND PEASANTS. What are you about? + +THIRD PEASANT. If I could only live a single day like that! + +SECOND PEASANT. But when do they do their work? + +SERVANTS' COOK. Work indeed! What is their work? Cards and piano-- +that's all their work. The young lady used to sit down to the piano as +soon as she opened her eyes, and off she'd go! And that other one who +lives here, the teacher, stands and waits. "When will the piano be +free?" When one has finished, off rattles the other, and sometimes +they'd put two pianos near one another and four of 'em would bust out +at once. Bust out in such a manner, you could hear 'em down here! + +THIRD PEASANT. Oh, Lord! + +SERVANTS' COOK. Well, and that's all the work they do! Piano or cards! +As soon as they have met together--cards, wine, smoking, and so on, +all night long. And as soon as they are up: eating again! + + [Enter SIMON. + +SIMON. Hope you're enjoying your tea! + +FIRST PEASANT. Come and join us. + +SIMON. (comes up to the table). Thank you kindly. + + [First PEASANT pours out a cup of tea for him. + +SECOND PEASANT. Where have you been? + +SIMON. Upstairs. + +SECOND PEASANT. Well, and what was being done there? + +SIMON. Why, I couldn't make it out at all! I don't know how to explain +it. + +SECOND PEASANT. But what was it? + +SIMON. I can't explain it. They have been trying some kind of strength +in me. I can't make it out. Tánya says, "Do it, and we'll get the land +for our peasants; he'll sell it them." + +SECOND PEASANT. But how is she going to manage it? + +SIMON. I can't make it out, and she won't say. She says, "Do as I tell +you," and that's all. + +SECOND PEASANT. But what is it you have to do? + +SIMON. Nothing just now. They made me sit down, put out the lights and +told me to sleep. And Tánya had hidden herself there. They didn't see +her, but I did. + +SECOND PEASANT. Why? What for? + +SIMON. The Lord only knows--I can't make it out. + +FIRST PEASANT. Naturally, it is for the distraction of time. + +SECOND PEASANT. Well, it's clear you and I can make nothing of it. You +had better tell me whether you have taken all your wages yet. + +SIMON. No, I've not drawn any. I have twenty-eight roubles to the +good, I think. + +SECOND PEASANT. That's all right! Well, if God grants that we get the +land, I'll take you home, Simon. + +SIMON. With all my heart! + +SECOND PEASANT. You've got spoilt, I should say. You'll not want to +plough? + +SIMON. Plough? Only give me the chance! Plough or mow,--I'm game. +Those are things one doesn't forget. + +FIRST PEASANT. But it don't seem very desirous after town life, for +example? Eh! + +SIMON. It's good enough for me. One can live in the country, too. + +FIRST PEASANT. And Daddy Mítry here is already on the look-out for +your place; he's hankering after a life of luckshury! + +SIMON. Eh, Daddy Mítry, you'd soon get sick of it. It seems easy +enough when one looks at it, but there's a lot of running about that +takes it out of one. + +SERVANTS' COOK. You should see one of their balls, Daddy Mítry, then +you would be surprised! + +THIRD PEASANT. Why, do they eat all the time? + +SERVANTS' COOK. My eye! You should have seen what we had here awhile +ago. Theodore Ivánitch took me upstairs and I peeped in. The ladies-- +awful! Dressed up! Dressed up, bless my heart, and all bare down to +here, and their arms bare. + +THIRD PEASANT. Oh, Lord! + +SECOND PEASANT. Faugh! How beastly! + +FIRST PEASANT. I take it the climate allows of that sort of thing! + +SERVANTS' COOK. Well, daddy, so I peeped in. Dear me, what it was +like! All of 'em in their natural skins! Would you believe it: old +women--our mistress, only think, she's a grandmother, and even she'd +gone and bared her shoulders. + +THIRD PEASANT. Oh, Lord! + +SERVANTS' COOK. And what next? The music strikes up, and each man of +'em went up to his own, catches hold of her, and off they go twirling +round and round! + +SECOND PEASANT. The old women, too? + +SERVANTS' COOK. Yes, the old ones, too. + +SIMON. No, the old ones sit still. + +SERVANTS' COOK. Get along,--I've seen it myself! + +SIMON. No, they don't. + +DISCHARGED COOK (in a hoarse voice, looking down from the oven). +That's the Polka-Mazurka. You fools don't understand what dancing is. +The way they dance.... + +SERVANTS' COOK. Shut up, you dancer! And keep quiet--there's some one +coming. + + [Enter GREGORY; old COOK hides hurriedly. + +GREGORY (to SERVANTS' COOK). Bring some sour cabbage. + +SERVANTS' COOK. I am only just up from the cellar, and now I must go +down again! Who is it for? + +GREGORY. For the young ladies. Be quick, and send it up with Simon. I +can't wait! + +SERVANTS' COOK. There now, they tuck into sweetmeats till they are +full up, and then they crave for sour cabbage! + +FIRST PEASANT. That's to make a clearance. + +SERVANTS' COOK. Of course, and as soon as there is room inside, they +begin again! + + [Takes basin, and exit. + +GREGORY (at PEASANTS). Look at them, how they've established +themselves down here! Mind, if the mistress finds it out she'll give +it you hot, like she did this morning! + + [Exit, laughing. + +FIRST PEASANT. That's just it, she did raise a storm that time--awful! + +SECOND PEASANT. That time it looked as if the master was going to step +in, but seeing that the missus was about to blow the very roof off the +house, he slams the door. Have your own way, thinks he. + +THIRD PEASANT (waving his arm). It's the same everywhere. My old +woman, let's say, she kicks up such a rumpus sometimes--it's just +awful! Then I just get out of the hut. Let her go to Jericho! She'll +give you one with the poker if you don't mind. Oh, Lord! + + [JACOB enters hurriedly with a prescription. + +JACOB. Here, Simon, you run to the chemist's and get these powders for +the mistress! + +SIMON. But master told me not to go out. + +JACOB. You've plenty of time; your business won't begin till after +their tea. Hope you are enjoying your tea! + +FIRST PEASANT. Thanks, come and join us. + + [Exit SIMON. + +JACOB. I haven't time. However, I'll just have one cup for company's +sake. + +FIRST PEASANT. And we've just been having a conversation as to how +your mistress carried on so haughty this morning. + +JACOB. Oh, she's a reg'lar fury! So hot-tempered, that she gets quite +beside herself. Sometimes she even bursts out crying. + +FIRST PEASANT. Now, there's a thing I wanted to ask you about. What, +for example, be these mikerots she was illuding to erewhile? "They've +infested the house with mikerots, with mikerots," she says. What is +one to make of these same mikerots? + +JACOB. Mikerogues, you mean! Well, it seems there is such a kind of +bugs; all illnesses come from them, they say. So she says there are +some of 'em on you. After you were gone, they washed and washed and +sprinkled the place where you had stood. There's a kind of physic as +kills these same bugs, they say. Second Peasant. Then where have we +got these bugs on us? + +JACOB (drinking his tea). Why, they say they're so small that one +can't see 'em even through a glass. + +SECOND PEASANT. Then how does she know I've got 'em on me? Perhaps +there's more of that muck on her than on me! + +JACOB. There now, you go and ask her! + +SECOND PEASANT. I believe it's humbug. + +JACOB. Of course it's bosh. The doctors must invent something, or else +what are they paid for? There's one comes to us every day. Comes,-- +talks a bit,--and pockets ten roubles! + +SECOND PEASANT. Nonsense! + +JACOB. Why, there's one as takes a hundred! + +FIRST PEASANT. A hundred? Humbug! + +JACOB. A hundred. Humbug, you say? Why, if he has to go out of town, +he'll not do it for less than a thousand! "Give a thousand," he says, +"or else you may kick the bucket for what I care!" + +THIRD PEASANT. Oh, Lord! + +SECOND PEASANT. Then does he know some charm? + +JACOB. I suppose he must. I served at a General's outside Moscow once: +a cross, terrible proud old fellow he was--just awful. Well, this +General's daughter fell ill. They send for that doctor at once. "A +thousand roubles, then I'll come." Well, they agreed, and he came. +Then they did something or other he didn't like, and he bawled out at +the General and says, "Is this the way you show your respect for me? +Then I'll not attend her!" And, oh, my! The old General forgot all his +pride, and starts wheedling him in every way not to chuck up the job! + +FIRST PEASANT. And he got the thousand? + +JACOB. Of course! + +SECOND PEASANT. That's easy got money. What wouldn't a peasant do with +such a sum! + +THIRD PEASANT. And I think it's all bosh. That time my foot was +festering I had it doctored ever so long. I spent nigh on five roubles +on it,--then I gave up doctoring, and it got all right! + + [DISCHARGED COOK on the oven coughs. + +JACOB. Ah, the old crony is here again! + +FIRST PEASANT. Who might that man be? + +JACOB. He used to be our master's cook. He comes to see Loukérya. + +FIRST PEASANT. Kitchen-master, as one might say. Then, does he live +here? + +JACOB. No, they won't allow that. He's here one day, there another. If +he's got a copper he goes to a dosshouse; but when he has drunk all, +he comes here. + +SECOND PEASANT. How did he come to this? + +JACOB. Simply grew weak. And what a man he used to be--like a +gentleman! Went about with a gold watch; got forty roubles a month +wages. And now look at him! He'd have starved to death long ago if it +hadn't been for Loukérya. + + [Enter SERVANTS' COOK with the sour cabbage. + +JACOB (to SERVANTS' COOK). I see you've got Paul Petróvitch here +again? + +SERVANTS' COOK. And where's he to go to? Is he to go and freeze? + +THIRD PEASANT. What liquor does.... Liquor, let's say.... + + [Clicks his tongue sympathetically. + +SECOND PEASANT. Of course. A firm man's firm as a rock; a weak man's +weaker than water. + +DISCHARGED COOK (gets off the oven with trembling hands and legs). +Loukérya, I say, give us a drop! + +SERVANTS' COOK. What are you up to? I'll give you such a drop!... + +DISCHARGED COOK. Have you no conscience? I'm dying! Brothers, a +copper.... + +SERVANTS' COOK. Get back on the oven, I tell you! + +DISCHARGED COOK. Half a glass only, cook, for Heaven's sake! I say, do +you understand? I ask you in the name of Heaven, now! + +SERVANTS' COOK. Come along, here's some tea for you. + +DISCHARGED COOK. Tea; what is tea? Weak, sloppy stuff. A little vódka +--just one little drop.... Loukérya! + +THIRD PEASANT. Poor old soul, what agony it is! + +SECOND PEASANT. You'd better give him some. + +SERVANTS' COOK (gets out a bottle and fills a wine-glass). Here you +are; you'll get no more. + +DISCHARGED COOK (clutches hold of it and drinks, trembling all over). +Loukérya, Cook! I am drinking, and you must understand.... + +SERVANTS' COOK. Now, then, stop your chatter! Get on to the oven, and +let not a breath of you be heard! + + [The old COOK meekly begins to climb up, muttering something to + himself. + +SECOND PEASANT. What it is, when a man gives way to his weakness! + +FIRST PEASANT. That's just it--human weakness. + +THIRD PEASANT. That goes without saying. + + [The DISCHARGED COOK settles down, muttering all the time. + + [Silence. + +SECOND PEASANT. I want to ask you something: that girl of Aksínya's as +comes from our village and is living here. How is she? What is she +like? How is she living--I mean, does she live honest? + +JACOB. She's a nice girl; one can say nothing but good of her. + +SERVANTS' COOK. I'll tell you straight, daddy; I know this here +establishment out and out, and if you mean to have Tánya for your +son's wife--be quick about it, before she comes to grief, or else +she'll not escape! + +JACOB. Yes, that's true. A while ago we had a girl here, Nataly. She +was a good girl too. And she was lost without rhyme or reason. No +better than that chap! + + [Pointing to the old COOK. + +SERVANTS' COOK. There's enough to dam a mill-pool, with the likes of +us, as perish! 'Cos why, every one is tempted by the easy life and the +good food. And see there,--as soon as one has tasted the good food she +goes and slips. And once she's slipped, they don't want her, but get a +fresh one in her place. So it was with dear little Nataly; she also +slipped, and they turned her out. She had a child and fell ill, and +died in the hospital last spring. And what a girl she used to be! + +THIRD PEASANT. Oh, Lord! People are weak; they ought to be pitied. + +DISCHARGED COOK. Those devils pity? No fear! (He hangs his legs down +from the oven.) I have stood roasting myself by the kitchen range for +thirty years, and now that I am not wanted, I may go and die like a +dog.... Pity indeed!... + +FIRST PEASANT. That's just it. It's the old circumstances. + +SECOND PEASANT. While they drank and they fed, you were "curly head." +When they'd finished the prog, 'twas "Get out, mangy dog!" + +THIRD PEASANT. Oh Lord! + +DISCHARGED COOK. Much you know. What is "Sautey a la Bongmont"? What +is "Bavassary"? Oh, the things I could make! Think of it! The Emperor +tasted my work, and now the devils want me no longer. But I am not +going to stand it! + +SERVANTS' COOK. Now, then, stop that noise, mind.... Get up right into +the corner, so that no one can see you, or else Theodore Ivánitch or +some one may come in, and both you and me'll be turned out! + + [Silence. + +JACOB. And do you know my part of the country? I'm from Voznesénsky. + +SECOND PEASANT. Not know it? Why, it's no more'n ten miles from our +village; not that across the ford! Do you cultivate any land there? + +JACOB. My brother does, and I send my wages. Though I live here, I am +dying for a sight of home. + +FIRST PEASANT. That's just it. + +SECOND PEASANT. Then Anísim is your brother? + +JACOB. Own brother. He lives at the farther end of the village. + +SECOND PEASANT. Of course, I know; his is the third house. + + [Enter TÁNYA, running. + +TÁNYA. Jacob, what are you doing, amusing yourself here? She is +calling you! + +JACOB. I'm coming; but what's up? + +TÁNYA. Frisk is barking; it's hungry. And she's scolding you. "How +cruel he is," she says. "He's no feeling," she says. "It's long past +Frisk's dinner-time, and he has not brought her food!" + + [Laughs. + +JACOB (rises to go). Oh, she's cross? What's going to happen now, I +wonder? + +SERVANTS' COOK. Here, take the cabbage with you. + +JACOB. All right, give it here. + + [Takes basin, and exit. + +FIRST PEASANT. Who is going to dine now? + +TÁNYA. Why, the dog! It's her dog. (Sits down and takes up the +tea-pot.) Is there any more tea? I've brought some. + + [Puts fresh tea into the tea-pot. + +FIRST PEASANT. Dinner for a dog? + +TÁNYA. Yes, of course! They prepare a special cutlet for her; it must +not be too fat. And I do the washing--the dog's washing, I mean. + +THIRD PEASANT. Oh Lord! + +TÁNYA. It's like that gentleman who had a funeral for his dog. + +SECOND PEASANT. What's that? + +TÁNYA. Why, some one told me he had a dog--I mean the gentleman had a +dog. And it died. It was winter, and he went in his sledge to bury +that dog. Well, he buried it, and on the way home he sits and cries-- +the gentleman does. Well, there was such a bitter frost that the +coachman's nose keeps running, and he has to keep wiping it. Let me +fill your cup! (Fills it.) So he keeps wiping his nose, and the +gentleman sees it, and says, "What are you crying about?" And the +coachman, he says, "Why, sir, how can I help it; is there another dog +like him?" + + [Laughs. + +SECOND PEASANT. And I daresay he thinks to himself, "If your own self +was to kick the bucket I'd not cry." + + [Laughs. + +DISCHARGED COOK (from up on the oven). That is true; that's right! + +TÁNYA. Well, the gentleman, he gets home and goes straight to his +lady: "What a good-hearted man our coachman is; he was crying all the +way home about poor Dash. Have him called.... Here, drink this glass +of vódka," he says, "and here's a rouble as a reward for you." That's +just like her saying Jacob has no feelings for her dog! + + [The PEASANTS laugh. + +FIRST PEASANT. That's the style! + +SECOND PEASANT. That was a go! + +THIRD PEASANT. Aye, lassie, but you've set us a-laughing! + +TÁNYA (pouring out more tea). Have some more! Yes, it only seems that +our life is pleasant; but sometimes it is very disgusting,--clearing +up all their messes! Faugh! It's better in the country. (PEASANTS turn +their cups upside-down, as a polite sign that they have had enough. +TÁNYA pours out more tea.) Have some more, Efím Antónitch. I'll fill +your cup, Mítry Vlásitch. + +THIRD PEASANT. All right, fill it, fill it. + +FIRST PEASANT. Well, dear, and what progression is our business +making? + +TÁNYA. It's getting on.... + +FIRST PEASANT. Simon told us.... + +TÁNYA. (quickly). Did he? + +SECOND PEASANT. But he could not make us understand. + +TÁNYA. I can't tell you now, but I'm doing my best--all I can! And +I've got your paper here! (Shows the paper hidden under the bib of her +apron.) If only one thing succeeds ... (Shrieks.) Oh, how nice it +would be! + +SECOND PEASANT. Don't lose that paper, mind. It has cost money. + +TÁNYA. Never fear. You only want him to sign it? Is that all? + +THIRD PEASANT. Why, what else? Let's say he's signed it, and it's +done! (Turns his cup upside-down.) I've had enough. + +TÁNYA (aside). He'll sign it; you'll see he will.... Have some more. + + [Pours out tea. + +FIRST PEASANT. If only you get this business about the sale of the +land settled, the Commune would pay your marriage expenses. + + [Refuses the tea. + +TÁNYA (pouring out tea). Do have another cup. + +THIRD PEASANT. You get it done, and we'll arrange your marriage, and I +myself, let's say, will dance at the wedding. Though I've never danced +in all my born days, I'll dance then! + +TÁNYA (laughing). All right, I'll be in hopes of it. + + [Silence. + +SECOND PEASANT (examines TÁNYA). That's all very well, but you're not +fit for peasant work. + +TÁNYA. Who? I? Why, don't you think me strong enough? You should see +me lacing up my mistress. There's many a peasant couldn't tug as hard. + +SECOND PEASANT. Where do you tug her to? + +TÁNYA. Well, there's a thing made with bone, like--something like a +stiff jacket, only up to here! Well, and I pull the strings just as +when you saddle a horse--when you ... what d'ye call it? You know, +when you spit on your hands! + +SECOND PEASANT. Tighten the girths, you mean. + +TÁNYA. Yes, yes, that's it. And you know I mustn't shove against her +with my knee. + + [Laughs. + +SECOND PEASANT. Why do you pull her in? + +TÁNYA. For a reason! + +SECOND PEASANT. Why, is she doing penance? + +TÁNYA. No, it's for beauty's sake! + +FIRST PEASANT. That's to say, you pull in her paunch for appearance' +sake. + +TÁNYA. Sometimes I lace her up so that her eyes are ready to start +from her head, and she says, "Tighter," till my hands tingle. And you +say I'm not strong! + + [PEASANTS laugh and shake their heads. + +TÁNYA. But here, I've been jabbering. + + [Runs away, laughing. + +THIRD PEASANT. Ah, the lassie has made us laugh! + +FIRST PEASANT. She's a tidy one! + +SECOND PEASANT. She's not bad. + + [Enter SAHÁTOF and VASÍLY LEONÍDITCH. SAHÁTOF holds a teaspoon in + his hand. + +VASÍLY LEONÍDITCH. Not exactly a dinner, but a déjeuner dinatoire. And +first-rate it was, I tell you. Ham of sucking-pig, delicious! Roulier +feeds one splendidly! I've only just returned. (Sees PEASANTS.) Ah, +the peasants are here again! + +SAHÁTOF. Yes, yes, that's all very well, but we came here to hide this +article. Where shall we hide it? + +VASÍLY LEONÍDITCH. Excuse me a moment. (To SERVANTS' COOK.) Where are +the dogs? + +SERVANTS' COOK. In the coachman's quarters. You can't keep dogs in the +servants' kitchen! + +VASÍLY LEONÍDITCH. Ah, in the coachman's quarters? All right. + +SAHÁTOF. I am waiting. + +VASÍLY LEONÍDITCH. Excuse me, please. Eh, what? Hide it? I'll tell you +what. Let's put it into one of the peasants' pockets. That one. I say, +where's your pocket? Eh, what? + +THIRD PEASANT. What for d'ye want my pocket? You're a good 'un! My +pocket! There's money in my pocket! + +VASÍLY LEONÍDITCH. Where's your bag, then? + +THIRD PEASANT. What for? + +SERVANTS' COOK. What d'you mean? That's the young master! + +VASÍLY LEONÍDITCH (laughs. To SAHÁTOF). D'you know why he's so +frightened? Shall I tell you? He's got a heap of money. Eh, what? + +SAHÁTOF. Yes, yes, I see. Well, you talk to them a bit, and I'll put +it into that bag without being observed, so that they should not +notice and could not point it out to him. Talk to them. + +VASÍLY LEONÍDITCH. All right! (To PEASANTS.) Well then, old fellows, +how about the land? Are you buying it? Eh, what? + +FIRST PEASANT. We have made an offering, so to say, with our whole +heart. But there,--the business don't come into action nohow. + +VASÍLY LEONÍDITCH. You should not be so stingy! Land is an important +matter! I told you about planting mint. Or else tobacco would also do. + +FIRST PEASANT. That's just it. Every kind of producks. + +THIRD PEASANT. And you help us, master. Ask your father. Or else how +are we to live? There's so little land. A fowl, let's say, there's not +enough room for a fowl to run about. + +SAHÁTOF (having put the spoon into a bag belonging to the THIRD +PEASANT). C'est fait. Ready. Come along. + + [Exit. + +VASÍLY LEONÍDITCH. So don't be stingy! Eh? Well, good-bye. + + [Exit. + +THIRD PEASANT. Didn't I say, come to some lodging-house? Well, +supposing we'd had to give three-pence each, then at least we'd have +been in peace. As to here, the Lord be merciful! "Give us the money," +he says. What's that for? + +SECOND PEASANT. He's drunk, I daresay. + + [PEASANTS turn their cups upside-down, rise, and cross themselves. + +FIRST PEASANT. And d'you mind what a saying he threw out? Sowing mint! +One must know how to understand them, that one must! + +SECOND PEASANT. Sow mint indeed! He'd better bend his own back at that +work, and then it's not mint he'll hanker after, no fear! Well, many +thanks!... And now, good woman, would you tell us where we could lie +down to sleep? + +SERVANTS' COOK. One of you can lie on the oven, and the others on +these benches. + +THIRD PEASANT. Christ save you! + + [Prays, crossing himself. + +FIRST PEASANT. If only by God's help we get our business settled! +(Lies down.) Then to-morrow, after dinner, we'd be off by the train, +and on Tuesday we'd be home again. + +SECOND PEASANT. Are you going to put out the light? + +SERVANTS' COOK. Put it out? Oh, no! They'll keep running down here, +first for one thing then another.... You lie down, I'll lower it. + +SECOND PEASANT. How is one to live, having so little land? Why, this +year, I have had to buy corn since Christmas. And the oat-straw is all +used up. I'd like to get hold of ten acres, and then I could take +Simon back. + +THIRD PEASANT. You're a man with a family. You'd get the land +cultivated without trouble. If only the business comes off. + +SECOND PEASANT. We must pray to the Holy Virgin, maybe she'll help us +out. (Silence, broken by sighs. Then footsteps and voices are heard +outside. The door opens. Enter GROSSMAN hurriedly, with his eyes +bandaged, holding SAHÁTOF'S hand, and followed by the PROFESSOR and +the DOCTOR, the FAT LADY and LEONÍD FYÓDORITCH, BETSY and PETRÍSTCHEF, +VASÍLY LEONÍDITCH and MÁRYA KONSTANTÍNOVNA, ANNA PÁVLOVNA and the +BARONESS, THEODORE IVÁNITCH and TÁNYA.) + + [PEASANTS jump up. GROSSMAN comes forward stepping quickly, then + stops. + +FAT LADY. You need not trouble yourselves; I have undertaken the task +of observing, and am strictly fulfilling my duty! Mr. Sahátof, are you +not leading him? + +SAHÁTOF. Of course not! + +FAT LADY. You must not lead him, but neither must you resist! (To +LEONÍD FYÓDORITCH.) I know these experiments. I have tried them +myself. Sometimes I used to feel a certain effluence, and as soon as I +felt it.... + +LEONÍD FYÓDORITCH. May I beg of you to keep perfect silence? + +FAT LADY. Oh, I understand so well! I have experienced it myself. As +soon as my attention was diverted I could no longer.... + +LEONÍD FYÓDORITCH. Sh...! + + [GROSSMAN goes about, searches near the FIRST and SECOND + PEASANTS, then approaches the THIRD, and stumbles over a bench. + +BARONESS. Mais dites-moi, on le paye?[6] + +ANNA PÁVLOVNA. Je ne saurais vous dire. + +BARONESS. Mais c'est un monsieur? + +ANNA PÁVLOVNA. Oh, oui! + +BARONESS. Ça tient du miraculeux. N'est ce pas? Comment est-ce qu'il +trouve? + +ANNA PÁVLOVNA. Je ne saurais vous dire. Mon mari vous l'expliquera. +(Noticing PEASANTS, turns round, and sees the SERVANTS' COOK.) Pardon +... what is this? + + [BARONESS goes up to the group. + +ANNA PÁVLOVNA. (to SERVANTS' COOK). Who let the peasants in? + +SERVANTS' COOK. Jacob brought them in. + +ANNA PÁVLOVNA. Who gave Jacob the order? + +SERVANTS' COOK. I can't say. Theodore Ivánitch has seen them. + +ANNA PÁVLOVNA. Leoníd! + + [LEONÍD FYÓDORITCH does not hear, being absorbed in the search, + and says, Sh.... + +ANNA PÁVLOVNA. Theodore Ivánitch! What is the meaning of this? Did you +not see me disinfecting the whole hall, and now the whole kitchen is +infected, all the rye bread, the milk.... + +THEODORE IVÁNITCH. I thought there would not be any danger if they +came here. The men have come on business. They have far to go, and are +from our village. + +ANNA PÁVLOVNA. That's the worst of it! They are from the Koursk +village, where people are dying of diphtheria like flies! But the +chief thing is, I ordered them out of the house!... Did I, or did I +not? (Approaches the others that have gathered round the PEASANTS.) Be +careful! Don't touch them--they are all infected with diphtheria! + + [No one heeds her, and she steps aside in a dignified manner and + stands quietly waiting. + +PETRÍSTCHEF (sniffs loudly). I don't know if it is diphtheria, but +there is some kind of infection in the air. Don't you notice it? + +BETSY. Stop your nonsense! Vovo, which bag is it in? + +VASÍLY LEONÍDITCH. That one, that one. He is getting near, very near! + +PETRÍSTCHEF. Is it spirits divine, or spirits of wine? + +BETSY. Now your cigarette comes in handy for once. Smoke closer, +closer to me. + + [PETRÍSTCHEF leans over her and smokes at her. + +VASÍLY LEONÍDITCH. He's getting near, I tell you. Eh, what? + +GROSSMAN (searches excitedly round the THIRD PEASANT). It is here; I +feel it is! + +FAT LADY. Do you feel an effluence? + + [GROSSMAN stoops and finds the spoon in the bag. + +ALL. Bravo! + + [General enthusiasm. + +VASÍLY LEONÍDITCH. Ah! So that's where our spoon was. (To PEASANTS.) +Then that's the sort you are! + +THIRD PEASANT. What sort? I didn't take your spoon! What are you +making out? I didn't take it, and my soul knows nothing about it. I +didn't take it--there! Let him do what he likes. I knew he came here +for no good. "Where's your bag?" says he. I didn't take it, the Lord +is my witness! (Crosses himself.) I didn't take it! + + [The young people group round the PEASANT, laughing. + +LEONÍD FYÓDORITCH (angrily to his son). Always playing the fool! (To +the THIRD PEASANT.) Never mind, friend! We know you did not take it; +it was only an experiment. + +GROSSMAN (removes bandage from his eyes, and pretends to be coming +to). Can I have a little water? + + [All fuss round him. + +VASÍLY LEONÍDITCH. Let's go straight from here into the coachman's +room. I've got a bitch there--épâtante![7] + +BETSY. What a horrid word! Couldn't you say dog? + +VASÍLY LEONÍDITCH. No. I can't say--Betsy is a man, épâtante. I should +have to say young woman; it's a parallel case. Eh, what? Márya +Konstantínovna, isn't it true? Good, eh? + + [Laughs loudly. + +MÁRYA KONSTANTÍNOVNA. Well, let us go. + + [Exeunt MÁRYA KONSTANTÍNOVNA, BETSY, PETRÍSTCHEF, and VASÍLY + LEONÍDITCH. + +FAT LADY (to GROSSMAN). Well? how are you? Have you rested? (GROSSMAN +does not answer. To SAHÁTOF.) And you, Mr. Sahátof, did you feel the +effluence? + +SAHÁTOF. I felt nothing. Yes, it was very fine--very fine. Quite a +success! + +BARONESS.--Admirable! Ça ne le fait pas souffrir? [8] + +LEONÍD FYÓDORITCH. Pas le moins du monde. + +PROFESSOR (to GROSSMAN). May I trouble you? (Hands him a thermometer.) +At the beginning of the experiment it was 37 decimal 2 degrees. [9] +(To DOCTOR.) That's right, I think? Would you mind feeling his pulse? +Some loss is inevitable. + +DOCTOR (to GROSSMAN). Now then, sir, let's have your hand; we'll see, +we'll see. + + [Takes out his watch and feels GROSSMAN'S pulse. + +FAT LADY (to GROSSMAN). One moment! The condition you were in could +not be called sleep? + +GROSSMAN (wearily). It was hypnosis. + +SAHÁTOF. In that case, are we to understand that you hypnotised +yourself? + +GROSSMAN. And why not? An hypnotic state may ensue not only in +consequence of association--the sound of the tom-tom, for instance, in +Charcot's method--but by merely entering an hypnogenetic zone. + +SAHÁTOF. Granting that, it would still be desirable to define what +hypnotism is, more exactly? + +PROFESSOR. Hypnotism is a phenomenon resulting from the transmutation +of one energy into another. + +GROSSMAN. Charcot does not so define it. + +SAHÁTOF. A moment, just a moment! That is your definition, but +Liébault told me himself.... + +DOCTOR (lets go of GROSSMAN'S pulse). Ah, that's all right; well, now, +the temperature? + +FAT LADY (interrupting). No, allow me! I agree with the Professor. And +here's the very best proof. After my illness, when I lay insensible, a +desire to speak came over me. In general I am of a silent disposition, +but then I was overcome by this desire to speak, and I spoke and +spoke, and I was told that I spoke in such a way that every one was +astonished! (To SAHÁTOF.) But I think I interrupted you? + +SAHÁTOF (with dignity). Not at all. Pray continue. + +DOCTOR. Pulse 82, and the temperature has risen three-tenths of a +degree. + +PROFESSOR. There you are! That's a proof! That's just as it should be. +(Takes out pocket-book and writes.) 82, yes? And 37 and 5. When the +hypnotic state is induced, it invariably produces a heightened action +of the heart. + +DOCTOR. I can, as a medical man, bear witness that your prognosis was +justified by the event. + +PROFESSOR (to SAHÁTOF). You were saying?... + +SAHÁTOF. I wished to say that Liébault told me himself that the +hypnotic is only one particular psychical state, increasing +susceptibility to suggestion. + +PROFESSOR. That is so, but still the law of equivalents is the chief +thing. + +GROSSMAN. Moreover, Liébault is far from being an authority, while +Charcot has studied the subject from all sides, and has proved that +hypnotism produced by a blow, a trauma.... + + [All talking together-- + + SAHÁTOF. Yes, but I don't reject Charcot's labor. I know him + also, I am only repeating what Liébault told me... + + GROSSMAN (excitedly). There are 3000 patients together in the + Salpêtrière, and I have gone through the whole course. + + PROFESSOR. Excuse me, gentlemen, but that is not the point. + +FAT LADY (interrupting). One moment, I will explain it to you in two +words. When my husband was ill, all the doctors gave him up.... + +LEONÍD FYÓDORITCH. However, we had better go upstairs again. Baroness, +this way! + + [Exeunt GROSSMAN, SAHÁTOF, PROFESSOR, DOCTOR, the FAT LADY, and + BARONESS, talking loudly and interrupting each other. + +ANNA PÁVLOVNA (catching hold of LEONÍD FYÓDORITCH'S arm). How often +have I asked you not to interfere in household matters! You think of +nothing but your nonsense, and the whole house is on my shoulders. You +will infect us all! + +LEONÍD FYÓDORITCH. What? How? I don't understand what you mean. + +ANNA PÁVLOVNA. How? Why, people ill of diphtheria sleep in the +kitchen, which is in constant communication with the whole house. + +LEONÍD FYÓDORITCH. Yes, but I.... + +ANNA PÁVLOVNA. What, I? + +LEONÍD FYÓDORITCH. I know nothing about it. + +ANNA PÁVLOVNA. It's your duty to know, if you are the head of the +family. Such things must not be done. + +LEONÍD FYÓDORITCH. But I never thought.... I thought.... + +ANNA PÁVLOVNA. It is sickening to listen to you! + + [LEONÍD FYÓDORITCH remains silent. + +ANNA PÁVLOVNA (to THEODORE IVÁNITCH). Turn them out at once! They are +to leave my kitchen immediately! It is terrible! No one listens to me; +they do it out of spite.... I turn them out from there, and they bring +them in here! And with my illness.... (Gets more and more excited, and +at last begins to cry.) Doctor! Doctor! Peter Petróvitch!... He's gone +too!... + + [Exit, sobbing, followed by LEONÍD FYÓDORITCH. + + [All stand silent for a long time. + +THIRD PEASANT. Botheration take them all! If one don't mind, the +police will be after one here. And I have never been to law in all my +born days. Let's go to some lodging-house, lads! + +THEODORE IVÁNITCH. (to TÁNYA). What are we to do? + +TÁNYA. Never mind, Theodore Ivánitch, let them sleep with the +coachman. + +THEODORE IVÁNITCH. How can we do that? The coachman was complaining as +it is, that his place is full of dogs. + +TÁNYA. Well, then, the porter's lodge. + +THEODORE IVÁNITCH. And supposing it's found out? + +TÁNYA. It won't be found out! Don't trouble about that, Theodore +Ivánitch. How can one turn them out now, at night? They'll not find +anywhere to go to. + +THEODORE IVÁNITCH. Well, do as you please. Only they must go away from +here. + + [Exit. + + [PEASANTS take their bags. + +DISCHARGED COOK. Oh those damned fiends! It's all their fat! Fiends! + +SERVANTS' COOK. You be quiet there. Thank goodness they didn't see +you! + +TÁNYA. Well then, daddy, come along to the porter's lodge. + +FIRST PEASANT. Well, but how about our business? How, for example, +about the applience of his hand to the signature? May we be in hopes? + +TÁNYA. We'll see in an hour's time. + +SECOND PEASANT. You'll do the trick? + +TÁNYA (laughs). Yes, God willing! + +CURTAIN + + + + +ACT III + +Evening of the same day. The small drawing-room in LEONÍD FYÓDORITCH'S +house, where the séances are always held. LEONÍD FYÓDORITCH and the +PROFESSOR. + +LEONÍD FYÓDORITCH. Well then, shall we risk a séance with our new +medium? + +PROFESSOR. Yes, certainly. He is a powerful medium, there is no doubt +about it. And it is especially desirable that the séance should take +place to-day with the same people. Grossman will certainly respond to +the influence of the mediumistic energy, and then the connection and +identity of the different phenomena will be still more evident. You +will see then that, if the medium is as strong as he was just now, +Grossman will vibrate. + +LEONÍD FYÓDORITCH. Then I will send for Simon and ask those who wish +to attend to come in. + +PROFESSOR. Yes, all right! I will just jot down a few notes. + + [Takes out his note-book and writes. + + [Enter SAHÁTOF. + +SAHÁTOF. They have just settled down to whist in Anna Pávlovna's +drawing-room, and as I am not wanted there--and as I am interested in +your séance--I have put in an appearance here. But will there be a +séance? + +LEONÍD FYÓDORITCH. Yes, certainly! + +SAHÁTOF. In spite of the absence of Mr. Kaptchítch's mediumistic +powers? + +LEONÍD FYÓDORITCH. Vous avez la main heureuse. [10] Fancy, that very +peasant whom I mentioned to you this morning turns out to be an +undoubted medium. + +SAHÁTOF. Dear me! Yes, that is peculiarly interesting! + +LEONÍD FYÓDORITCH. Yes, we tried a few preliminary experiments with +him just after dinner. + +SAHÁTOF. So you've had time already to experiment, and to convince +yourself.... + +LEONÍD FYÓDORITCH. Yes, perfectly! And he turns out to be an +exceptionally powerful medium. + +SAHÁTOF (incredulously). Dear me! + +LEONÍD FYÓDORITCH. It turns out that it has long been noticed in the +servants' hall. When he sits down to table, the spoon springs into his +hand of its own accord! (To the PROFESSOR.) Had you heard about it? + +PROFESSOR. No, I had not heard that detail. + +SAHÁTOF (to the PROFESSOR). But still, you admit the possibility of +such phenomena? + +PROFESSOR. What phenomena? + +SAHÁTOF. Well, spiritualistic, mediumistic, and supernatural phenomena +in general. + +PROFESSOR. The question is, what do we consider supernatural? When, +not a living man but a piece of stone attracted a nail to itself, how +did the phenomena strike the first observers? As something natural? Or +supernatural? + +SAHÁTOF. Well, of course; but phenomena such as the magnet attracting +iron always repeat themselves. + +PROFESSOR. It is just the same in this case. The phenomenon repeats +itself and we experiment with it. And not only that, but we apply to +the phenomena we are investigating the laws common to other phenomena. +These phenomena seem supernatural only because their causes are +attributed to the medium himself. But that is where the mistake lies. +The phenomena are not caused by the medium, but by psychic energy +acting through a medium, and that is a very different thing. The whole +matter lies in the law of equivalents. + +SAHÁTOF. Yes, certainly, but.... + + [Enter TÁNYA, who hides behind the hangings. + +LEONÍD FYÓDORITCH. Only remember that we cannot reckon on any results +with certainty, with this medium any more than with Home or +Kaptchítch. We may not succeed, but on the other hand we may even have +perfect materialisation. + +SAHÁTOF. Materialisation even? What do you mean by materialisation? + +LEONÍD FYÓDORITCH. Why, I mean that some one who is dead--say, your +father or your grandfather--may appear, take you by the hand, or give +you something; or else some one may suddenly rise into the air, as +happened to Alexéy Vladímiritch last time. + +PROFESSOR. Of course, of course. But the chief thing is the +explanation of the phenomena, and the application to them of general +laws. + + [Enter the FAT LADY. + +FAT LADY. Anna Pávlovna has allowed me to join you. + +LEONÍD FYÓDORITCH. Very pleased. + +FAT LADY. Oh, how tired Grossman seems! He could scarcely hold his +cup. Did you notice (to the PROFESSOR) how pale he turned at the +moment he approached the hiding-place? I noticed it at once, and was +the first to mention it to Anna Pávlovna. + +PROFESSOR. Undoubtedly,--loss of vital energy. + +FAT LADY. Yes, it's just as I say, one should not abuse that sort of +thing. You know, a hypnotist once suggested to a friend of mine, Véra +Kónshin (oh, you know her, of course)--well, he suggested that she +should leave off smoking,--and her back began to ache! + +PROFESSOR (trying to have his say). The temperature and the pulse +clearly indicate.... + +FAT LADY. One moment! Allow me! Well, I said to her: it's better to +smoke than to suffer so with one's nerves. Of course, smoking is +injurious; I should like to give it up myself, but, do what I will, I +can't! Once I managed not to smoke for a fortnight, but could hold out +no longer. + +PROFESSOR (again trying to speak). Clearly proves.... + +FAT LADY. Yes, no! Allow me, just one word! You say, "loss of +strength." And I was also going to say that, when I travelled with +post-horses ... the roads used to be dreadful in those days--you +don't remember--but I have noticed that all our nervousness comes from +railways! I, for instance, can't sleep while travelling; I cannot fall +asleep to save my life! + +PROFESSOR (makes another attempt, which the FAT LADY baffles). The +loss of strength.... + +SAHÁTOF (smiling). Yes; oh yes! + + [LEONÍD FYÓDORITCH rings. + +FAT LADY. I am awake one night, and another, and a third, and still I +can't sleep! + + [Enter GREGORY. + +LEONÍD FYÓDORITCH. Please tell Theodore to get everything ready for +the séance, and send Simon here--Simon, the butler's assistant,--do +you hear? + +GREGORY. Yes, sir. + + [Exit. + +PROFESSOR (to SAHÁTOF). The observation of the temperature and the +pulse have shown loss of vital energy. The same will happen in +consequence of the mediumistic phenomena. The law of the conservation +of energy.... + +FAT LADY. Oh yes, yes; I was just going to say that I am very glad +that a simple peasant turns out to be a medium. That's very good. I +always did say that the Slavophils.... + +LEONÍD FYÓDORITCH. Let's go into the drawing-room in the meantime. + +FAT LADY. Allow me, just one word! The Slavophils are right; but I +always told my husband that one ought never to exaggerate anything! +"The golden mean," you know. What is the use of maintaining that the +common people are all perfect, when I have myself seen.... + +LEONÍD FYÓDORITCH. Won't you come into the drawing-room? + +FAT LADY. A boy--that high--who drank! I gave him a scolding at once. +And he was grateful to me afterwards. They are children, and, as I +always say, children need both love and severity! + + [Exeunt all, all talking together. + + [TÁNYA enters from behind the hangings. + +TÁNYA. Oh, if it would only succeed! + + [Begins fastening some threads. + + [Enter BETSY hurriedly. + +BETSY. Isn't papa here? (Looks inquiringly at TÁNYA.) What are you +doing here? + +TÁNYA. Oh, Miss Elizabeth, I have only just come; I only wished ... +only came in.... + + [Embarrassed. + +BETSY. But they are going to have a séance here directly (Notices +TÁNYA drawing in the threads, looks at her, and suddenly bursts out +laughing.) Tánya! Why, it's you who do it all? Now don't deny it. And +last time it was you too? Yes, it was, it was! + +TÁNYA. Miss Elizabeth, dearest! + +BETSY (delighted). Oh, that is a joke! Well, I never. But why do you +do it? + +TÁNYA. Oh miss, dear miss, don't betray me! + +BETSY. Not for the world! I'm awfully glad. Only tell me how you +manage it? + +TÁNYA. Well, I just hide, and then, when it's all dark, I come out and +do it. That's how. + +BETSY (pointing to threads). And what is this for? You needn't tell +me. I see; you draw.... + +TÁNYA. Miss Elizabeth, darling! I will confess it, but only to you. I +used to do it just for fun, but now I mean business. + +BETSY. What? How? What business? + +TÁNYA. Well, you see, those peasants that came this morning, you saw +them. They want to buy some land, and your father won't sell it; well, +and Theodore Ivánitch, he says it's the spirits as forbid him. So I +have had a thought as.... + +BETSY. Oh, I see! Well, you are a clever girl! Do it, do it.... But +how will you manage it? + +TÁNYA. Well, I thought, when they put out the lights, I'll at once +begin knocking and shying things about, touching their heads with the +threads, and at last I'll take the paper about the land and throw it +on the table. I've got it here. + +BETSY. Well, and then? + +TÁNYA. Why, don't you see? They will be astonished. The peasants had +the paper, and now it's here. I will teach.... + +BETSY. Why, of course! Simon is the medium to-day! + +TÁNYA. Well, I'll teach him.... (Laughs so that she can't continue.) +I'll tell him to squeeze with his hands any one he can get hold of! Of +course, not your father--he'd never dare do that--but any one else; +he'll squeeze till it's signed. + +BETSY (laughing). But that's not the way it is done. Mediums never do +anything themselves. + +TÁNYA. Oh, never mind. It's all one; I daresay it'll turn out all +right. + + [Enter THEODORE IVÁNITCH. + + [Exit BETSY, making signs to TÁNYA. + +THEODORE IVÁNITCH. Why are you here? + +TÁNYA. It's you I want, Theodore Ivánitch, dear.... + +THEODORE IVÁNITCH. Well, what is it? + +TÁNYA. About that affair of mine as I spoke of. + +THEODORE IVÁNITCH (laughs). I've made the match; yes, I've made the +match. The matter is settled; we have shaken hands on it, only not had +a drink on it. + +TÁNYA (with a shriek). Never! So it's all right? + +THEODORE IVÁNITCH. Don't I tell you so? He says, "I shall consult the +missus, and then, God willing...." + +TÁNYA. Is that what he said? (Shrieks.) Dear Theodore Ivánitch, I'll +pray for you all the days of my life! + +THEODORE IVÁNITCH. All right! All right! Now is not the time. I've +been ordered to arrange the room for the séance. + +TÁNYA. Let me help you. How's it to be arranged? + +THEODORE IVÁNITCH. How? Why, the table in the middle of the room-- +chairs--the guitar--the accordion. The lamp is not wanted, only +candles. + +TÁNYA (helps THEODORE IVÁNITCH to place the things). Is that right? +The guitar here, and here the inkstand. (Places it.) So? + +THEODORE IVÁNITCH. Can it be true that they'll make Simon sit here? + +TÁNYA. I suppose so; they've done it once. + +THEODORE IVÁNITCH. Wonderful! (Puts on his pince-nez.) But is he +clean? + +TÁNYA. How should I know? + +THEODORE IVÁNITCH. Then, I'll tell you what.... + +TÁNYA. Yes, Theodore Ivánitch? + +THEODORE IVÁNITCH. Go and take a nail-brush and some Pears' soap; you +may take mine ... and go and cut his claws and scrub his hands as +clean as possible. + +TÁNYA. He can do it himself. + +THEODORE IVÁNITCH. Well then, tell him to. And tell him to put on a +clean shirt as well. + +TÁNYA. All right, Theodore Ivánitch. + + [Exit. + +THEODORE IVÁNITCH (sits down in an easy-chair). They're educated and +learned--Alexéy Vladímiritch now, he's a professor--and yet sometimes +one can't help doubting very much. The people's rude superstitions are +being abolished: hobgoblins, sorcerers, witches.... But if one +considers it, is not this equally superstitious? How is it possible +that the souls of the dead should come and talk, and play the guitar? +No! Some one is fooling them, or they are fooling themselves. And as +to this business with Simon--it's simply incomprehensible. (Looks at +an album.) Here's their spiritualistic album. How is it possible to +photograph a spirit? But here is the likeness of a Turk and Leoníd +Fyódoritch sitting by.... Extraordinary human weakness! + + [Enter LEONÍD FYÓDORITCH. + +LEONÍD FYÓDORITCH. Is it all ready? + +THEODORE IVÁNITCH (rising leisurely). Quite ready. (Smiles.) Only I +don't know about your new medium. I hope he won't disgrace you, Leoníd +Fyódoritch. + +LEONÍD FYÓDORITCH. No, I and Alexéy Vladímiritch have tested him. He +is a wonderfully powerful medium! + +THEODORE IVÁNITCH. Well, I don't know. But is he clean enough? I don't +suppose you have thought of ordering him to wash his hands? It might +be rather inconvenient. + +LEONÍD FYÓDORITCH. His hands? Oh yes! They're not clean, you think? + +THEODORE IVÁNITCH. What can you expect? He's a peasant, and there will +be ladies present, and Márya Vasílevna. + +LEONÍD FYÓDORITCH. It will be all right. + +THEODORE IVÁNITCH. And then I have something to report to you. +Timothy, the coachman, complains that he can't keep things clean +because of the dogs. + +LEONÍD FYÓDORITCH (arranging the things on the table absentmindedly). +What dogs? + +THEODORE IVÁNITCH. The three hounds that came for Vasíly Leoníditch +to-day. + +LEONÍD FYÓDORITCH (vexed). Tell Anna Pávlovna! She can do as she likes +about it. I have no time. + +THEODORE IVÁNITCH. But you know her weakness.... + +LEONÍD FYÓDORITCH. 'Tis just as she likes, let her do as she pleases. +As for him,--one never gets anything but unpleasantness from him. +Besides, I am busy. + + [Enter SIMON, smiling; he has a sleeveless peasant's coat on. + +SIMON. I was ordered to come. + +LEONÍD FYÓDORITCH. Yes, it's all right. Let me see your hands. That +will do, that will do very well! Well, then, my good fellow, you must +do just as you did before,--sit down, and give way to your mood. But +don't think at all. + +SIMON. Why should I think? The more one thinks, the worse it is. + +LEONÍD FYÓDORITCH. Just so, just so, exactly! The less conscious one +is, the greater is the power. Don't think, but give in to your mood. +If you wish to sleep, sleep; if you wish to walk, walk. Do you +understand? + +SIMON. How could one help understanding? It's simple enough. + +LEONÍD FYÓDORITCH. But above all, don't be frightened. Because you +might be surprised yourself. You must understand that just as we live +here, so a whole world of invisible spirits live here also. + +THEODORE IVÁNITCH (improving on what LEONÍD FYÓDORITCH has said). +Invisible feelings, do you understand? + +SIMON (laughs). How can one help understanding! It's very plain as you +put it. + +LEONÍD FYÓDORITCH. You may rise up in the air, or something of the +kind, but don't be frightened. + +SIMON. Why should I be frightened? That won't matter at all. + +LEONÍD FYÓDORITCH. Well then, I'll go and call them all.... Is +everything ready? + +THEODORE IVÁNITCH. I think so. + +LEONÍD FYÓDORITCH. But the slates? + +THEODORE IVÁNITCH. They are downstairs. I'll bring them. + + [Exit. + +LEONÍD FYÓDORITCH. All right then. So don't be afraid, but be at your +ease. + +SIMON. Had I not better take off my coat? One would be more easy like. + +LEONÍD FYÓDORITCH. Your coat? Oh no. Don't take that off. + + [Exit. + +SIMON. She tells me to do the same again, and she will again shy +things about. How isn't she afraid? + + [Enter TÁNYA in her stockings and in a dress of the color of the + wall-paper. SIMON laughs. + +TÁNYA. Shsh!... They'll hear! There, stick these matches on your +fingers as before. (Sticks them on.) Well, do you remember everything? + +SIMON (bending his fingers in, one by one). First of all, wet the +matches and wave my hands about, that's one. Then make my teeth +chatter, like this ... that's two. But I've forgotten the third thing. + +TÁNYA. And it's the third as is the chief thing. Don't forget as soon +as the paper falls on the table--I shall ring the little bell--then +you do like this.... Spread your arms out far and catch hold of some +one, whoever it is as sits nearest, and catch hold of him. And then +squeeze! (Laughs.) Whether it's a gentleman or a lady, it's all one, +you just squeeze 'em, and don't let 'em go,--as if it were in your +sleep, and chatter with your teeth, or else howl like this. (Howls +sotto-voce.) And when I begin to play on the guitar, then stretch +yourself as if you were waking up, you know.... Will you remember +everything? + +SIMON. Yes, I'll remember, but it is too funny. + +TÁNYA. But mind you don't laugh. Still, it won't matter much if you do +laugh; they'd think it was in your sleep. Only take care you don't +really fall asleep when they put out the lights. + +SIMON. No fear, I'll pinch my ears. + +TÁNYA. Well, then, Sim, darling, only mind do as I tell you, and don't +get frightened. He'll sign the paper, see if he don't! They're coming! + + [Gets under the sofa. + + [Enter GROSSMAN and the PROFESSOR, LEONÍD FYÓDORITCH and the FAT + LADY, the DOCTOR, SAHÁTOF and ANNA PÁVLOVNA. SIMON stands near + the door. + +LEONÍD FYÓDORITCH. Please come in, all you doubters! Though we have a +new and accidentally discovered medium, I expect very important +phenomena to-night. + +SAHÁTOF. That's very, very interesting. + +FAT LADY (pointing to SIMON). Mais il est très bien! [11] + +ANNA PÁVLOVNA. Yes, as a butler's assistant, but hardly.... + +SAHÁTOF. Wives never have any faith in their husbands' work. You don't +believe in anything of this kind? + +ANNA PÁVLOVNA. Of course not. Kaptchítch, it is true, has something +exceptional about him, but Heaven knows what all this is about! + +FAT LADY. No, Anna Pávlovna, permit me, you can't decide it in such a +way. Before I was married, I once had a remarkable dream. Dreams, you +know, are often such that you don't know where they begin and where +they end; it was just such a dream that I.... + + [Enter VASÍLY LEONÍDITCH and PETRÍSTCHEF. + +FAT LADY. And much was revealed to me by that dream. Nowadays the +young people (points to PETRÍSTCHEF and VASÍLY LEONÍDITCH) deny +everything. + +VASÍLY LEONÍDITCH. But look here, you know--now I, for instance, never +deny anything! Eh, what? + + [BETSY and MÁRYA KONSTANTÍNOVNA enter, and begin talking to + PETRÍSTCHEF. + +FAT LADY. And how can one deny the supernatural? They say it is +unreasonable. But what if one's reason is stupid; what then? There +now, on Garden Street, you know ... why, well, it appeared every +evening! My husband's brother--what do you call him? Not beau-frère-- +what's the other name for it?--I never can remember the names of these +different relationships--well, he went there three nights running, and +still he saw nothing; so I said to him.... + +LEONÍD FYÓDORITCH. Well, who is going to stay here? + +FAT LADY. I! I! + +SAHÁTOF. I. + +ANNA PÁVLOVNA (to DOCTOR). Do you mean to say you are going to stay? + +DOCTOR. Yes; I must see, if only once, what it is that Alexéy +Vladímiritch has discovered in it. How can we deny anything without +proof? + +ANNA PÁVLOVNA. Then I am to take it to-night for certain? + +DOCTOR. Take what?... Oh, the powder. Yes, it would perhaps be better. +Yes, yes, take it.... However, I shall come upstairs again. + +ANNA PÁVLOVNA. Yes, please do. (Loud.) When it is over, mesdames et +messieurs, I shall expect you to come to me upstairs to rest from your +emotions, and then we will finish our rubber. + +FAT LADY. Oh, certainly. + +SAHÁTOF. Yes, thanks! + + [Exit ANNA PÁVLOVNA. + +BETSY (to PETRÍSTCHEF). You must stay, I tell you. I promise you +something extraordinary. Will you bet? + +MÁRYA KONSTANTÍNOVNA. But you don't believe in it? + +BETSY. To-day I do. + +MÁRYA KONSTANTÍNOVNA (to PETRÍSTCHEF). And do you believe? + +PETRÍSTCHEF. "I can't believe, I cannot trust a heart for falsehood +framed." Still, if Elizabeth Leonídovna commands.... + +VASÍLY LEONÍDITCH. Let us stay, Márya Konstantínovna. Eh, what? I +shall invent something épâtant. + +MÁRYA KONSTANTÍNOVNA. No, you mustn't make me laugh. You know I can't +restrain myself. + +VASÍLY LEONÍDITCH (loud). I remain! + +LEONÍD FYÓDORITCH (severely). But I beg those who remain not to joke +about it. It is a serious matter. + +PETRÍSTCHEF. Do you hear? Well then, let's stay. Vovo, sit here, and +don't be too shy. + +BETSY. Yes, it's all very well for you to laugh; but just wait till +you see what will happen. + +VASÍLY LEONÍDITCH. Oh, but supposing it's true? Won't it be a go! Eh, +what? + +PETRÍSTCHEF (trembles). Oh, I'm afraid, I'm afraid! Márya +Konstantínovna, I'm afraid! My tootsies tremble. + +BETSY (laughing). Not so loud. + + [All sit down. + +LEONÍD FYÓDORITCH. Take your seats, take your seats. Simon, sit down! + +SIMON. Yes, sir. + + [Sits down on the edge of the chair. + +LEONÍD FYÓDORITCH. Sit properly. + +PROFESSOR. Sit straight in the middle of the chair, and quite at your +ease. + + [Arranges SIMON on his chair. + + [BETSY, MÁRYA KONSTANTÍNOVNA and VASÍLY LEONÍDITCH laugh. + +LEONÍD FYÓDORITCH (raising his voice). I beg those who are going to +remain here not to behave frivolously, but to regard this matter +seriously, or bad results might follow. Do you hear, Vovo! If you +can't be quiet, go away! + +VASÍLY LEONÍDITCH. Quiet, quiet! + + [Hides behind FAT LADY. + +LEONÍD FYÓDORITCH. Alexéy Vladímiritch, will you mesmerise him? + +PROFESSOR. No; why should I do it when Antón Borísitch is here? He has +had far more practice and has more power in that department than I ... +Antón Borísitch! + +GROSSMAN. Ladies and gentlemen, I am not, strictly speaking, a +spiritualist. I have only studied hypnotism. It is true I have studied +hypnotism in all its known manifestations; but what is called +spiritualism, is entirely unknown to me. When a subject is thrown into +a trance, I may expect the hypnotic phenomena known to me: lethargy, +abulia, anaesthesia, analgesia, catalepsy, and every kind of +susceptibility to suggestion. Here it is not these but other phenomena +we expect to observe. Therefore it would be well to know of what kind +are the phenomena we expect to witness, and what is their scientific +significance. + +SAHÁTOF. I thoroughly agree with Mr. Grossman. Such an explanation +would be very interesting. + +LEONÍD FYÓDORITCH. I think Alexéy Vladímiritch will not refuse to give +us a short explanation. + +PROFESSOR. Why not? I can give an explanation if it is desired. (To +the DOCTOR.) Will you kindly note his temperature and pulse? My +explanation must, of necessity, be cursory and brief. + +LEONÍD FYÓDORITCH. Yes, please; briefly, quite briefly. + +DOCTOR. All right. (Takes out thermometer.) Now then, my lad.... + + [Places the thermometer. + +SIMON. Yes, sir! + +PROFESSOR (rising and addressing the FAT LADY--then reseating +himself). Ladies and gentlemen! The phenomenon we are investigating +to-night is regarded, on the one hand, as something new; and, on the +other, as something transcending the limits of natural conditions. +Neither view is correct. This phenomenon is not new but is as old as +the world; and it is not supernatural but is subject to the eternal +laws that govern all that exists. This phenomenon has been usually +defined as "intercourse with the spirit world." That definition is +inexact. Under such a definition the spirit world is contrasted with +the material world. But this is erroneous; there is no such contrast! +Both worlds are so closely connected that it is impossible to draw a +line of demarcation, separating the one from the other. We say matter +is composed of molecules.... + +PETRÍSTCHEF. Prosy matter! + + [Whispering and laughter. + +PROFESSOR (pauses, then continues). Molecules are composed of atoms, +but the atoms, having no extension, are in reality nothing but the +points of application of forces. Strictly speaking, not of forces but +of energy, that same energy which is as much a unity and just as +indestructible as matter. But matter, though one, has many different +aspects, and the same is true of energy. Till recently only four forms +of energy, convertible into one another, have been known to us: +energies known as the dynamic, the thermal, the electric, and the +chemic. But these four aspects of energy are far from exhausting all +the varieties of its manifestation. The forms in which energy may +manifest itself are very diverse, and it is one of these new and as +yet but little known phases of energy, that we are investigating +to-night. I refer to mediumistic energy. + + [Renewed whispering and laughter among the young people. + +PROFESSOR (stops and casts a severe look round). Mediumistic energy +has been known to mankind for ages: prophecy, presentiments, visions +and so on, are nothing but manifestations of mediumistic energy. The +manifestations produced by it have, I say, been known to mankind for +ages. But the energy itself has not been recognised as such till quite +recently--not till that medium, the vibrations of which cause the +manifestations of mediumistic energy, was recognised. In the same way +that the phenomena of light were inexplicable until the existence of +an imponderable substance--an ether--was recognised, so mediumistic +phenomena seemed mysterious until the now fully established fact was +recognised, that between the particles of ether there exists another +still more rarefied imponderable substance not subject to the law of +the three dimensions.... + + [Renewed laughter, whispers, and giggling. + +PROFESSOR (again looks round severely). And just as mathematical +calculations have irrefutably proved the existence of imponderable +ether which gives rise to the phenomena of light and electricity, so +the successive investigations of the ingenious Hermann, of Schmidt, +and of Joseph Schmatzhofen, have confirmed beyond a doubt the +existence of a substance which fills the universe and may be called +spiritual ether. + +FAT LADY. Ah, now I understand. I am so grateful.... + +LEONÍD FYÓDORITCH. Yes, but Alexéy Vladímiritch, could you not ... +condense it a little? + +PROFESSOR (not heeding the remark). And so, as I have just had the +honor of mentioning to you, a succession of strictly scientific +experiments have made plain to us the laws of mediumistic phenomena. +These experiments have proved that, when certain individuals are +plunged into a hypnotic state (a state differing from ordinary sleep +only by the fact that man's physiological activity is not lowered by +the hypnotic influence but, on the contrary, is always heightened--as +we have recently witnessed), when, I say, any individual is plunged +into such a state, this always produces certain perturbations in the +spiritual ether--perturbations quite similar to those produced by +plunging a solid body into liquid matter. These perturbations are what +we call mediumistic phenomena.... + + [Laughter and whispers. + +SAHÁTOF. That is quite comprehensible and correct; but if, as you are +kind enough to inform us, the plunging of the medium into a trance +produces perturbations of the spiritual ether, allow me to ask why (as +is usually supposed to be the case in spiritualistic séances) these +perturbations result in an activity on the part of the souls of dead +people? + +PROFESSOR. It is because the molecules of this spiritual ether are +nothing but the souls of the living, the dead, and the unborn, and any +vibration of the spiritual ether must inevitably cause a certain +vibration of its atoms. These atoms are nothing but human souls, which +enter into communication with one another by means of these movements. + +FAT LADY (to SAHÁTOF). What is it that puzzles you? It is so +simple.... Thank you so, so much! + +LEONÍD FYÓDORITCH. I think everything has now been explained, and that +we may commence. + +DOCTOR. The fellow is in a perfectly normal condition: temperature 37 +decimal 2, pulse 74. + +PROFESSOR (takes out his pocket-book and notes this down). What I have +just had the honor of explaining will be confirmed by the fact, which +we shall presently have an opportunity of observing, that after the +medium has been thrown into a trance his temperature and pulse will +inevitably rise, just as occurs in cases of hypnotism. + +LEONÍD FYÓDORITCH. Yes, yes. But excuse me a moment. I should like to +reply to Sergéy Ivánitch's question: How do we know we are in +communication with the souls of the dead? We know it because the +spirit that appears, plainly tells us--as simply as I am speaking to +you--who he is, and why he has come, and whether all is well with him! +At our last séance a Spaniard, Don Castillos, came to us, and he told +us everything. He told us who he was, and when he died, and that he +was suffering for having taken part in the Inquisition. He even told +us what was happening to him at the very time that he was speaking to +us, namely, that at the very time he was talking to us he had to be +born again on earth, and, therefore, could not continue his +conversation with us.... But you'll see for yourselves.... + +FAT LADY (interrupting). Oh, how interesting! Perhaps the Spaniard was +born in one of our houses and is a baby now! + +LEONÍD FYÓDORITCH. Quite possibly. + +PROFESSOR. I think it is time we began. + +LEONÍD FYÓDORITCH. I was only going to say.... + +PROFESSOR. It is getting late. + +LEONÍD FYÓDORITCH. Very well. Then we will commence. Antón Borísitch, +be so good as to hypnotize the medium. + +GROSSMAN. What method would you like me to use? There are several +methods. There is Braid's system, there is the Egyptian symbol, and +there is Charcot's system. + +LEONÍD FYÓDORITCH (to the PROFESSOR). I think it is quite immaterial. + +PROFESSOR. Quite. + +GROSSMAN. Then I will make use of my own method, which I showed in +Odessa. + +LEONÍD FYÓDORITCH. If you please! + + [GROSSMAN waves his arms above SIMON. SIMON closes his eyes and + stretches himself. + +GROSSMAN (looking closely at him). He is falling asleep! He is asleep! +A remarkably rapid occurrence of hypnosis. The subject has evidently +already reached a state of anaesthesia. He is remarkable,--an +unusually impressionable subject, and might be subjected to +interesting experiments!... (Sits down, rises, sits down again.) Now +one might run a needle into his arm. If you like.... + +PROFESSOR (to LEONÍD FYÓDORITCH). Do you notice how the medium's +trance acts on Grossman? He is beginning to vibrate. + +LEONÍD FYÓDORITCH. Yes, yes ... can the lights be extinguished now? + +SAHÁTOF. But why is darkness necessary? + +PROFESSOR. Darkness? Because it is a condition of the manifestation of +mediumistic energy, just as a given temperature is a condition +necessary for certain manifestations of chemical or dynamic energy. + +LEONÍD FYÓDORITCH. But not always. Manifestations have been observed +by me, and by many others, both by candlelight and daylight. + +PROFESSOR (interrupting). May the lights be put out? + +LEONÍD FYÓDORITCH. Yes, certainly. (Puts out candles.) Ladies and +gentlemen! attention, if you please. + + [TÁNYA gets from under the sofa and takes hold of a thread tied + to a chandelier. + +PETRÍSTCHEF. I like that Spaniard! Just in the midst of a +conversation--off he goes head downwards ... as the French say: piquer +une tête. [12] + +BETSY. You just wait a bit, and see what will happen! + +PETRÍSTCHEF. I have only one fear, and that is that Vovo may be moved +by the spirit to grunt like a pig! + +VASÍLY LEONÍDITCH. Would you like me to? I will.... + +LEONÍD FYÓDORITCH. Gentlemen! Silence, if you please! + + [Silence. SIMON licks the matches on his fingers and rubs his + knuckles with them. Leoníd Fyódoritch. A light! Do you see the + light? + +SAHÁTOF. A light? Yes, yes, I see; but allow me.... + +FAT LADY. Where? Where? Oh, dear, I did not see it! Ah, there it is. +Oh!... + +PROFESSOR (whispers to LEONÍD FYÓDORITCH, and points to GROSSMAN, who +is moving). Do you notice how he vibrates? It is the dual influence. + + [The light appears again. + +LEONÍD FYÓDORITCH (to the PROFESSOR). It must be he--you know! + +SAHÁTOF. Who? + +LEONÍD FYÓDORITCH. A Greek, Nicholas. It is his light. Don't you think +so, Alexéy Vladímiritch? + +SAHÁTOF. Who is this Greek, Nicholas? + +PROFESSOR. A certain Greek, who was a monk at Constantinople under +Constantine and who has been visiting us lately. + +FAT LADY. Where is he? Where is he? I don't see him. + +LEONÍD FYÓDORITCH. He is not yet visible ... Alexéy Vladímiritch, he +is particularly well disposed towards you. You question him. + +PROFESSOR (in a peculiar voice). Nicholas! Is that you? + + [TÁNYA raps twice on the wall. + +LEONÍD FYÓDORITCH (joyfully). It is he! It is he! + +FAT LADY. Oh, dear! Oh! I shall go away! + +SAHÁTOF. Why do you suppose it is he? + +LEONÍD FYÓDORITCH. Why, the two knocks. It is an affirmative answer; +else all would have been silence. + + [Silence. Suppressed giggling in the young people's corner. + TÁNYA throws a lampshade, pencil and penwiper upon the table. + +LEONÍD FYÓDORITCH (whispers). Do you notice, gentlemen, here is a +lamp-shade, and something else--a pencil!... Alexéy Vladímiritch, it +is a pencil! + +PROFESSOR. All right, all right! I am watching both him and Grossman! + + [GROSSMAN rises and feels the things that have fallen on the table. + +SAHÁTOF. Excuse me, excuse me! I should like to see whether it is not +the medium who is doing it all himself? + +LEONÍD FYÓDORITCH. Do you think so? Well, sit by him and hold his +hands. But you may be sure he is asleep. + +SAHÁTOF (approaches, TÁNYA lets a thread touch his head. He is +frightened, and stoops). Ye ... ye ... yes! Strange, very strange! + + [Takes hold of SIMON'S elbow. SIMON howls. + +PROFESSOR (to LEONÍD FYÓDORITCH). Do you notice the effect of +Grossman's presence? It is a new phenomenon--I must note it.... + + [Runs out to note it down, and returns again. + +LEONÍD FYÓDORITCH. Yes.... But we cannot leave Nicholas without an +answer. We must begin.... + +GROSSMAN (rises, approaches Simon and raises and lowers his arm). It +would be interesting to produce contraction! The subject is in +profound hypnosis. + +PROFESSOR (to LEONÍD FYÓDORITCH). Do you see? Do you see? + +GROSSMAN. If you like.... + +DOCTOR. Now then, my dear sir, leave the management to Alexéy +Vladímiritch; the affair is turning out serious. + +PROFESSOR. Leave him alone, he (referring to GROSSMAN) is talking in +his sleep! + +FAT LADY. How glad I now am that I resolved to be present! It is +frightening, but all the same I am glad, for I always said to my +husband.... + +LEONÍD FYÓDORITCH. Silence, if you please. + + [TÁNYA draws a thread over the FAT LADY'S head. + +FAT LADY. Aie! + +LEONÍD FYÓDORITCH. What? What is it? + +FAT LADY. He took hold of my hair! + +LEONÍD FYÓDORITCH (whispers). Never mind, don't be afraid, give him +your hand. His hand will be cold, but I like it. + +FAT LADY (hides her hands). Not for the world! + +SAHÁTOF. Yes, it is strange, very strange! + +LEONÍD FYÓDORITCH. He is here and is seeking for intercourse. Who +wishes to put a question to him? + +SAHÁTOF. I should like to put a question, if I may. + +PROFESSOR. Please do. + +SAHÁTOF. Do I believe or not? + + [TÁNYA knocks twice. + +PROFESSOR. The answer is affirmative. + +SAHÁTOF. Allow me to ask again. Have I a ten rouble note in my pocket? + + [TÁNYA knocks several times and passes a thread over SAHÁTOF'S head. + +SAHÁTOF. Ah! + + [Seizes the thread and breaks it. + +PROFESSOR. I should ask those present not to ask indefinite or trivial +questions. It is unpleasant to him! + +SAHÁTOF. No, but allow me! Here I have a thread in my hand! + +LEONÍD FYÓDORITCH. A thread? Hold it fast; that happens often, and not +only threads but sometimes even silk cords--very ancient ones! + +SAHÁTOF. No--but where did this thread come from? + + [TÁNYA throws a cushion at him. + +SAHÁTOF. Wait a bit; wait! Something soft has hit me on the head. +Light a candle--there is something.... + +PROFESSOR. We beg of you not to interrupt the manifestations. + +FAT LADY. For goodness' sake, don't interrupt! I should also like to +ask something. May I? + +LEONÍD FYÓDORITCH. Yes, if you like. + +FAT LADY. I should like to ask about my digestion. May I? I want to +know what to take: aconite or belladonna? + + [Silence, whispers among the young people; suddenly VASÍLY + LEONÍDITCH begins to cry like a baby: "ou-a, ou-a!" (Laughter.) + Holding their mouths and noses, the girls and PETRÍSTCHEF run + away bursting with laughter. + +FAT LADY. Ah, that must be the monk who's been born again! + +LEONÍD FYÓDORITCH (beside himself with anger, whispers). One gets +nothing but tomfoolery from you! If you don't know how to behave +decently, go away! + + [Exit VASÍLY LEONÍDITCH. Darkness and silence. + +FAT LADY. Oh, what a pity! Now one can't ask any more! He is born! + +LEONÍD FYÓDORITCH. Not at all. It is only Vovo's nonsense. But he is +here. Ask him. + +PROFESSOR. That often happens. These jokes and ridicule are quite +usual occurrences. I expect he is still here. But we may ask. Leoníd +Fyódoritch, will you? + +LEONÍD FYÓDORITCH. No, you, if you please. This has upset me. So +unpleasant! Such want of tact!... + +PROFESSOR. Very well.... Nicholas, are you here? + + [TÁNYA raps twice and rings. SIMON roars, spreads his arms out, + seizes SAHÁTOF and the PROFESSOR--squeezing them. + +PROFESSOR. What an unexpected phenomenon! The medium himself reacted +upon! This never happened before! Leoníd Fyódoritch, will you watch? +It is difficult for me to do so. He squeezes me so! Mind you observe +GROSSMAN! This needs the very greatest attention! + + [TÁNYA throws the PEASANTS' paper on the table. + +LEONÍD FYÓDORITCH. Something has fallen upon the table. + +PROFESSOR. See what it is! + +LEONÍD FYÓDORITCH. Paper! A folded paper! + + [TÁNYA throws a travelling inkstand on the table. + +LEONÍD FYÓDORITCH. An inkstand! + + [TÁNYA throws a pen. + +LEONÍD FYÓDORITCH. A pen! + + [SIMON roars and squeezes. + +PROFESSOR (crushed). Wait a bit, wait: a totally new manifestation! +The action proceeding not from the mediumistic energy produced, but +from the medium himself! However, open the inkstand, and put the pen +on the table, and he will write! + + [TÁNYA goes behind LEONÍD FYÓDORITCH and strikes him on the head + with the guitar. + +LEONÍD FYÓDORITCH. He has struck me on the head! (Examining table.) +The pen is not writing yet and the paper remains folded. + +PROFESSOR. See what the paper is, and quickly; evidently the dual +influence--his and Grossman's--has produced a perturbation! + +LEONÍD FYÓDORITCH (goes out and returns at once). Extraordinary! This +paper is an agreement with some peasants that I refused to sign this +morning and returned to the peasants. Probably he wants me to sign it? + +PROFESSOR. Of course! Of course! But ask him. + +LEONÍD FYÓDORITCH. Nicholas, do you wish.... + + [TÁNYA knocks twice. + +PROFESSOR. Do you hear? It is quite evident! + + [LEONÍD FYÓDORITCH takes the paper and pen and goes out. TÁNYA + knocks, plays on the guitar and the accordion, and then creeps + under the sofa. LEONÍD FYÓDORITCH returns. SIMON stretches + himself and coughs. + +LEONÍD FYÓDORITCH. He is waking up. We can light the candles. + +PROFESSOR (hurriedly). Doctor, Doctor, please, his pulse and +temperature! You will see that a rise of both will be apparent. + +LEONÍD FYÓDORITCH (lights the candles). Well, what do you gentlemen +who were sceptical think of it now? + +DOCTOR (goes up to SIMON and places thermometer). Now then my lad. +Well, have you had a nap? There, put that in there, and give me your +hand. + + [Looks at his watch. + +SAHÁTOF (shrugging his shoulders). I must admit that all that has +occurred cannot have been done by the medium. But the thread?... I +should like the thread explained. + +LEONÍD FYÓDORITCH. A thread! A thread! We have been witnessing +manifestations more important than a thread. + +SAHÁTOF. I don't know. At all events, je réserve mon opinion. + +FAT LADY (to SAHÁTOF). Oh, no, how can you say: "je réserve mon +opinion"? And the infant with the little wings? Didn't you see? At +first I thought it was only an illusion, but afterwards it became +clearer and clearer, like a live.... + +SAHÁTOF. I can only speak of what I have seen. I did not see that-- +nothing of the kind. + +FAT LADY. You don't mean to say so? Why, it was quite plainly visible! +And to the left there was a monk clothed in black bending over it.... + +SAHÁTOF (moves away. Aside). What exaggeration! + +FAT LADY (addressing the DOCTOR). You must have seen it! It rose up +from your side. + + [DOCTOR goes on counting the pulse without heeding her. + +FAT LADY (to GROSSMAN). And that light, the light around it, +especially around its little face! And the expression so mild and +tender, something so heavenly! + + [Smiles tenderly herself. + +GROSSMAN. I saw phosphorescent light, and objects changed their +places, but I saw nothing more than that. + +FAT LADY. Don't tell me! You don't mean it! It is simply that you +scientists of Charcot's school do not believe in a life beyond the +grave! As for me, no one could now make me disbelieve in a future +life--no one in the world! + + [GROSSMAN moves away from her. + +FAT LADY. No, no, whatever you may say, this is one of the happiest +moments of my life! When I heard Sarasate play, and now.... Yes! (No +one listens to her. She goes up to SIMON.) Now tell me, my friend, +what did you feel? Was it very trying? + +SIMON (laughs). Yes, ma'm, just so. + +FAT LADY. Still not unendurable? + +SIMON. Just so, ma'm. (To LEONÍD FYÓDORITCH.) Am I to go? + +LEONÍD FYÓDORITCH. Yes, you may go. + +DOCTOR (to the PROFESSOR). The pulse is the same, but the temperature +is lower. + +PROFESSOR. Lower! (Considers awhile, then suddenly divines the +conclusion.) It had to be so--it had to descend! The dual influence +crossing had to produce some kind of reflex action. Yes, that's it! + + [Exeunt, all talking at once-- + + LEONÍD FYÓDORITCH. I'm only sorry we had no complete + materialisation. But still.... Come, gentlemen, let us go to the + drawing-room? + + FAT LADY. What specially struck me was when he flapped his wings, + and one saw how he rose! + + GROSSMAN (to SAHÁTOF). If we had kept to hypnotism, we might have + produced a thorough state of epilepsy. The success might have + been complete! + + SAHÁTOF. It is very interesting, but not entirely convincing. That + is all I can say. + + [Enter THEODORE IVÁNITCH. + +LEONÍD FYÓDORITCH (with paper in his hand). Ah, Theodore, what a +remarkable séance we have had! It turns out that the peasants must +have the land on their own terms. + +THEODORE IVÁNITCH. Dear me! + +LEONÍD FYÓDORITCH. Yes, indeed. (Showing paper.) Fancy, this paper +that I returned to them, suddenly appeared on the table! I have signed +it. + +THEODORE IVÁNITCH. How did it get there? + +LEONÍD FYÓDORITCH. Well, it did get there! + + [Exit. THEODORE IVÁNITCH follows him out. + +TÁNYA (gets from under the sofa and laughs). Oh, dear, oh dear! Well, +I did get a fright when he got hold of the thread! (Shrieks.) Well, +anyhow, it's all right--he has signed it! + + [Enter GREGORY. + +GREGORY. So it was you that was fooling them? + +TÁNYA. What business is it of yours? + +GREGORY. And do you think the missis will be pleased with you for it? +No, you bet; you're caught now! I'll tell them what tricks you're up +to, if you don't let me have my way! + +TÁNYA. And you'll not get your way, and you'll not do me any harm! + +CURTAIN + + + + +ACT IV + +The same scene as in Act I. The next day. Two liveried footmen, +THEODORE IVÁNITCH and GREGORY. + +FIRST FOOTMAN (with grey whiskers). Yours is the third house to-day. +Thank goodness that all the at-homes are in this direction. Yours used +to be on Thursdays. + +THEODORE IVÁNITCH. Yes, we changed to Saturday so as to be on the same +day as the Golóvkins and Grade von Grabes.... + +SECOND FOOTMAN. The Stcherbákofs do the thing well. There's +refreshments for the footmen every time they've a ball. + + [The two PRINCESSES, mother and daughter, come down the stairs + accompanied by BETSY. The old PRINCESS looks in her note-book + and at her watch, and sits down on the settle. GREGORY puts on + her overshoes. + +YOUNG PRINCESS. Now, do come. Because, if you refuse, and Dodo +refuses, the whole thing will be spoilt. + +BETSY. I don't know. I must certainly go to the Shoúbins. And then +there is the rehearsal. + +YOUNG PRINCESS. You'll have plenty of time. Do, please. Ne nous fais +pas faux bond.[13] Fédya and Koko will come. + +BETSY. J'en ai par-dessus la tête de votre Koko.[14] + +YOUNG PRINCESS. I thought I should see him here. Ordinairement il est +d'une exactitude....[15] + +BETSY. He is sure to come. + +YOUNG PRINCESS. When I see you together, it always seems to me that he +has either just proposed or is just going to propose. + +BETSY. Yes, I don't suppose it can be avoided. I shall have to go +through with it. And it is so unpleasant! + +YOUNG PRINCESS. Poor Koko! He is head over ears in love. + +BETSY. Cessez, les gens![16] + + [YOUNG PRINCESS sits down, talking in whispers. GREGORY puts on + her overshoes. + +YOUNG PRINCESS. Well then, good-bye till this evening. + +BETSY. I'll try to come. + +OLD PRINCESS. Then tell your papa that I don't believe in anything of +the kind, but will come to see his new medium. Only he must let me +know when. Good afternoon, ma toute belle. + + [Kisses BETSY, and exit, followed by her daughter. BETSY goes + upstairs. + +GREGORY. I don't like putting on an old woman's overshoes for her; she +can't stoop, can't see her shoe for her stomach, and keeps poking her +foot in the wrong place. It's different with a young one; it's +pleasant to take her foot in one's hand. + +SECOND FOOTMAN. Hear him! Making distinctions! + +FIRST FOOTMAN. It's not for us footmen to make such distinctions. + +GREGORY. Why shouldn't one make distinctions; are we not men? It's +they think we don't understand! Just now they were deep in their talk, +then they look at me, and at once it's "lay zhon!" + +SECOND FOOTMAN. And what's that? + +GREGORY. Oh, that means, "Don't talk, they understand!" It's the same +at table. But I understand! You say, there's a difference? I say there +is none. + +FIRST FOOTMAN. There is a great difference for those who understand. + +GREGORY. There is none at all. To-day I am a footman, and to-morrow I +may be living no worse than they are. Has it never happened that +they've married footmen? I'll go and have a smoke. + + [Exit. + +SECOND FOOTMAN. That's a bold young man you've got. + +THEODORE IVÁNITCH. A worthless fellow, not fit for service. He used to +be an office boy and has got spoilt. I advised them not to take him, +but the mistress liked him. He looks well on the carriage when they +drive out. + +FIRST FOOTMAN. I should like to send him to our Count; he'd put him in +his place! Oh, he don't like those scatterbrains. "If you're a +footman, be a footman and fulfil your calling." Such pride is not +befitting. + + [PETRÍSTCHEF comes running downstairs, and takes out a cigarette. + +PETRÍSTCHEF (deep in thought). Let's see, my second is the same as my +first. Echo, a-co, co-coa. (Enter KOKO KLÍNGEN, wearing his +pince-nez.) Ko-ko, co-coa. Cocoa tin, where do you spring from? + +KOKO KLÍNGEN. From the Stcherbákofs. You are always playing the +fool.... + +PETRÍSTCHEF. No, listen to my charade. My first is the same as my +second, my third may be cracked, my whole is like your pate. + +KOKO KLÍNGEN. I give it up. I've no time. + +PETRÍSTCHEF. Where else are you going? + +KOKO KLÍNGEN. Where? Of course to the Ivins, to practice for the +concert. Then to the Shoúbins, and then to the rehearsal. You'll be +there too, won't you? + +PETRÍSTCHEF. Most certainly. At the re-her-Sall and also at the +re-her-Sarah. Why, at first I was a savage, and now I am both a savage +and a general. + +KOKO KLÍNGEN. How did yesterday's séance go off? + +PETRÍSTCHEF. Screamingly funny! There was a peasant, and above all, it +was all in the dark. Vovo cried like an infant, the Professor defined, +and Márya Vasílevna refined. Such a lark! You ought to have been +there. + +KOKO KLÍNGEN. I'm afraid, mon cher. You have a way of getting off with +a jest, but I always feel that if I say a word they'll construe it +into a proposal. Et ça ne m'arrange pas du tout, du tout. Mais du +tout, du tout! [17] + +PETRÍSTCHEF. Instead of a proposal, make a proposition, and receive a +sentence! Well, I shall go in to Vovo's. If you'll call for me, we can +go to the re-her-Sarah together. + +KOKO KLÍNGEN. I can't think how you can be friends with such a fool. +He is so stupid--a regular blockhead! + +PETRÍSTCHEF. And I am fond of him. I love Vovo, but ... "with a love +so strange, ne'er towards him the path untrod shall be".... + + [Exit into Vovo's room. + + [BETSY comes down with a LADY. KOKO bows significantly to BETSY. + +BETSY (shaking KOKO'S hand without turning towards him. To LADY). You +are acquainted? + +LADY. No. + +BETSY. Baron Klíngen.... Why were you not here last night? + +KOKO KLÍNGEN. I could not come, I was engaged. + +BETSY. What a pity, it was so interesting! (Laughs.) You should have +seen what manifestations we had! Well, how is our charade getting on? + +KOKO KLÍNGEN. Oh, the verses for mon second are ready. Nick composed +the verses, and I the music. + +BETSY. What are they? What are they? Do tell me! + +KOKO KLÍNGEN. Wait a minute; how does it go?... Oh, the knight sings: + + "Oh, naught so beautiful as nature: + The Nautilus sails by. + Oh, naughty lass, oh, naughty lass! + Oh, nought, oh, nought! Oh, fie!" + +LADY. I see, my second is "nought," and what is my first? + +KOKO KLÍNGEN. My first is Aero, the name of a girl savage. + +BETSY. Aero, you see, is a savage who wished to devour the object of +her love. (Laughs.) She goes about lamenting, and sings-- + + "My appetite," + +KOKO KLÍNGEN (interrupts)-- + + "How can I fight,".... + +BETSY (chimes in)-- + + "Some one to chew I long. + I seeking go ...." + +KOKO KLÍNGEN-- + + "But even so...." + +BETSY-- + + "No one to chew can find." + +KOKO KLÍNGEN-- + + "A raft sails by," + +BETSY-- + + "It cometh nigh; + Two generals upon it...." + +KOKO KLÍNGEN-- + + "Two generals are we: + By fate's hard decree, + To this island we flee." + +And then, the refrain-- + + "By fate's hard decree, + To this island we flee." + +LADY. Charmant! + +BETSY. But just think how silly! + +KOKO KLÍNGEN. Yes, that's the charm of it! + +LADY. And who is to be Aero? + +BETSY. I am. And I have had a costume made, but mamma says it's "not +decent." And it is not a bit less decent than a ball dress. (To +THEODORE IVÁNITCH.) Is Bourdier's man here? + +THEODORE IVÁNITCH. Yes, he is waiting in the kitchen. + +LADY. Well, and how will you represent Aeronaut? + +BETSY. Oh, you'll see. I don't want to spoil the pleasure for you. Au +revoir. + +LADY. Good-bye! + + [They bow. Exit LADY. + +BETSY (to KOKO KLÍNGEN). Come up to mamma. + + [BETSY and KOKO go upstairs. JACOB enters from servants' + quarters, carrying a tray with teacups, cakes, etc., and goes + panting across the stage. + +JACOB (to the FOOTMEN). How d'you do? How d'you do? + + [FOOTMEN bow. + +JACOB (to THEODORE IVÁNITCH). Couldn't you tell Gregory to help a bit! +I'm ready to drop.... + + [Exit up the stairs. + +FIRST FOOTMAN. That is a hard-working chap you've got there. + +THEODORE IVÁNITCH. Yes, a good fellow. But there now--he doesn't +satisfy the mistress, she says his appearance is ungainly. And now +they've gone and told tales about him for letting some peasants into +the kitchen yesterday. It is a bad look-out: they may dismiss him. And +he is a good fellow. + +SECOND FOOTMAN. What peasants were they? + +THEODORE IVÁNITCH. Peasants that had come from our Koursk village to +buy some land. It was night, and they were our fellow-countrymen, one +of them the father of the butler's assistant. Well, so they were asked +into the kitchen. It so happened that there was thought-reading going +on. Something was hidden in the kitchen, and all the gentlefolk came +down, and the mistress saw the peasants. There was such a row! "How is +this," she says; "these people may be infected, and they are let into +the kitchen!".... She is terribly afraid of this infection. + + [Enter GREGORY. + +THEODORE IVÁNITCH. Gregory, you go and help Jacob. I'll stay here. He +can't manage alone. + +GREGORY. He's awkward, that's why he can't manage. + + [Exit. + +FIRST FOOTMAN. And what is this new mania they have got? This +infection!... So yours also is afraid of it? + +THEODORE IVÁNITCH. She fears it worse than fire! Our chief business, +nowadays, is fumigating, washing, and sprinkling. + +FIRST FOOTMAN. I see. That's why there is such a stuffy smell here. +(With animation.) I don't know what we're coming to with these +infection notions. It's just detestable! They seem to have forgotten +the Lord. There's our master's sister, Princess Mosolóva, her daughter +was dying, and, will you believe it, neither father nor mother would +come near her! So she died without their having taken leave of her. +And the daughter cried, and called them to say good-bye--but they +didn't go! The doctor had discovered some infection or other! And yet +their own maid and a trained nurse were with her, and nothing happened +to them; they're still alive! + + [Enter VASÍLY LEONÍDITCH and PETRÍSTCHEF from VASÍLY LEONÍDITCH'S + room, smoking cigarettes. + +PETRÍSTCHEF. Come along then, only I must take Koko--Cocoanut, with +me. + +VASÍLY LEONÍDITCH. Your Koko is a regular dolt; I can't bear him. A +hare-brained fellow, a regular gad-about! Without any kind of +occupation, eternally loafing around! Eh, what? + +PETRÍSTCHEF. Well, anyhow, wait a bit, I must say goodbye. + +VASÍLY LEONÍDITCH. All right. And I will go and look at my dogs in the +coachman's room. I've got a dog there that's so savage, the coachman +said, he nearly ate him. + +PETRÍSTCHEF. Who ate whom? Did the coachman really eat the dog? + +VASÍLY LEONÍDITCH. You are always at it! + + [Puts on outdoor things and goes out. + +PETRÍSTCHEF (thoughtfully). Ma - kin - tosh, Co - co - tin.... Let's +see. + + [Goes upstairs. + + [JACOB runs across the stage. + +THEODORE IVÁNITCH. What's the matter? + +JACOB. There is no more thin bread and butter. I said.... + + [Exit. + +SECOND FOOTMAN. And then our master's little son fell ill, and they +sent him at once to an hotel with his nurse, and there he died without +his mother. + +FIRST FOOTMAN. They don't seem to fear sin! I think you cannot escape +from God anywhere. + +THEODORE IVÁNITCH. That's what I think. + + [JACOB runs upstairs with bread and butter. + +FIRST FOOTMAN. One should consider too, that if we are to be afraid of +everybody like that, we'd better shut ourselves up within four walls, +as in a prison, and stick there! + + [Enter TÁNYA; she bows to the FOOTMEN. + +TÁNYA. Good afternoon. + + [FOOTMEN bow. + +TÁNYA. Theodore Ivánitch, I have a word to say to you. + +THEODORE IVÁNITCH. Well, what? + +TÁNYA. The peasants have come again, Theodore Ivánitch.... + +THEODORE IVÁNITCH. Well? I gave the paper to Simon. + +TÁNYA. I have given them the paper. They were that grateful! I can't +say how! Now they only ask you to take the money. + +THEODORE IVÁNITCH. But where are they? + +TÁNYA. Here, by the porch. + +THEODORE IVÁNITCH. All right, I'll tell the master. + +TÁNYA. I have another request to you, dear Theodore Ivánitch. + +THEODORE IVÁNITCH. What now? + +TÁNYA. Why, don't you see, Theodore Ivánitch, I can't remain here any +longer. Ask them to let me go. + + [Enter JACOB, running. + +THEODORE IVÁNITCH (to JACOB). What d'you want? + +JACOB. Another samovár, and oranges. + +THEODORE IVÁNITCH. Ask the housekeeper. + + [Exit JACOB. + +THEODORE IVÁNITCH (to TÁNYA). How is that? + +TÁNYA. Why, don't you see, my position is such.... + +JACOB (runs in). There are not enough oranges. + +THEODORE IVÁNITCH. Serve up as many as you've got. (Exit JACOB.) Now's +not the time! Just see what a bustle we are in. + +TÁNYA. But you know yourself, Theodore Ivánitch, there is no end to +this bustle; one might wait for ever--you know yourself--and my affair +is for life.... Dear Theodore Ivánitch, you have done me a good turn, +be a father to me now, choose the right moment and tell her, or else +she'll get angry and won't let me have my passport.[18] + +THEODORE IVÁNITCH. Where's the hurry? + +TÁNYA. Why, Theodore Ivánitch, it's all settled now.... And I could go +to my godmother's and get ready, and then after Easter we'd get +married.[19] Do tell her, dear Theodore Ivánitch! + +THEODORE IVÁNITCH. Go away--this is not the place. + + [An elderly GENTLEMAN comes downstairs, puts on overcoat, and + goes out, followed by the SECOND FOOTMAN. + + [Exit TÁNYA. Enter JACOB. + +JACOB. Just fancy, Theodore Ivánitch, it's too bad! She wants to +discharge me now! She says, "You break everything, and forget Frisk, +and you let the peasants into the kitchen against my orders!" And you +know very well that I knew nothing about it. Tatyána told me, "Take +them into the kitchen"; how could I tell whose order it was? + +THEODORE IVÁNITCH. Did the mistress speak to you? + +JACOB. She's just spoken. Do speak up for me, Theodore Ivánitch! You +see, my people in the country are only just getting on their feet, and +suppose I lose my place, when shall I get another? Theodore Ivánitch, +do, please! + + [ANNA PÁVLOVNA comes down with the old COUNTESS, whom she is + seeing off. The COUNTESS has false teeth and hair. The FIRST + FOOTMAN helps the COUNTESS into her outdoor things. + +ANNA PÁVLOVNA. Oh, most certainly, of course! I am so deeply touched. + +COUNTESS. If it were not for my illness, I should come oftener to see +you. + +ANNA PÁVLOVNA. You should really consult Peter Petróvitch. He is +rough, but nobody can soothe one as he does. He is so clear, so +simple. + +COUNTESS. Oh no, I shall keep to the one I am used to. + +ANNA PÁVLOVNA. Pray, take care of yourself. + +COUNTESS. Merci, mille fois merci.[20] + + [GREGORY, dishevelled and excited, jumps out from the servants' + quarters. SIMON appears behind him in the doorway. + +SIMON. You'd better leave her alone! + +GREGORY. You rascal! I'll teach you how to fight, you scamp, you! + +ANNA PÁVLOVNA. What do you mean? Do you think you are in a +public-house? + +GREGORY. This coarse peasant makes life impossible for me. + +ANNA PÁVLOVNA (provoked). You've lost your senses. Don't you see? (To +COUNTESS.) Merci, mille fois merci. A mardi! [21] + + [Exeunt COUNTESS and FIRST FOOTMAN. + +ANNA PÁVLOVNA (to GREGORY). What is the meaning of this? + +GREGORY. Though I do occupy the position of a footman, still I won't +allow every peasant to hit me; I have my pride too. + +ANNA PÁVLOVNA. Why, what has happened? + +GREGORY. Why, this Simon of yours has got so brave, sitting with the +gentlemen, that he wants to fight! + +ANNA PÁVLOVNA. Why? What for? + +GREGORY. Heaven only knows! + +ANNA PÁVLOVNA (to SIMON). What is the meaning of it? + +SIMON. Why does he bother her? + +ANNA PÁVLOVNA. What has happened? + +SIMON (smiles). Well, you see, he is always catching hold of Tánya, +the lady's-maid, and she won't have it. Well, so I just moved him +aside a bit, just so, with my hand. + +GREGORY. A nice little bit! He's almost caved my ribs in, and has torn +my dress-coat, and he says, "The same power as came over me yesterday +comes on me again," and he begins to squeeze me. + +ANNA PÁVLOVNA (to SIMON). How dare you fight in my house? + +THEODORE IVÁNITCH. May I explain it to you, ma'am? I must tell you +Simon is not indifferent to Tánya, and is engaged to her. And Gregory +--one must admit the truth--does not behave properly, nor honestly, to +her. Well, so I suppose Simon got angry with him. + +GREGORY. Not at all! It is all his spite, because I have discovered +their trickery. + +ANNA PÁVLOVNA. What trickery? + +GREGORY. Why, at the séance. All those things, last night,--it was not +Simon but Tánya who did them! I saw her getting out from under the +sofa with my own eyes. + +ANNA PÁVLOVNA. What is that? From under the sofa? + +GREGORY. I give you my word of honor. And it was she who threw the +paper on the table. If it had not been for her the paper would not +have been signed, nor the land sold to the peasants. + +ANNA PÁVLOVNA. And you saw it yourself? + +GREGORY. With my own eyes. Shall I call her? She'll not deny it. + +ANNA PÁVLOVNA. Yes, call her. + + [Exit GREGORY. + + [Noise behind the scenes. The voice of the DOORKEEPER, "No, no, + you cannot." DOORKEEPER is seen at the front door, the three + PEASANTS rush in past him, the SECOND PEASANT first; the THIRD + one stumbles, falls on his nose, and catches hold of it. + +DOORKEEPER. You must not go in! + +SECOND PEASANT. Where's the harm? We are not doing anything wrong. We +only wish to pay the money! + +FIRST PEASANT. That's just it; as by laying on the signature the +affair is come to a conclusion, we only wish to make payment with +thanks. + +ANNA PÁVLOVNA. Wait a bit with your thanks. It was all done by fraud! +It is not settled yet. Not sold yet.... Leoníd.... Call Leoníd +Fyódoritch. + + [Exit DOORKEEPER. + + [LEONÍD FYÓDORITCH enters, but, seeing his wife and the PEASANTS, + wishes to retreat. + +ANNA PÁVLOVNA. No, no, come here, please! I told you the land must not +be sold on credit, and everybody told you so, but you let yourself be +deceived like the veriest blockhead. + +LEONÍD FYÓDORITCH. How? I don't understand who is deceiving? + +ANNA PÁVLOVNA. You ought to be ashamed of yourself! You have grey +hair, and you let yourself be deceived and laughed at like a silly +boy. You grudge your son some three hundred roubles which his social +position demands, and let yourself be tricked of thousands--like a +fool! + +LEONÍD FYÓDORITCH. Now come, Annette, try to be calm. + +FIRST PEASANT. We are only come about the acceptation of the sum, for +example.... + +THIRD PEASANT (taking out the money). Let us finish the matter, for +Christ's sake! + +ANNA PÁVLOVNA. Wait, wait! + + [Enter TÁNYA and GREGORY. + +ANNA PÁVLOVNA (angrily). You were in the small drawing-room during the +séance last night? + + [TÁNYA looks around at THEODORE IVÁNITCH, LEONÍD FYÓDORITCH, and + SIMON, and sighs. + +GREGORY. It's no use beating about the bush; I saw you myself.... + +ANNA PÁVLOVNA. Tell me, were you there? I know all about it, so you'd +better confess! I'll not do anything to you. I only want to expose him +(pointing to LEONÍD FYÓDORITCH) your master.... Did you throw the +paper on the table? + +TÁNYA. I don't know how to answer. Only one thing,--let me go home. + + [Enter BETSY unobserved. + +ANNA PÁVLOVNA (to LEONÍD FYÓDORITCH). There, you see! You are being +made a fool of. + +TÁNYA. Let me go home, Anna Pávlovna! + +ANNA PÁVLOVNA. No, my dear! You may have caused us a loss of thousands +of roubles. Land has been sold that ought not to be sold! + +TÁNYA. Let me go, Anna Pávlovna! + +ANNA PÁVLOVNA. No; you'll have to answer for it! Such tricks won't do. +We'll have you up before the Justice of the Peace! + +BETSY (comes forward). Let her go, mamma. Or, if you wish to have her +tried, you must have me tried too! She and I did it together. + +ANNA PÁVLOVNA. Well, of course, if you have a hand in anything, what +can one expect but the very worst results! + + [Enter the PROFESSOR. + +PROFESSOR. How do you do, Anna Pávlovna? How do you do, Miss Betsy? +Leoníd Fyódoritch, I have brought you a report of the Thirteenth +Congress of Spiritualists at Chicago. An amazing speech by Schmidt! + +LEONÍD FYÓDORITCH. Oh, that is interesting! + +ANNA PÁVLOVNA. I will tell you something much more interesting! It +turns out that both you and my husband were fooled by this girl! Betsy +takes it on herself, but that is only to annoy me. It was an +illiterate peasant girl who fooled you, and you believed it all. +There were no mediumistic phenomena last night; it was she (pointing +to TÁNYA) who did it! + +PROFESSOR (taking off his overcoat). What do you mean? + +ANNA PÁVLOVNA. I mean that it was she who, in the dark, played on the +guitar and beat my husband on the head and performed all your idiotic +tricks--and she has just confessed! + +PROFESSOR (smiling). What does that prove? + +ANNA PÁVLOVNA. It proves that your mediumism is--tomfoolery; that's +what it proves! + +PROFESSOR. Because this young girl wished to deceive, we are to +conclude that mediumism is "tomfoolery," as you are pleased to express +it? (Smiles.) A curious conclusion! Very possibly this young girl may +have wished to deceive: that often occurs. She may even have done +something; but then, what she did--she did. But the manifestations of +mediumistic energy still remain manifestations of mediumistic energy! +It is even very probable that what this young girl did evoked (and so +to say solicited) the manifestation of mediumistic energy,--giving it +a definite form. + +ANNA PÁVLOVNA. Another lecture! + +PROFESSOR (sternly). You say, Anna Pávlovna, that this girl, and +perhaps this dear young lady also, did something; but the light we all +saw, and, in the first case the fall, and in the second the rise of +temperature, and Grossman's excitement and vibration--were those +things also done by this girl? And these are facts, Anna Pávlovna, +facts! No! Anna Pávlovna, there are things which must be investigated +and fully understood before they can be talked about, things too +serious, too serious.... + +LEONÍD FYÓDORITCH. And the child that Márya Vasílevna distinctly saw? +Why, I saw it too.... That could not have been done by this girl. + +ANNA PÁVLOVNA. You think yourself wise, but you are--a fool. + +LEONÍD FYÓDORITCH. Well, I'm going.... Alexéy Vladímiritch, will you +come? + + [Exit into his study. + +PROFESSOR (shrugging his shoulders, follows). Oh, how far, how far, we +still lag behind Western Europe! + + [Enter JACOB. + +ANNA PÁVLOVNA (following LEONÍD FYÓDORITCH with her eyes). He has been +tricked like a fool, and he sees nothing! (To JACOB.) What do you +want? + +JACOB. How many persons am I to lay the table for? + +ANNA PÁVLOVNA. For how many?... Theodore Ivánitch! Let him give up the +silver plate to you. Be off, at once! It is all his fault! This man +will bring me to my grave. Last night he nearly starved the dog that +had done him no harm! And, as if that were not enough, he lets the +infected peasants into the kitchen, and now they are here again! It is +all his fault! Be off at once! Discharge him, discharge him! (To +SIMON.) And you, horrid peasant, if you dare to have rows in my house +again, I'll teach you! + +SECOND PEASANT. All right, if he is a horrid peasant there's no good +keeping him; you'd better discharge him too, and there's an end of it. + +ANNA PÁVLOVNA (while listening to him looks at THIRD PEASANT). Only +look! Why, he has a rash on his nose--a rash! He is ill; he is a +hotbed of infection!! Did I not give orders, yesterday, that they were +not to be allowed into the house, and here they are again? Drive them +out! + +THEODORE IVÁNITCH. Then are we not to accept their money? + +ANNA PÁVLOVNA. Their money? Oh yes, take their money; but they must be +turned out at once, especially this one! He is quite rotten! + +THIRD PEASANT. That's not just, lady. God's my witness, it's not just! +You'd better ask my old woman, let's say, whether I am rotten! I'm +clear as crystal, let's say. + +ANNA PÁVLOVNA. He talks!... Off, off with him! It's all to spite +me!... Oh, I can't bear it, I can't!... Send for the doctor! + + [Runs away, sobbing. Exit also JACOB and GREGORY. + +TÁNYA (to BETSY). Miss Elizabeth, darling, what am I to do now? + +BETSY. Never mind, you go with them and I'll arrange it all. + + [Exit. + +FIRST PEASANT. Well, your reverence, how about the reception of the +sum now? + +SECOND PEASANT. Let us settle up, and go. + +THIRD PEASANT (fumbling with the packet of banknotes). Had I known, +I'd not have come for the world. It's worse than a fever! + +THEODORE IVÁNITCH (to DOORKEEPER). Show them into my room. There's a +counting-board there. I'll receive their money. Now go. + +DOORKEEPER. Come along. + +THEODORE IVÁNITCH. And it's Tánya you have to thank for it. But for +her you'd not have had the land. + +FIRST PEASANT. That's just it. As she made the proposal, so she put it +into effect. + +THIRD PEASANT. She's made men of us. Else what were we? We had so +little land, no room to let a hen out, let's say, not to mention the +cattle. Good-bye, dear! When you get to the village, come to us and +eat honey. + +SECOND PEASANT. Let me get home and I'll start brewing the beer for +the wedding! You will come? + +TÁNYA. Yes, I'll come, I'll come! (Shrieks.) Simon, this is fine, +isn't it? + + [Exeunt PEASANTS. + +THEODORE IVÁNITCH. Well, Tánya, when you have your house I'll come to +visit you. Will you welcome me? + +TÁNYA. Dear Theodore Ivánitch, just the same as we would our own +father! + + [Embraces and kisses him. + +CURTAIN + + + + +FOOTNOTES FOR FRUITS OF CULTURE + +1. Economical balls at which the ladies are bound to appear in + dresses made of cotton materials. + +2. The present value of the rouble is rather over fifty cents. + +3. The Gypsy choirs are very popular in Moscow. + +4. BETSY. Cease! You are becoming quite unbearable!. + +5. PETRÍSTCHEF. I have C said (ceased), B said, and D said. + +6. BARONESS. But tell me, please, is he paid for this? + + ANNA PÁVLOVNA. I really do not know. + + BARONESS. But he is a gentleman? + + ANNA PÁVLOVNA. Oh, yes! + + BARONESS. It is almost miraculous. Isn't it? How does he manage + to find things? + + ANNA PÁVLOVNA. I really can't tell you. My husband will explain + it to you.... Excuse me.... + +7. Stunning! + +8. BARONESS. Capital! Does it not cause him any pain? + + LEONÍD FYÓDORITCH. Not the slightest. + +9. He uses a Centigrade thermometer. + +10. LEONÍD FYÓDORITCH. You bring good luck. + +11. FAT LADY. But he looks quite nice. + +12. To take a header. + +13. Do not disappoint us. + +14. BETSY. I have more than enough of your Koko. + +15. YOUNG PRINCESS. He is usually so very punctual.... + +16. BETSY. Cease; mind the servants! + +17. And that won't suit me at all, at all! Not at all, at all! + +18. Employers have charge of the servants' passports, and in this way + have a hold on them in case of misconduct. + +19. It is customary for peasants to marry just after Easter, but when + spring has come and the field work begun, no marriages take place + among them till autumn. (See also THE POWER OF DARKNESS + footnote 2.) + +20. COUNTESS. Thank you (for your hospitality), a thousand thanks + +21. ANNA PÁVLOVNA. Thank you (for coming to see us), a thousand + thanks. Till next Tuesday! + + + + +*** END OF THE PROJECT GUTENBERG EBOOK, REDEMPTION AND TWO OTHER PLAYS *** + +This file should be named 8rdpt10.txt or 8rdpt10.zip +Corrected EDITIONS of our eBooks get a new NUMBER, 8rdpt11.txt +VERSIONS based on separate sources get new LETTER, 8rdpt10a.txt + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. 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FOR PUBLIC DOMAIN EBOOKS*Ver.02/11/02*END* + diff --git a/old/8rdpt10.zip b/old/8rdpt10.zip Binary files differnew file mode 100644 index 0000000..a879474 --- /dev/null +++ b/old/8rdpt10.zip diff --git a/old/8rdpt10h.htm b/old/8rdpt10h.htm new file mode 100644 index 0000000..03c05c6 --- /dev/null +++ b/old/8rdpt10h.htm @@ -0,0 +1,14718 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<title>The Project Gutenberg eBook of Redemption and Two Other Plays, by Leo Tolstoy et al</title> +<meta HTTP-EQUIV="content-Type" CONTENT="text/html; charset=iso-8859-1"> +<style type="text/css"> +<!-- +body { margin-left: 10%; margin-right: 10%; } +.hang { text-indent: -30; margin-left: 30 } +.indent { margin-left: 100 } +.follow { text indent: 0 ; margin-left: 30 } +.deep_hang { text-indent: -30: margin-left: 60 } +.deep_indent { margin-left: 100 } +h3 { margin-top: 4em } +h4 { margin-bottom: 2em } + a:link {color:blue; + text-decoration:none} + link {color:blue; + text-decoration:none} + a:visited {color:blue; + text-decoration:none} + a:hover {color:red} +--> +</style> +</head> +<body> +<h1>The Project Gutenberg eBook of Redemption and Two Other Plays, by Leo Tolstoy et al</h1> + +<pre> +Copyright laws are changing all over the world. Be sure to check the +copyright laws for your country before downloading or redistributing +this or any other Project Gutenberg eBook. + +This header should be the first thing seen when viewing this Project +Gutenberg file. Please do not remove it. Do not change or edit the +header without written permission. + +Please read the "legal small print," and other information about the +eBook and Project Gutenberg at the bottom of this file. Included is +important information about your specific rights and restrictions in +how the file may be used. You can also find out about how to make a +donation to Project Gutenberg, and how to get involved. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**eBooks Readable By Both Humans and By Computers, Since 1971** + +*****These eBooks Were Prepared By Thousands of Volunteers!***** + + +Title: Redemption and Two Other Plays + +Author: Leo Tolstoy et al + +Release Date: January, 2006 [EBook #9792] +[This file was first posted on October 17, 2003] + +Edition: 10 + +Language: English + +Character set encoding: iso-8859-1 + +*** START OF THE PROJECT GUTENBERG EBOOK, REDEMPTION AND TWO OTHER PLAYS *** +</pre> +<center> +<h3> +E-text prepared by David Starner, Skip Doughty,<br> +and Project Gutenberg Distributed Proofreaders +</h3> +</center> +<br> +<br> +<hr> +<br> +<h1>REDEMPTION AND TWO OTHER PLAYS</h1> + +<p> </p> + +<p class="hang">By LEO TOLSTOY</p> + +<p class="hang">Introduction By ARTHUR HOPKINS</p> + +<h3>CONTENTS</h3> + +<p class="normal"><a href="#intro">INTRODUCTION BY ARTHUR HOPKINS</a><br> +<a href="#redemption">REDEMPTION</a><br> +<a href="#darkness">THE POWER OF DARKNESS</a><br> +<a href="#fruits">FRUITS OF CULTURE</a></p> + +<h3><a name="intro">INTRODUCTION</a></h3> + +<p class="normal">After making a production of <i>Redemption</i>, the chief +feeling of the producer is one of deep regret that Tolstoi did not +make more use of the theatre as a medium. His was the rare gift of +vitalization: the ability to breathe life into word-people which +survives in them so long as there is any one left to turn up the +pages they have made their abode.</p> + +<p class="normal">In the world of writing, many terms that should be illuminative +have become meaningless. So often has the barren been called +"pregnant," the chill of death "the breath of life," the atrophied +"pulsating," that when we really come upon a work with beating +heart we find it difficult to give it place that has not already +been stuffed to suffocation with misplaced dummies.</p> + +<p class="normal">We seat it at table with staring wax figures and bid it to join +the feast. There is no exclusion act in art, no passport bureau, +not even hygienic segregation.</p> + +<p class="normal">In writing the briefest introduction to Tolstoi's work, I am +appointed by the publisher, a sort of reception committee of one to +escort the work to some fitting place where it may enjoy the +surroundings and deference it deserves.</p> + +<p class="normal">The place to which I escort it is built of words, but what words +have been left me by the long procession of previous committees? +Where they have been truthfully used they have been glorified, and +offer all the rarer material for my structure, but how often have +they been subjected to base use. Perhaps some day we will learn the +proper respect of such simple words as love and truth and life, and +then when we meet them in books we shall know how to greet +them.</p> + +<p class="normal">The study of <i>Redemption</i> is so simple that it needs no +illumination from me. The characters may walk in strange lands +without introduction. They are part of us. Fédya is in all +of us. His one cry "There has always been so much lacking between +what I felt and what I could do" instantly makes him brother to all +mankind. His simultaneous physical degeneration and spiritual +regeneration is the glory that all people have invested in death. +Tolstoi's cry against convention that disregards spiritual +struggle, and system that ignores human growth, will find answering +cries in many breasts in many lands.</p> + +<p class="normal">Utterly disregarding effect, technique or method, Tolstoi has +explored his own soul and there touched hands with countless other +souls, and since he has trod the path of countless millions who +will come after him, the mementos of his journey will long be +sought.</p> + +<p class="hang">ARTHUR HOPKINS.</p> + +<p> </p> + +<hr> +<p> </p> + +<p class="normal">The translation of <i>Redemption</i> here published is the one +produced by Mr. Arthur Hopkins at the Plymouth Theatre, New York, +in the season of 1918-1919. The part of FÉDYA was played by +Mr. John Barrymore.</p> + +<p> </p> + +<hr> +<p> </p> + +<h1><a name="redemption">REDEMPTION</a></h1> + +<h3>CHARACTERS</h3> + +<p class="normal">THEODORE VASÍLYEVICH PROTOSOV (FÉDYA).<br> +ELISABETH ANDRÉYEVNA PROTOSOVA (LISA). <i>His wife</i>.<br> +MÍSHA. <i>Their son</i>.<br> +ANNA PÁVLOVNA. <i>Lisa's mother</i>.<br> +SASHA. <i>Lisa's younger, unmarried sister</i>.<br> +VICTOR MICHAELOVITCH KARÉNIN.<br> +SOPHIA DMÍTRIEVNA KARÉNINA.<br> +PRINCE SERGIUS DMÍTRIEVICH ABRÉSKOV.<br> +MASHA. <i>A gypsy girl</i>.<br> +IVÁN MAKÁROVICH. <i>An old gypsy man. Masha's +parent.</i><br> +NASTASÏA IVÁNOVNA. <i>An old gypsy woman. Masha's +parent.</i><br> +OFFICER.<br> +MUSICIAN.<br> +FIRST GYPSY MAN.<br> +SECOND GYPSY MAN.<br> +GYPSY WOMAN.<br> +GYPSY CHOIR.<br> +DOCTOR.<br> +MICHAEL ALEXÁNDROVICH AFRÉMOV.<br> +STÁKHOV. <i>One of Fédya's boon companions.</i><br> +BUTKÉVICH. <i>One of Fédya's boon companions.</i><br> +KOROTKÓV. <i>One of Fédya's boon companions.</i><br> +IVÁN PETROVICH ALEXÁNDROV.<br> +VOZNESÉNSKY. <i>Karénin's secretary</i>.<br> +PETUSHKÓV. <i>An artist</i>.<br> +ARTIMIEV.<br> +WAITER IN THE PRIVATE ROOM AT THE RESTAURANT.<br> +WAITER IN A LOW-CLASS RESTAURANT.<br> +MANAGER OF THE SAME.<br> +POLICEMAN.<br> +INVESTIGATING MAGISTRATE.<br> +MÉLNIKOV.<br> +CLERK.<br> +USHER.<br> +YOUNG LAWYER.<br> +PETRÚSHIN. <i>A lawyer</i>.<br> +LADY.<br> +ANOTHER OFFICER.<br> +ATTENDANT AT LAW COURTS.<br> +PROTOSOVS' NURSE.<br> +PROTOSOVS' MAID.<br> +AFRÉMOV'S FOOTMAN.<br> +KARÉNINS' FOOTMAN.</p> + +<h3>ACT I</h3> + +<h4>SCENE I</h4> + +<p class="hang"><i>Protosovs' flat in Moscow. The scene represents +a small dining room.</i> ANNA PÁVLOVNA<i>, a stout, +gray-haired lady, tightly laced, is sitting alone at the tea-table +on which is a samovár.</i></p> + +<p class="hang"><i>Enter</i> NURSE <i>carrying a tea-pot.</i></p> + +<p class="hang"><i>Nurse</i> (<i>enters R. I, over to table +C.</i>). Please, Madam, may I have some water?</p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>sitting R. of table +C.</i>). Certainly. How is the baby now?</p> + +<p class="hang"><i>Nurse.</i> Oh, restless, fretting all the time. +There's nothing worse than for a lady to nurse her child. She has +her worries and the baby suffers for them. What sort of milk could +she have, not peeping all night, and crying and crying?</p> + +<p class="indent">[SASHA <i>enters R. I, strolls to L. of table +C.</i></p> + +<p class="hang"><i>Anna Pávlovna.</i> But I thought she was more calm +now?</p> + +<p class="hang"><i>Nurse.</i> Fine calm! It makes me sick to look at her. She's +just been writing something and crying all the time.</p> + +<p class="hang"><i>Sasha</i> (<i>to nurse</i>). Lisa's looking for you.</p> + +<p class="indent">[<i>Sits in chair L. of table C.</i></p> + +<p class="hang"><i>Nurse.</i> I'm going.</p> + +<p class="indent">[<i>Exits R. I.</i></p> + +<p class="hang"><i>Anna Pávlovna.</i> Nurse says she's +always crying. Why can't she try and calm herself a little?</p> + +<p class="hang"><i>Sasha.</i> Well, really, Mother, you're amazing. +How can you expect her to behave as if nothing had happened when +she's just left her husband and taken her baby with her?</p> + +<p class="hang"><i>Anna Pávlovna.</i> Well, I don't exactly, +but that's all over. If I approve of my daughter's having left her +husband, if I'm ever glad, well, you may be quite sure he deserved +it. She has no reason to be miserable—on the contrary, she ought +to be delighted at being freed from such a wretch.</p> + +<p class="hang"><i>Sasha</i>. Mother! Why do you go on like this? +It's not the truth and you know it. He's not a wretch, he's +wonderful. Yes, in spite of all his weakness.</p> + +<p class="hang"><i>Anna Pávlovna</i>. I suppose you'd like +her to wait till he'd spent every kopec they had, and smile sweetly +when be brought his gypsy mistresses home with him.</p> + +<p class="hang"><i>Sasha</i>. He hasn't any mistresses.</p> + +<p class="hang"><i>Anna Pávlovna</i>. There you go again. +Why, the man's simply bewitched you, but I can see through him, and +he knows it. If I'd been Lisa, I'd left him a year ago.</p> + +<p class="hang"><i>Sasha</i>. Oh, how easily you speak of these +serious things.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Not easily, not easily +at all. Do you suppose it's agreeable for me to have my daughter +admit her marriage a failure? But anything's better than for her to +throw away her life in a lie. Thank God, she's made up her mind to +finish with him for good.</p> + +<p class="hang"><i>Sasha</i>. Maybe it won't be for good.</p> + +<p class="hang"><i>Anna Pávlovna</i>. It would be if only +he'd give her a divorce.</p> + +<p class="hang"><i>Sasha</i>. To what end?</p> + +<p class="hang"><i>Anna Pávlovna</i>. Because she's young +and has the right to look for happiness.</p> + +<p class="hang"><i>Sasha</i>. It's awful to listen to you. How +could she love some one else?</p> + +<p class="hang"><i>Anna Pávlovna</i>. Why not? There are +thousands better than your Fédya, and they'd be only too +happy to marry Lisa.</p> + +<p class="hang"><i>Sasha</i>. Oh, it's not nice of you. I feel, I +can tell, you're thinking about Victor Karénin.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Why not? He loved her +for ten years, and she him, I believe.</p> + +<p class="hang"><i>Sasha</i>. Yes, but she doesn't love him as a +husband. They grew up together; they've just been friends.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Ah, those friendships! +How should you know what keeps them warm! If only they were both +free!</p> + +<p class="indent">[<i>Enter a</i> MAID <i>L. U.</i></p> + +<p class="follow">Well?</p> + +<p class="hang"><i>Maid</i>. The porter's just come back with an +answer to the note.</p> + +<p class="hang"><i>Anna Pávlovna</i>. What note?</p> + +<p class="hang"><i>Maid</i>. The note Elizaveta Protosova sent to +Victor Karénin.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Well? What answer?</p> + +<p class="hang"><i>Maid</i>. Victor Karénin told the porter +he'd be here directly.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Very well.</p> + +<p class="indent">[MAID <i>exits L. U.</i></p> + +<p class="indent">[<i>To</i> SASHA.</p> + +<p class="follow">Why do you suppose she sent for him? Do you +know?</p> + +<p class="hang"><i>Sasha</i>. Maybe I do and maybe I don't.</p> + +<p class="hang"><i>Anna Pávlovna</i>. You're always so full +of secrets.</p> + +<p class="hang"><i>Sasha</i>. Ask Lisa, she'll tell you.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Just as I thought! She +sent for him at once.</p> + +<p class="hang"><i>Sasha</i>. Yes, but maybe not for the reason you +think.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Then what for?</p> + +<p class="hang"><i>Sasha</i>. Why, Mother, Lisa cares just about as +much for Victor Karénin as she does for her old nurse.</p> + +<p class="hang"><i>Anna Pávlovna</i>. You'll see. She wants +consolation, a special sort of consolation.</p> + +<p class="hang"><i>Sasha</i>. Really, it shows you don't know Lisa +at all to talk like this.</p> + +<p class="hang"><i>Anna Pávlovna</i>. You'll see. +<i>Sasha</i>. Yes, I shall see.</p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>alone to +herself</i>). And I am very glad. I'm very, very glad.</p> + +<p class="indent">[<i>Enter</i> MAID.</p> + +<p class="hang"><i>Maid</i>. Victor Karénin.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Show him here and tell +your mistress.</p> + +<p class="indent">[MAID <i>shows in</i> KARÉNIN <i>and exits +door R. I.</i></p> + +<p class="hang"><i>Karénin</i> (<i>goes C. and stands behind +table C</i>.). (<i>Shaking hands with Anna Pávlovna</i>.) +Elizaveta Andreyevna sent me a note to come at once. I should have +been here to-night anyway. How is she? Well, I hope.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Not very. The baby has +been upset again. However, she'll be here in a minute. Will you +have some tea?</p> + +<p class="hang"><i>Karénin</i>. No, thank you.</p> + +<p class="indent">[<i>Sits chair R.</i></p> + +<p class="hang"><i>Anna Pávlovna</i>. Tell me, do you know +that he and she—.</p> + +<p class="hang"><i>Karénin</i>. Yes, I was here two days ago +when she got this letter. Is she positive now about their +separating?</p> + +<p class="hang"><i>Anna Pávlovna</i>. Oh, absolutely. It +would be impossible to begin it all over again.</p> + +<p class="hang"><i>Karénin</i>. Yes. To cut into living +things and then draw back the knife is terrible. But are you sure +she knows her mind?</p> + +<p class="hang"><i>Anna Pávlovna</i>. I should think so. To +come to this decision has caused her much pain. But now it's final, +and he understands perfectly that his behavior has made it +impossible for him to come back on any terms.</p> + +<p class="hang"><i>Karénin</i>. Why?</p> + +<p class="hang"><i>Anna Pávlovna</i>. After breaking every +oath he swore to decency, how could he come back? And so why +shouldn't he give her her freedom?</p> + +<p class="hang"><i>Karénin</i>. What freedom is there for a +woman still married?</p> + +<p class="hang"><i>Anna Pávlovna</i>. Divorce. He promised +her a divorce and we shall insist upon it.</p> + +<p class="hang"><i>Karénin</i>. But your daughter was so in +love with him?</p> + +<p class="hang"><i>Anna Pávlovna</i>. 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?</p> + +<p class="hang"><i>Karénin</i>. Love can do anything.</p> + +<p class="hang"><i>Anna Pávlovna</i>. How can one love a rag +torn by every wind? Their affairs were in dreadful shape; their +estate mortgaged; no money anywhere. Finally his uncle sends them +two thousand rubles to pay the interest on the estate. He takes it, +disappears, leaves Lisa home and the baby sick—when suddenly she +gets a note asking her to send him his linen.</p> + +<p class="hang"><i>Karénin</i>. I know.</p> + +<p class="indent">[<i>Enter</i> LISA <i>R.I.</i> KARÉNIN +<i>crosses to</i> LISA.</p> + +<p class="follow">I'm sorry to have been a little detained.</p> + +<p class="indent">[<i>Shakes hands with</i> LISA.</p> + +<p class="hang"><i>Lisa</i>. Oh, thank you so much for coming. I +have a great favor to ask of you. Something I couldn't ask of +anybody else.</p> + +<p class="hang"><i>Karénin</i>. I'll do everything I +can.</p> + +<p class="indent">[LISA <i>moves away a few steps down R.</i></p> + +<p class="hang"><i>Lisa</i>. You know all about this.</p> + +<p class="indent">[<i>Sits chair R.</i></p> + +<p class="hang"><i>Karénin</i>. Yes, I know.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Well, I think I'll +leave you two young people to yourselves.<br> +(<i>To</i> SASHA.) Come along, dear, you and I will be just in the +way.</p> + +<p class="indent">[<i>Exit L. U.</i> ANNA PÁVLOVNA +<i>and</i> SASHA.</p> + +<p class="hang"><i>Lisa</i>. Fédya wrote to me saying it was +all over between us. (<i>She begins to cry</i>.) 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.</p> + +<p class="hang"><i>Karénin</i>. And now you're sorry?</p> + +<p class="hang"><i>Lisa</i> (<i>nodding</i>). I feel I oughtn't to +have said yes. I can't. Anything is better than not to see him +again. Victor dear, I want you to give him this letter and tell him +what I've told you, and—and bring him back to me.</p> + +<p class="indent">[<i>Gives</i> VICTOR <i>a letter.</i></p> + +<p class="hang"><i>Karénin</i>. I'll do what I can.</p> + +<p class="indent">[<i>Takes letter, turns away and sits chair R. of +table C.</i></p> + +<p class="hang"><i>Lisa</i>. Tell him I will forget everything if +only he will come back. I thought of mailing this, only I know him: +he'd have a good impulse, first thwarted by some one, some one who +would finally make him act against himself.</p> + +<p class="indent">[<i>Pause.</i></p> + +<p class="follow">Are you—are you surprised I asked you?</p> + +<p class="hang"><i>Karénin</i>. No. (<i>He hesitates</i>.) +But—well, candidly, yes. I am rather surprised.</p> + +<p class="hang"><i>Lisa</i>. But you are not angry?</p> + +<p class="hang"><i>Karénin</i>. You know I couldn't be angry +with you.</p> + +<p class="hang"><i>Lisa</i>. I ask you because I know you're so +fond of him.</p> + +<p class="hang"><i>Karénin</i>. Of him—and of you too. +Thank you for trusting me. I'll do all I can.</p> + +<p class="hang"><i>Lisa</i>. I know you will. Now I'm going to tell +you everything. I went to-day to Afrémov's, to find out +where he was. They told me he was living with the gypsies. Of +course that's what I was afraid of. I know he'll be swept off his +feet if he isn't stopped in time. So you'll go, won't you?</p> + +<p class="hang"><i>Karénin</i>. Where's the place?</p> + +<p class="hang"><i>Lisa</i>. It's that big tenement where the gypsy +orchestra lives, on the left bank below the bridge. I went there +myself. I went as far as the door, and was just going to send up +the letter, but somehow I was afraid. I don't know why. And then I +thought of you. Tell him, tell him I've forgotten everything and +that I'm here waiting for him to come home. (<i>Crosses to</i> +KARÉNIN—<i>a little pause</i>.) Do it out of love for him, +Victor, and out of friendship for me.</p> + +<p class="indent">[<i>Another pause.</i></p> + +<p class="hang"><i>Karénin</i>. I'll do all I can.</p> + +<p class="indent">[<i>He bows to her and goes out L.U. Enter</i> +SASHA <i>L.U., goes L. over near table C.</i></p> + +<p class="hang"><i>Sasha</i>. Has the letter gone? (LISA +<i>nods</i>.) He had no objections to taking it himself?</p> + +<p class="indent">[<i>LISA, R. C., shakes head.</i></p> + +<p class="hang"><i>Sasha</i> (<i>L.C.</i>). Why did you ask him? I +don't understand it.</p> + +<p class="hang"><i>Lisa</i>. Who else was there?</p> + +<p class="hang"><i>Sasha</i>. But you know he's in love with +you.</p> + +<p class="hang"><i>Lisa</i>. Oh, that's all past. (<i>Over to +table</i> C.) Do you think Fédya will come back?</p> + +<p class="hang"><i>Sasha</i>. I'm sure he will, but—</p> + +<p class="indent">[<i>Enter</i> ANNA PÁVLOVNA.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Where's Victor +Karénin?</p> + +<p class="hang"><i>Lisa</i>. Gone.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Gone?</p> + +<p class="hang"><i>Lisa</i>. I've asked him to do something for +me.</p> + +<p class="hang"><i>Anna Pávlovna</i>. What was it? Another +secret?</p> + +<p class="hang"><i>Lisa</i>. No, not a secret. I simply asked him +to take a letter to Fédya.</p> + +<p class="hang"><i>Anna Pávlovna</i>. To Fedor Protosov?</p> + +<p class="hang"><i>Lisa</i>. Oh, to Fédya, Fédya.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Then it's not going to +be over?</p> + +<p class="hang"><i>Lisa</i>. I can't let him leave me.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Oh, so we shall commence +all over again?</p> + +<p class="hang"><i>Lisa</i>. I'll do anything you like, but I can't +give him up.</p> + +<p class="hang"><i>Anna Pávlovna</i>. You don't mean you +want him to come back?</p> + +<p class="hang"><i>Lisa</i>. Yes, yes.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Let that reptile into +the house again!</p> + +<p class="hang"><i>Lisa</i>. Please don't talk like that. He's my +husband.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Was your husband.</p> + +<p class="hang"><i>Lisa</i>. No. He's still my husband.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Spendthrift. Drunkard. +Reprobate. And you'll not part from him!</p> + +<p class="hang"><i>Lisa</i>. Oh, Mother, why do you keep on hurting +me! You seem to enjoy it.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Hurt you, do I? Enjoy +it, do I? Very well, then, if that's the case, I'd better go.</p> + +<p class="indent">[<i>Pause.</i></p> + +<p class="follow">I see I'm in your way. You <i>want</i> me to go. +Well, all I can say is I can't make you out. I suppose you're being +"modern" and all that. But to me, it's just plain disgusting. +First, you make up your mind to separate from your husband, and +then you up and send for another man who's in love with you—</p> + +<p class="hang"><i>Lisa</i>. Mother, <i>he's not</i>.</p> + +<p class="hang"><i>Anna Pávlovna</i>. You know +Karénin proposed to you, and he's the man you pick out to +bring back your husband. I suppose you do it just to make him +jealous.</p> + +<p class="hang"><i>Lisa</i>. Oh, Mother, stop it. Leave me +alone.</p> + +<p class="hang"><i>Anna Pávlovna</i>. That's right. Send off +your mother. Open the door to that awful husband. Well, I can't +stand by and see you do it. I'll go. I'm going. And God be with you +and your extraordinary ways.</p> + +<p class="indent">[<i>Exit L. U. with suppressed rage.</i></p> + +<p class="hang"><i>Lisa</i> (<i>sinking into a chair R. of table +C</i>.). That's the last straw.</p> + +<p class="hang"><i>Sasha</i>. Oh, she'll come back. We'll make her +understand. (<i>Going to the door and following after her +mother</i>.) Now, Mother darling, listen—listen—</p> + +<p class="indent">[<i>Exit L. U.</i></p> + +<p class="indent">[<i>All lights dim to black out.</i></p> + +<p class="hang">CURTAIN</p> + +<p> </p> + +<h4>SCENE II</h4> + +<p class="hang"><i>A room at the gypsies', dark but beautifully +lit. The actual room is scarcely seen, and although at first it +appears squalid, there are flaring touches of Byzantine luxury. +Gypsies are singing.</i> FÉDYA <i>is lying on the sofa, his +eyes closed, coat off. An</i> OFFICER <i>sits at the table, on +which there are bottles of champagne and glasses. Beside him sits a +musician taking down the song.</i></p> + +<p class="hang"><i>Afrémov</i> (<i>standing L. U</i>.). +Asleep?</p> + +<p class="hang"><i>Fédya</i> (<i>on couch L. Raising his +hand warningly</i>). Sh! Don't talk! Now let's have "No More at +Evening."</p> + +<p class="hang"><i>Gypsy Leader</i>. Impossible, Fedor Protosov. +Masha must have her solo first.</p> + +<p class="hang"><i>Fédya</i>. Afterwards. Now let's have "No +More at Evening."</p> + +<p class="indent">[<i>Gypsies sing.</i></p> + +<p class="hang"><i>Gypsy Woman</i> (<i>R. C., when they finish +singing, turning to Musician who is sitting at table R., with his +back to audience</i>). Have you got it?</p> + +<p class="hang"><i>Musician</i>. It's <i>impossible</i> to take it +down correctly. They change the tune each <i>time</i>, and they +seem to have a different scale, too. (<i>He calls a gypsy +woman</i>.) Is this it?</p> + +<p class="indent">[<i>He hums a bar or two.</i></p> + +<p class="hang"><i>Gypsy Woman</i> (<i>clapping her hands</i>). +Splendid! Wonderful! How can you do it?</p> + +<p class="hang"><i>Fédya</i> (<i>rising. Goes to table L. +back of couch and pours out glass of wine</i>). He'll never get it. +And even if he did and shovelled it into an opera, he'd make it +seem absolutely meaningless.</p> + +<p class="hang"><i>Afrémov</i>. Now we'll have "The Fatal +Hour."</p> + +<p class="indent">[<i>Gypsies sing quartette. During this song,</i> +FÉDYA <i>is standing down R., keeping time with the wine +glass from which he has drunk. When they finish he returns to the +couch and falls into</i> MASHA'S <i>arms.</i></p> + +<p class="hang"><i>Fédya</i>. God! That's it! That's it! +That's wonderful. What lovely things that music says. And where +does it all come from, what does it all mean?</p> + +<p class="indent">[<i>Another pause.</i></p> + +<p class="follow">To think that men can touch eternity like that, +and then—nothing—nothing at all.</p> + +<p class="hang"><i>Musician</i>. Yes, it's very original.</p> + +<p class="indent">[<i>Taking notes.</i></p> + +<p class="hang"><i>Fédya</i>. Original be damned. It's +real.</p> + +<p class="hang"><i>Musician</i>. It's all very simple, except the +rhythm. That's very strange.</p> + +<p class="hang"><i>Fédya</i>. Oh, Masha, Masha! You turn my +soul inside out.</p> + +<p class="indent">[<i>Gypsies hum a song softly.</i></p> + +<p class="hang"><i>Masha</i> (<i>sitting on couch L. with</i> +FÉDYA). Do I? But what was it I asked you for?</p> + +<p class="hang"><i>Fédya</i>. What? Oh, money. Voilà, +mademoiselle.</p> + +<p class="indent">[<i>He takes money front his trousers pocket.</i> +MASHA <i>laughs, takes the money, counts it swiftly, and hides it +in her dress.</i></p> + +<p class="hang"><i>Fédya</i>. Look at this strange creature. +When she sings she rushes me into the sky and all she asks for is +money, little presents of money for throwing open the Gates of +Paradise. You don't know yourself, at all, do you?</p> + +<p class="hang"><i>Masha</i>. What's the use of me wondering about +myself? I know when I'm in love, and I know that I sing best when +my love is singing.</p> + +<p class="hang"><i>Fédya</i>. Do you love me?</p> + +<p class="hang"><i>Masha</i> (<i>murmuring</i>). I love you.</p> + +<p class="hang"><i>Fédya</i>. But I am a married man, and +you belong to this gypsy troupe. They wouldn't let you leave it, +and—</p> + +<p class="hang"><i>Masha</i> (<i>interrupting</i>). The troupe's +one thing, and my heart's another. I love those I love, and I hate +those I hate.</p> + +<p class="hang"><i>Fédya</i>. Oh, you must be happy to be +like that.</p> + +<p class="hang"><i>Masha</i>. I'm always happy when handsome +gentlemen come and say nice things to me. (<i>Gypsies stop +singing</i>.)</p> + +<p class="indent">[<i>A gypsy entering speaks to</i> +FÉDYA.</p> + +<p class="hang"><i>Gypsy</i>. Some one asking for you.</p> + +<p class="hang"><i>Fédya</i>. Who?</p> + +<p class="hang"><i>Gypsy</i>. Don't know. He's rich, though. Fur +coat.</p> + +<p class="hang"><i>Fédya</i>. Fur coat? O my God, show him +in.</p> + +<p class="hang"><i>Afrémov</i>. Who the devil wants to see +you here?</p> + +<p class="hang"><i>Fédya</i> (<i>carelessly</i>). God knows, +I don't. (<i>Begins to hum a song</i>.)</p> + +<p class="indent">[KARÉNIN <i>comes in, looking around the +room.</i></p> + +<p class="follow">(<i>Exclaiming</i>). Ha! Victor! You're the last +man in the world I expected to break into this enchanting milieu. +Take off your coat, and they'll sing for you.</p> + +<p class="hang"><i>Karénin.</i> Je voudrais vous parler sans +témoins.</p> + +<p class="indent">[MASHA <i>rises and joins the group R.</i></p> + +<p class="hang"><i>Fédya.</i> Oh.... What about?</p> + +<p class="hang"><i>Karénin.</i> Je viens de chez vous. Votre +femme ma chargé de cette lettre, et puis—</p> + +<p class="indent">[FÉDYA <i>takes the letter, opens it, +reads. He frowns, then smiles affectionately at</i> +KARÉNIN.</p> + +<p class="hang"><i>Fédya.</i> You know what's in this +letter, Victor?</p> + +<p class="indent">[<i>He is smiling gently all the time.</i></p> + +<p class="hang"><i>Karénin</i> (<i>looking at Fédya +rather severely</i>). Yes, I know. But really, Fédya, you're +in no—</p> + +<p class="hang"><i>Fédya</i> (<i>interrupting</i>). Please, +please don't think I'm drunk and don't realize what I'm saying. Of +course I'm drunk, but I see everything very clearly. Now go ahead. +What were you told to tell me?</p> + +<p class="hang"><i>Karénin</i> (<i>is standing L. C. +Shrugging his shoulders</i>). Your wife asked me to find you and to +tell you she's waiting for you. She wants you to forget everything +and come back.</p> + +<p class="indent">[<i>Pause.</i></p> + +<p class="hang"><i>Karénin</i> (<i>stiffly</i>). Elizaveta +Protosova sent for me and suggested that I—</p> + +<p class="hang"><i>Fédya</i> (<i>as he hesitates</i>). +Yes.</p> + +<p class="hang"><i>Karénin</i> (<i>finishing rather +lamely</i>). But I ask you not so much for her as for +myself—Fédya, come <i>home</i>.</p> + +<p class="hang"><i>Fédya</i> (<i>looking up at him, smiling +rather whimsically</i>). You're a much finer person than I am, +Victor. Of course that's not saying much. I'm not very much good, +am I? (<i>Laughing gently</i>.) But that's exactly why I'm not +going to do what you want me to. It's not the only reason, though. +The real reason is that I just simply can't. How could I?</p> + +<p class="hang"><i>Karénin</i> (<i>persuasively</i>). Come +along to my rooms, Fédya, and I'll tell her you'll be back +to-morrow.</p> + +<p class="hang"><i>Fédya</i> (<i>wistfully</i>). To-morrows +can't change what we are. She'll still be she, and I will still be +I to-morrow. (<i>Goes to the table and drinks</i>.) No, it's better +to have the tooth out in one pull. Didn't I say that if I broke my +word she was to leave me? Well, I've broken it, and that's +enough.</p> + +<p class="hang"><i>Karénin.</i> Yes. For you, but not for +her.</p> + +<p class="hang"><i>Fédya</i> (<i>down L. Politely +insolent</i>). You know ... it's rather odd, that you, of all men, +should take so much trouble to keep our marriage from going to +pieces.</p> + +<p class="hang"><i>Karénin</i> (<i>revolted</i>). Good God, +Fédya! You don't think—</p> + +<p class="indent">[MASHA <i>crosses L., goes to</i> FÉDYA. +FÉDYA <i>interrupting him with a return of his former +friendliness.</i></p> + +<p class="hang"><i>Fédya.</i> Come now, my dear Victor, you +shall hear them sing.</p> + +<p class="hang"><i>Masha</i> (<i>whispering to Fédya</i>). +What's his name? We must honor him with a song.</p> + +<p class="hang"><i>Fédya</i> (<i>laughing</i>). O good God, +yes! Honor him by all means. His name is Victor Michaelovitch. +(<i>Saluting Karénin</i>.) Victor, my lord! son of +Michael!</p> + +<p class="indent">[<i>The gypsies sing a song of greeting and +laudation. As they begin to sing,</i> MASHA <i>and</i> FÉDYA +<i>sit on couch L.</i></p> + +<p class="hang">(<i>When song is finished</i>.)</p> + +<p class="hang"><i>Karénin</i> (<i>in an imploring +tone</i>). Fédya!</p> + +<p class="indent">[<i>Exits quietly L. U.</i></p> + +<p class="hang"><i>Fédya</i> (<i>business with Masha</i>). +Where's the fur coat? Gone, eh? All right. May the devil go with +it.</p> + +<p class="hang"><i>Fédya.</i> Do you know who that was?</p> + +<p class="hang"><i>Masha.</i> I heard his name.</p> + +<p class="hang"><i>Fédya.</i> Ah, he's a splendid fellow. He +came to take me home to my wife. You see she loves even a fool like +me, (<i>caressing her hair</i>) and look what I'm doing.</p> + +<p class="hang"><i>Masha.</i> You should go back to her and be very +sorry.</p> + +<p class="hang"><i>Fédya.</i> Do you think I should? (<i>He +kisses her</i>.) Well, I think I shouldn't.</p> + +<p class="hang"><i>Masha.</i> Of course, you needn't go back to her +if you don't love her. Love is all that counts.</p> + +<p class="hang"><i>Fédya</i> (<i>smiling</i>). How do you +know that?</p> + +<p class="hang"><i>Masha</i> (<i>looking at him timidly</i>). I +don't know, but I do.</p> + +<p class="hang"><i>Fédya</i>. Now, let's have "No More at +Evening." (<i>As the gypsies sing,</i> MASHA <i>lies on her back +across his lap, looking up into his face, which she draws down to +her, and they kiss until the music begins to cease</i>.) That's +wonderful! Divine! If I could only lie this way forever, with my +arms around the heart of joy, and sleep ... and die.... (<i>He +closes his eyes; his voice trails away</i>.)</p> + +<p class="indent">[<i>Lights dim and out, then the</i></p> + +<p class="hang">CURTAIN</p> + +<p> </p> + +<h4>SCENE III</h4> + +<p class="hang">SOPHIA KARÉNINA'S <i>boudoir</i>. SOPHIA +KARÉNINA, VICTOR'S <i>mother, is reading a book. She is a +great lady, over fifty, but tries to look younger. She likes to +interlard her conversation with French words. A servant +enters.</i></p> + +<p class="hang"><i>Servant</i> (<i>enters R., announcing</i>). +Prince Sergius Abréskov.</p> + +<p class="hang"><i>Sophia Karénina</i> (<i>on sofa over +L</i>.). Show him in, please.</p> + +<p class="indent">[<i>She turns and picks up hand mirror from table +back of couch, arranging her hair.</i></p> + +<p class="hang"><i>Prince Sergius</i> (<i>enters R. I. +Entering</i>). J'espère que je ne force pas la consigne.</p> + +<p class="indent">[<i>Crossing to sofa L. He kisses her hand. He is +a charming old diplomat of seventy.</i></p> + +<p class="hang"><i>Sophia Karénina</i>. Ah, you know well +que vous êtes toujours le bien venu.... Tell me, you have +received my letter?</p> + +<p class="hang"><i>Prince Sergius</i>. I did. Me voilà. +(<i>Sits L. on sofa L</i>.) <i>Sophia Karénina</i> +(<i>working up to distress</i>). Oh, my dear friend, I begin to +lose hope. She's bewitched him, positively bewitched him. Il est +ensorcelé. I never knew he could be so obstinate, so +heartless, and so indifferent to me. He's changed completely since +that woman left her husband.</p> + +<p class="hang"><i>Prince Sergius.</i> How do matters actually +stand?</p> + +<p class="hang"><i>Sophia Karénina.</i> Well, he's made up +his mind to marry her at any cost.</p> + +<p class="hang"><i>Prince Sergius.</i> And her husband?</p> + +<p class="hang"><i>Sophia Karénina.</i> He agrees to a +divorce.</p> + +<p class="hang"><i>Prince Sergius.</i> Really?</p> + +<p class="hang"><i>Sophia Karénina.</i> And Victor is +willing to put up with all the sordidness, the vulgarity of the +divorce court, the lawyers, evidences of guilt ... tout ça +est dégoûtant. I can't understand his sensitive nature +not being repelled by it.</p> + +<p class="hang"><i>Prince Sergius</i> (<i>smiling</i>). He's in +love, and when a man's really in love—</p> + +<p class="hang"><i>Sophia Karénina</i> +(<i>interrupting</i>). In our time love could remain pure, coloring +one's whole life with a romantic friendship. Such love I understand +and value.</p> + +<p class="hang"><i>Prince Sergius</i> (<i>sighing</i>). However, +the present generation refuses to live on dreams. (<i>He coughs +delicately</i>.) La possession de l'âme ne leur suffit plus. +So what is the alternative? But tell me more of Victor.</p> + +<p class="hang"><i>Sophia Karénina.</i> There's not very +much to say. He seems bewitched, hardly my son. Did you know I'd +called upon her? Victor pressed me so it was impossible to refuse. +But Dieu merci, I found her out. So I merely left my card, and now +she has asked me if I could receive her to-day, and I am expecting +her (<i>she glances at her watch</i>) any moment now. I am doing +all this to please Victor, but conceive my feelings. I know you +always can. Really, really, I need your help.</p> + +<p class="hang"><i>Prince Sergius</i> (<i>bowing</i>). Thank you +for the honor you do me.</p> + +<p class="hang"><i>Sophia Karénina</i>. You realize this +visit decides Victor's fate. I must refuse my consent, or——But +that's impossible.</p> + +<p class="hang"><i>Prince Sergius.</i> Have you met her?</p> + +<p class="hang"><i>Sophia Karénina.</i> I've never seen her, +but I'm afraid of her. No good woman leaves her husband, especially +when there's nothing obviously intolerable about him. Why, +I've seen Protosov often with Victor, and found him even +quite charming.</p> + +<p class="hang"><i>Prince Sergius</i> (<i>murmurs</i>). So I've +heard. So I've heard.</p> + +<p class="hang"><i>Sophia Karénina</i> (<i>continuing</i>). +She should bear her cross without complaint. And Victor must cease +trying to persuade himself that his happiness lies in defying his +principles. What I don't understand is how Victor, with his +religious views, can think of marrying a divorced woman. I've heard +him say over and over again—once quite lately—that divorce is +totally inconsistent with true Christianity. If she's been able to +fascinate him to that point, I <i>am</i> afraid of her.—But how +stupid of me to talk all the time! Have you spoken to him at all? +What does he say? And don't you thoroughly agree with me?</p> + +<p class="hang"><i>Prince Sergius</i>. Yes, I've spoken to Victor. +I think he really loves her, has grown accustomed to the idea of +loving her, pour ainsi dire. (<i>Shaking his head</i>.) I don't +believe he could ever now care for another woman.</p> + +<p class="hang"><i>Sophia Karénina</i> (<i>sighing</i>). And +Varia Casanzeva would have made him such a charming wife. She's so +devoted already.</p> + +<p class="hang"><i>Prince Sergius</i> (<i>smiling</i>). I am afraid +I hardly see her in the present ... tableau. (<i>Earnestly</i>.) +Why not submit to Victor's wish and help him?</p> + +<p class="hang"><i>Sophia Karénina.</i> To marry a +divorcée? And afterwards have him running into his wife's +husband? How can you calmly suggest that a mother accept such a +situation for her son?</p> + +<p class="hang"><i>Prince Sergius.</i> But, chère amie, why +not approve of the inevitable? And you might console yourself by +regarding the dangers he'll avoid by marrying this gentle, lovely +woman. After all, suppose he conceived a passion for some +one——</p> + +<p class="indent">[<i>Convey the word "disreputable".</i></p> + +<p class="hang"><i>Sophia Karénina.</i> How can a good woman +leave her husband?</p> + +<p class="hang"><i>Prince Sergius.</i> Ah, that's not like you. +You're unkind and you're harsh. Her husband is the sort of +man—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.</p> + +<p class="hang"><i>Sophia Karénina</i> (<i>faintly</i>). Oh +what a mud-pen I'm slipping into!</p> + +<p class="hang"><i>Prince Sergius</i> (<i>amused</i>). Could your +religion aid you?</p> + +<p class="hang"><i>Sophia Karénina</i> (<i>smelling her +salts</i>). In this instance, religion would require of me the +impossible. C'est plus fort que moi.</p> + +<p class="hang"><i>Prince Sergius</i>. Fédya himself—you +know what a charming clever creature he is when he's in his +senses—he advised her to leave him.</p> + +<p class="indent">[<i>Enter</i> VICTOR <i>who kisses his mother's +hand and greets</i> PRINCE SERGIUS.</p> + +<p class="hang"><i>Karénin</i>. Ah, Prince Sergius! +(<i>Shakes hands with Prince—formally</i>.) Maman, I've come to +tell you that Elizaveta Protosova will be here directly. There's +only one thing I ask you: do you still refuse your consent to my +marriage—-</p> + +<p class="hang"> <i>Sophia Karénina</i> +(<i>interrupting</i>). And I most assuredly do.</p> + +<p class="hang"><i>Karénin</i> (<i>continuing. +Frowning</i>). In that case all I ask is for you not to speak to +her about it.</p> + +<p class="hang"><i>Sophia Karénina</i>. I don't suppose we +shall even mention the subject. I certainly shan't.</p> + +<p class="hang"><i>Karénin</i> (<i>standing at head of sofa +L</i>.). If you don't, she won't. (<i>Pleadingly</i>.) Mother dear, +I just want you to know her.</p> + +<p class="hang"><i>Sophia Karénina</i>. One thing I can't +understand. How is it you want to marry Lisa Protosova, a woman +with a living husband, and at the same time believe divorce is a +crime against Christianity?</p> + +<p class="hang"><i>Karénin</i>. Oh, Maman, that's cruel of +you. Life is far too complex to be managed by a few formulas. Why +are you so bitter about it all?</p> + +<p class="hang"><i>Sophia Karénina</i> (<i>honestly</i>). I +love you. I want you to be happy.</p> + +<p class="hang"><i>Karénin</i> (<i>imploringly to Prince +Sergius</i>) Sergius Abréskov!</p> + +<p class="hang"><i>Prince Sergius</i> (<i>to Sophia +Karénina</i>). Naturally you want him happy. But it's +difficult for our hearts, wearied from the weight of years, to feel +the pulse of youth and sympathize, especially is it difficult for +you, my friend, who have schooled yourself to view Victor's +happiness in a single way....</p> + +<p class="hang"><i>Sophia Karénina</i>. Oh, you're all +against me. Do as you like. Vous êtes majeur. (<i>Sniffing +into her pocket handkerchief</i>.) But you'll kill me.</p> + +<p class="hang"><i>Karénin</i> (<i>deeply distressed</i>). +Ah, Mother, please. It's worse than cruel to say things like +that.</p> + +<p class="hang"><i>Prince Sergius</i> (<i>smiling to Victor</i>). +Come, come, Victor, you know your mother speaks more severely than +she could ever act.</p> + +<p class="hang"><i>Sophia Karénina</i>. I shall tell her +exactly what I think and feel, and I hope I can do it without +offending her.</p> + +<p class="hang"><i>Prince Sergius</i>. I am sure of it.</p> + +<p class="indent">[<i>Enter</i> FOOTMAN.</p> + +<p class="follow">Here she is.</p> + +<p class="hang"><i>Karénin</i>. I'll go. (<i>Goes to back of +sofa</i>.)</p> + +<p class="hang"><i>Footman</i> (<i>announcing</i>). Elizaveta +Andreyevna Protosova.</p> + +<p class="hang"><i>Karénin</i> (<i>warningly</i>). Now, +Mother.</p> + +<p class="indent">[<i>He goes out L.</i> PRINCE SERGIUS +<i>rises.</i></p> + +<p class="hang"><i>Sophia Karénina</i> +(<i>majestically</i>). Show her in. (<i>To Prince Sergius</i>.) +Please remain.</p> + +<p class="hang"><i>Prince Sergius</i>. I thought you might prefer a +tête-à-tête?</p> + +<p class="hang"><i>Sophia Karénina</i>. No, no. I rather +dread it. And if I want to be left alone in the room with her, I'll +drop my handkerchief. Ça dépendra.</p> + +<p class="hang"><i>Prince Sergius</i>. I'm sure you're going to +like her immensely.</p> + +<p class="hang"><i>Sophia Karénina</i>. Oh you're all +against me.</p> + +<p class="indent">[<i>Enter</i> LISA <i>R. and crosses to R. +C.</i></p> + +<p class="follow">(<i>Rising</i>) How do you do? I was so sorry not +to find you at home and it is most kind of you to come to see +me.</p> + +<p class="hang"><i>Lisa</i> (<i>R.C.</i>). I never expected the +honor of your visit, and I am so grateful that you permit me to +come and see you.</p> + +<p class="hang"><i>Sophia Karénina</i> (<i>C</i>.). You know +Prince Sergius Abréskov?</p> + +<p class="hang"><i>Prince Sergius</i> (<i>L.—Heartily</i>). Yes, I +have had the pleasure. (<i>Crossing to her, he shakes hands</i>.) +My niece Nellie has spoken often of you to me.</p> + +<p class="indent">[<i>Goes to L.C.</i></p> + +<p class="hang"><i>Lisa</i>. Yes, we were great friends. (<i>She +glances shyly around her</i>.) And still are. (<i>To</i> SOPHIA.) I +never hoped that you would wish to see me.</p> + +<p class="hang"><i>Sophia Karénina</i>. I knew your husband +quite well. He was a great friend of Victor's and used frequently +to visit us in Tambov, (<i>politely</i>) where you were married, I +believe.</p> + +<p class="hang"><i>Lisa</i> (<i>looking down</i>). Yes.</p> + +<p class="hang"><i>Sophia Karénina</i>. But when you +returned to Moscow we were deprived of the pleasure of his +visit.</p> + +<p class="hang"><i>Lisa</i>. Yes, then he stopped going +anywhere.</p> + +<p class="hang"><i>Sophia Karénina</i>. Ah, that explains +our missing him.</p> + +<p class="indent">[<i>Awkward pause.</i></p> + +<p class="hang"><i>Prince Sergius</i> (<i>to</i> LISA). The last +time I'd the pleasure of seeing you was in those tableaux at the +Dennishovs. You were charming in your part.</p> + +<p class="hang"><i>Lisa</i>. How good of you to think so! Yes, I +remember perfectly.</p> + +<p class="indent">[<i>Another awkward silence.</i></p> + +<p class="follow">(<i>To</i> SOPHIA KARÉNINA.) Sophia +Karénina, please forgive me if what I am going to say +offends you, but I don't know how to cover up what's in my heart. I +came here to-day because Victor Karénin said—because he +said that—because he—I mean because you wanted to see me. +(<i>With a catch in her voice</i>.) It's rather difficult—but +you're so sweet.</p> + +<p class="hang"><i>Prince Sergius</i> (<i>very sympathetic</i>). +There, there, my dear child, I assure you there's nothing in the +world to— (<i>He breaks off when he sees</i> SOPHIA +KARÉNINA <i>pointing impatiently to the floor. She has +dropped her handkerchief</i>.) Permit me. (<i>He picks it up, +presenting it to her with a smile and a bow; then looks casually at +his watch</i>.) Ah, five o'clock already. (<i>To</i> SOPHIA +KARÉNINA.) Madame, in your salon pleasure destroys the +memory of time. You will excuse me.</p> + +<p class="indent">[<i>He kisses her hand.</i></p> + +<p class="hang"><i>Sophia Karénina</i> (<i>smiling</i>). Au +revoir, mon ami.</p> + +<p class="hang"><i>Prince Sergius</i> (<i>bowing and shaking hands +with</i> LISA). Elizaveta Protosova, au revoir.</p> + +<p class="indent">[<i>He goes out R.</i></p> + +<p class="hang"><i>Sophia Karénina.</i> Now listen, my +child. Please believe how truly sorry for you I am and that you are +most sympathetique to me. But I love my son alone in this world, +and I know his soul as I do my own. He's very proud—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.</p> + +<p class="hang"><i>Lisa.</i> I know.</p> + +<p class="hang"><i>Sophia Karénina.</i> He's never loved a +woman before. You're the first. I don't say I'm not a little +jealous. I am. But that's something we mothers have to face. Oh, +but your son's still a baby, you don't know. I was ready to give +him up, though—but I wanted his wife to be as pure as himself.</p> + +<p class="hang"><i>Lisa (flushing hotly).</i> And I, am I +not——</p> + +<p class="hang"><i>Sophia Karénina</i> (<i>interrupting her +kindly</i>). Forgive me, my dear. I know it's not your fault and +that you've been most unhappy. And also I know my son. He will bear +anything, and he'll bear it without saying a word, but his hurt +pride will suffer and bring you infinite remorse. You must know how +strongly he has always felt that the bond of marriage is +indissoluble.</p> + +<p class="hang"><i>Lisa.</i> Yes. I've thought of all that.</p> + +<p class="hang"><i>Sophia Karénina.</i> Lisa, my dear, +you're a wise woman and you're a good woman too. If you love him, +you must want his happiness more than you want your own. You can't +want to cripple him so that he'll be sorry all his life—yes, sorry +even though he never says a word.</p> + +<p class="hang"><i>Lisa.</i> I've thought about it so much. I've +thought about it and I've talked to him about it. But what can I do +when he says he can't live without me? I said to him only the other +day, "Victor, let's just be friends. Don't spoil your life. Don't +ruin yourself by trying to help me." And do you know what he did? +He laughed.</p> + +<p class="hang"><i>Sophia Karénina.</i> Of course he would, +at the time.</p> + +<p class="hang"><i>Lisa.</i> If you could persuade him not to marry +me, you know I'll agree, don't you? I just want him to be happy. I +don't care about myself. Only please help me. Please don't hate me. +Let's do all we can for him, because, after all, we both love +him.</p> + +<p class="hang"><i>Sophia Karénina.</i> Yes, I know. And I +think I love you too. I really do. (<i>She kisses her.</i> LISA +<i>begins to cry</i>.) Oh, it's all so dreadful. If only he had +fallen in love with you before you were married!</p> + +<p class="hang"><i>Lisa</i> (<i>sobbing</i>). He—he says he +did—but he had to be loyal to his friend.</p> + +<p class="hang"><i>Sophia Karénina.</i> Alas, it's all very +heart-breaking. But let us love each other, and God will help us to +find what we are seeking.</p> + +<p class="hang"><i>Karénin</i> (<i>entering L. I</i>). +Mother darling. I've heard what you just said. I knew you'd love +her. And now everything must come right.</p> + +<p class="hang"><i>Sophia Karénina</i> (<i>hastily</i>). But +nothing's decided. All I can say is, had things been different, I +should have been very glad. (<i>Tenderly</i>.) So very glad.</p> + +<p class="indent">[<i>She kisses</i> LISA.</p> + +<p class="hang"><i>Karénin</i> (<i>smiling</i>). Please +don't change. That's all I ask.</p> + +<p class="indent">[<i>Lights down and out.</i></p> + +<p class="hang">CURTAIN</p> + +<p> </p> + +<h4>SCENE IV</h4> + +<p class="hang"><i>A plainly furnished room, bed, table and +stove.</i> FÉDYA alone writing.</p> + +<p class="hang"><i>At rise</i> MASHA <i>is heard outside +calling</i> "FÉDYA! FÉDYA!" MASHA <i>enters R. I, +crosses to</i> FÉDYA <i>on bed C. and embraces him.</i></p> + +<p class="hang"><i>Fédya.</i> Ah, thank Heaven you've come. +I was wasting away in boredom.</p> + +<p class="hang"><i>Masha.</i> Then why didn't you come over to us? +(<i>Sees wine glass on chair near bed</i>.) So, you've been +drinking again? And after all your promises!</p> + +<p class="hang"><i>Fédya</i> (<i>embarrassed</i>). I didn't +come over because I had no money.</p> + +<p class="hang"><i>Masha.</i> Oh, why is it I love you so.</p> + +<p class="hang"><i>Fédya.</i> Masha!</p> + +<p class="hang"><i>Masha</i> (<i>imitating him</i>). Masha! Masha! +What's that mean? If you loved me, by now you'd have your divorce. +You say you don't love your wife. (<i>FÉDYA winces</i>.) But +you stick to her like grim death.</p> + +<p class="hang"><i>Fédya</i> (<i>interrupting her</i>). You +know why I don't want to.</p> + +<p class="hang"><i>Masha.</i> Nonsense. They're right when they say +you're no good. It's your mind that you can never make up +comfortably causing you all the worry.</p> + +<p class="hang"><i>Fédya.</i> You know perfectly well that +the only joy I've got in life is being in love with you.</p> + +<p class="hang"><i>Masha.</i> Oh, it's always "My joy," "Your +love." Where's your love and my joy?</p> + +<p class="hang"><i>Fédya</i> (<i>a little wearily</i>). +Well, Masha, after all, you've got all I can give, the best I've +ever had to give, perhaps, because you're so strong, so beautiful, +that sometimes you've made me know how to make you glad. So why +torture yourself?</p> + +<p class="hang"><i>Masha</i> (<i>kneels and puts her arms around +his neck</i>). I won't if you're sure you love me.</p> + +<p class="hang"><i>Fédya</i> (<i>coming closer to her</i>). +My beautiful young Masha.</p> + +<p class="hang"><i>Masha</i> (<i>tearfully, searching his +face</i>). You do love me?</p> + +<p class="hang"><i>Fédya.</i> Of course, of course.</p> + +<p class="hang"><i>Masha.</i> Only me, only me?</p> + +<p class="hang"><i>Fédya</i> (<i>kissing her</i>). Darling, +only you.</p> + +<p class="hang"><i>Masha</i> (<i>with a return to brightness</i>). +Now read me what you've written.</p> + +<p class="hang"><i>Fédya.</i> It may bore you.</p> + +<p class="hang"><i>Masha</i> (<i>reproachfully</i>). How could +it?</p> + +<p class="hang"><i>Fédya</i> (<i>reads</i>). "The snow was +flooded in moonlight and the birch trees wavered their stark +shadows across it like supplicating arms. Suddenly I heard the soft +padded sound of snow falling upon snow, to slowly perceive a +figure, the slender figure of a young child attempting to arouse +itself almost at my feet—I——"</p> + +<p class="indent">[<i>Enter</i> IVÁN <i>and</i> +NASTASÏA. <i>They are two old gypsies,</i> MASHA'S +<i>parents.</i></p> + +<p class="hang"><i>Nastasïa</i> (<i>stepping up to</i> MASHA). +So here you are—you cursed little stray sheep. No disrespect to +you, sir. (<i>To</i> MASHA.) You black-hearted, ungrateful little +snake. How dare you treat us like this, how dare you, eh?</p> + +<p class="hang"><i>Iván</i> (<i>to</i> FÉDYA). It's +not right, sir, what you've done, bringing to her ruin our only +child. It's against God's law.</p> + +<p class="hang"><i>Nastasïa</i> (<i>to</i> MASHA). Come and +get out of here with me. You thought you'd skip, didn't you? And +what was I supposed to tell the troupe while you dangled around +here with this tramp? What can you get out of him, tell me that? +Did you know he hasn't got a kopek to his name, didn't you?</p> + +<p class="indent">[<i>During scene with parents,</i> FÉDYA +<i>sits dumbly on the bed, bewildered. He puts his forehead +against</i> MASHA'S <i>face and clings to her like a child.</i></p> + +<p class="hang"><i>Masha</i> (<i>sullenly</i>). I haven't done +anything wrong. I love this gentleman, that's all. I didn't leave +the troupe either. I'll go on singing just the same.</p> + +<p class="hang"><i>Iván</i>. If you talk any more, I'll pull +your hair all out for you, you loose little beast, you. (<i>To</i> +FÉDYA, reproachfully.) And you, sir, when we were so fond of +you—why, often and often we used to sing for you for nothing and +this is how you pay us back.</p> + +<p class="hang"><i>Nastasïa</i> (<i>rocking herself to and +fro</i>). You've ruined our daughter, our very own, our only one, +our best beloved, our diamond, our precious one, (<i>with sudden +fury</i>). You've stamped her into the dirt, you have. Where's your +fear of God?</p> + +<p class="hang"><i>Fédya</i>. Nastasïa, Nastasïa, +you've made a mistake. Your daughter is like a sister to me. I +haven't harmed her at all. I love her, that's true. But how can I +help it?</p> + +<p class="hang"><i>Iván</i>. Well, why didn't you love her +when you had some money? If you'd paid us ten thousand rubles, you +could have owned her, body and soul. That's what respectable +gentlemen do. But you—you throw away every kopek you've got and +then you steal her like you'd steal a sack of meal. You ought to be +ashamed, sir.</p> + +<p class="hang"><i>Masha</i> (<i>rising, puts her arm around his +neck</i>). He didn't steal me. I went to him myself, and if you +take me away now, I'll come right back. If you take me away a +thousand times, I'll come back to him. I love him and that's +enough. My love will break through anything—through anything. +Through anything in the whole damn world.</p> + +<p class="hang"><i>Nastasïa</i> (<i>trying to soothe her</i>). +Now, Mashenka darling, don't get cross. You know you haven't +behaved well to your poor old parents. There, there, come along +with us now.</p> + +<p class="indent">[<i>With greedy fingers that pretend to +caress,</i> NASTASÏA <i>seizes her savagely and suddenly at +the end of this speech and draws her to the door.</i> MASHA +<i>cries out</i> "FÉDYA! FÉDYA!" <i>as she exits +R.</i></p> + +<p class="hang"><i>Iván</i> (<i>alongside</i>). You open +your mouth again and I'll smash you dumb. (<i>To</i> FÉDYA.) +Good-bye, your worship.</p> + +<p class="indent">[<i>All exit R. I.</i></p> + +<p class="indent">[FÉDYA <i>sits as though stupefied. The +gypsies exit noisily. There is a pause. He drinks; then</i> PRINCE +SERGIUS <i>appears, very quiet and dignified, at the door.</i></p> + +<p class="hang"><i>Prince.</i> Excuse me. I'm afraid I'm intruding +upon a rather painful scene.</p> + +<p class="hang"><i>Fédya</i> (<i>getting up</i>). With whom +have I the honor— (<i>recognizing the Prince</i>). Ah, Prince +Sergius, how do you do?</p> + +<p class="indent">[<i>They shake hands.</i></p> + +<p class="hang"><i>Prince</i> (<i>in a distinguished manner</i>). I +repeat that I am afraid to be most inopportune. I would rather not +have heard, but since I have, it's my duty to say so. When I +arrived I knocked several times, but I presume you could not have +heard through such uproar.</p> + +<p class="hang"><i>Fédya.</i> Do sit down. (<i>Prince sits +chair R.C.</i>) Thanks for telling me you heard. (<i>Sits on bed up +C</i>.) It gives me a chance to explain it all. Forgive me for +saying your opinion of me can't concern me, but I want to tell you +that the way her parents talked to that young girl, that gypsy +singer, was absolutely unjust. She's as pure as your own mother. My +relations with her are simply friendly ones. Possibly there is a +ray of poetry in them, but that could hardly degrade her. However, +what can I do for you?</p> + +<p class="hang"><i>Prince Sergius</i>. Well, to begin——</p> + +<p class="hang"><i>Fédya</i> (<i>interrupting</i>). Excuse +me, Prince, but my present social position hardly warrants a visit +from you.</p> + +<p class="indent">[<i>Smiling.</i></p> + +<p class="hang"><i>Prince Sergius</i>. I know that, but I ask you +to believe that your changed position does not influence me in what +I am about to tell you.</p> + +<p class="hang"><i>Fédya</i> (<i>interrogatively</i>). +Then?</p> + +<p class="hang"><i>Prince Sergius</i>. To be as brief as possible, +Victor Karénin, the son of my old friend, Sophia +Karénina, and she herself, have asked me to discover from +you personally what your present relations are with your wife, and +what intentions you have regarding them.</p> + +<p class="hang"><i>Fédya</i>. My relations with my wife—I +should say my former wife—are several.</p> + +<p class="hang"><i>Prince Sergius</i>. As I thought, and for this +reason accepted my somewhat difficult mission.</p> + +<p class="hang"><i>Fédya</i> (<i>quickly</i>). I wish to say +first of all that the fault was entirely mine. She is, just as she +always was, absolutely stainless, faultless.</p> + +<p class="hang"><i>Prince Sergius</i>. Victor Karénin and +especially his mother are anxious to know your exact intentions +regarding the future.</p> + +<p class="hang"><i>Fédya</i>. I've got no intentions. I've +given her full freedom. I know she loves Victor Karénin, let +her. Personally, I think he is a bore, but he is a good bore. So +they'll probably be very happy together, at least in the ordinary +sense and que le bon Dieu les bénisse.</p> + +<p class="hang"><i>Prince Sergius</i>. Yes, but we——</p> + +<p class="hang"><i>Fédya</i> (<i>rising, goes L., leans on +table</i>). Please don't think I'm jealous. If I just said Victor +was dull, I take it back. He's splendid, very decent, in fact the +opposite of myself, and he's loved her since her childhood +(<i>slowly</i>) and maybe she loved him even when we were married. +After all, that happens, and the strongest love is perhaps +unconscious love. Yes, I think she's always loved him far, far down +beneath what she would admit to herself, and this feeling of nine +has been a black shadow across our married life. But— I—I really +don't suppose I ought to be talking to you like this, ought I?</p> + +<p class="hang"><i>Prince Sergius</i>. Please go on. My only object +in coming was to understand this situation completely, and I begin +to see how the shadow—as you charmingly express it—could have +been——</p> + +<p class="hang"><i>Fédya</i> (<i>looking strangely ahead of +him</i>). Yes, no brightness could suck up that shadow. And so I +suppose I never was satisfied with what my wife gave me, and I +looked for every kind of distraction, sick at heart because I did +so. I see it more and more clearly since we've been apart. Oh, but +I sound as if I were defending myself. God knows I don't want to do +that. No, I was a shocking bad husband. I say was, because now I +don't consider myself her husband at all. She's perfectly free. +There, does that satisfy you?</p> + +<p class="hang"><i>Prince Sergius</i>. Yes, but you know how +strictly orthodox Victor and his family are. Of course I don't +agree with them—perhaps I have broader views—(<i>with a +shrug</i>) but I understand how they feel. They consider that any +union without a church marriage is—well, to put it mildly, +unthinkable.</p> + +<p class="hang"><i>Fédya</i>. Yes, I know he's very stu—I +mean strict. (<i>With a slight smile</i>.) "Conservative" is the +word, isn't it? But what in God's name (<i>crossing to C</i>.) do +they want, a divorce? I told them long ago I was perfectly willing. +But the business of hiring a street-woman and taking her to a shady +hotel and arranging to be caught by competent witnesses—ugh—it's +all so—so loathsome.</p> + +<p class="indent">[<i>He shudders—pauses; and sits on bed.</i></p> + +<p class="hang"><i>Prince Sergius</i>. I know. I know. I assure +you, I can sympathize with such a repugnance, but how can one avoid +it? You see, it's the only way out. But, my dear boy, you mustn't +think I don't sympathize with you. It's a horrible situation for a +sensitive man and I quite understand how you must hate it.</p> + +<p class="hang"><i>Fédya</i>. Thank you, Prince Sergius. I +always knew you were kind and just. Now tell me what to do. Put +yourself in my place. I don't pretend to be any better than I +really am. I am a blackguard but there are some things that even I +can't do. (<i>With a smile and helpless gesture</i>.) I can't tell +lies.</p> + +<p class="indent">[<i>A pause.</i></p> + +<p class="hang"><i>Prince Sergius.</i> I must confess that you +bewilder me. You with your gifts and charm and really au fond—a +wonderful sense of what's right. How could you have permitted +yourself to plunge into such tawdry distractions? How could you +have forgotten so far what you owed to yourself? Tell me, why did +you let your life fall into this ruin?</p> + +<p class="hang"><i>Fédya</i> (<i>suppressing emotion</i>). +I've led this sort of life for ten years and you're the first real +person to show me sympathy. Of course, I've been pitied by the +degraded ones but never before by a sensible, kind man like you. +Thanks more than it's possible to say. (<i>He seems to forget his +train of thought and suddenly to recall it</i>.) Ah, yes, my ruin. +Well, first, drink, not because it tasted well, but because +everything I did disappointed me so, made me so ashamed of myself. +I feel ashamed now, while I talk to you. Whenever I drank, shame +was drowned in the first glass, and sadness. Then music, not opera +or Beethoven, but gypsy music; the passion of it poured energy into +my body, while those dark bewitching eyes looked into the bottom of +my soul. (<i>He sighs</i>.) And the more alluring it all was, the +more shame I felt afterwards.</p> + +<p class="indent">[<i>Pause.</i></p> + +<p class="hang"><i>Prince Sergius.</i> But what about your +career?</p> + +<p class="hang"><i>Fédya.</i> My career? This seems to be +it. Once I was a director of a bank. There was something terribly +lacking between what I felt and what I could do. (<i>Abruptly</i>.) +But enough, enough of myself. It makes me rather nervous to think +about myself.</p> + +<p class="indent">[<i>Rises.</i></p> + +<p class="hang"><i>Prince Sergius.</i> What answer am I to take +back?</p> + +<p class="hang"><i>Fédya</i> (<i>very nervous</i>). Oh, tell +them I'm quite at their disposal. (<i>Walking up and down</i>) They +want to marry, and there mustn't be anything in their way +(<i>pause</i>); is that it? (<i>Stops walking very suddenly. +Repeats</i>.) There mustn't be anything in their way—is that +it?</p> + +<p class="hang"><i>Prince Sergius</i> (<i>pause.</i> FÉDYA +<i>sits on table L</i>.). Yes. When do you—when do you +think—you'll—you'll have it ready? The evidence?</p> + +<p class="hang"><i>Fédya</i> (<i>turns and looks at the +Prince, suppressing a slight, strained smile</i>). Will a fortnight +do?</p> + +<p class="hang"><i>Prince Sergius</i> (<i>rising</i>). Yes, I am +sure it will. (<i>Rises and crosses to</i> FÉDYA.) May I say +that you give them your word?</p> + +<p class="hang"><i>Fédya</i> (<i>with some impatience</i>). +Yes. Yes. (<i>Prince offers his hand</i>.) Good-bye, Prince +Sergius. And again thanks.</p> + +<p class="indent">[<i>Exit</i> PRINCE SERGIUS, R. I. FÉDYA +<i>sits down in an attitude of deep thought.</i></p> + +<p class="follow">Why not? Why not? And it's good not to be +ashamed——</p> + +<p class="indent">[<i>Lights dim and out.</i></p> + +<p class="hang">CURTAIN</p> + +<p> </p> + +<h4>SCENE V</h4> + +<p class="hang"><i>Private room in a cheap restaurant.</i> +FÉDYA is shown in by a shabby waiter.</p> + +<p class="hang"><i>Waiter</i>. This way, sir. No one will disturb +you here. Here's the writing paper.</p> + +<p class="indent">[<i>Starts to exit.</i></p> + +<p class="hang"><i>Fédya</i> (<i>as waiter starts to +exit</i>). Bring me a bottle of champagne.</p> + +<p class="hang"><i>Waiter</i>. Yes, sir.</p> + +<p class="indent">[<i>Exits R. C.</i></p> + +<p class="indent">[FÉDYA <i>sits at table L. C., and begins +to write.</i> IVÁN PETROVICH <i>appearing in the doorway R. +C.</i></p> + +<p class="hang"><i>Iván.</i> I'll come in, shall I?</p> + +<p class="hang"><i>Fédya</i> (<i>sitting L. of table L. C. +Very serious</i>). If you want to, but I'm awfully busy, +and—(<i>seeing he has already entered</i>) Oh, all right, do come +in.</p> + +<p class="hang"><i>Iván Petrovich</i> (<i>C</i>.). You're +going to write an answer to their demand. I'll help you. I'll tell +you what to say Speak out. Say what you mean. It's straight from +the shoulder. That's my system. (<i>Picks up box that</i> +FÉDYA <i>has placed on table—opens it and takes out a +revolver</i>.) Hallo! What's this? Going to shoot yourself. Of +course, why not? I understand. They want to humiliate you, and you +show them where the courage is—put a bullet through your head and +heap coals of fire on theirs. I understand perfectly. (<i>The +waiter enters with champagne on tray, pours a glass for</i> +FÉDYA, <i>then exits.</i> PETROVICH <i></i>takes up the +glass of wine and starts to drink. FÉDYA <i>looks up from +his writing.</i>) I understand everything and everybody, because +I'm a genius.</p> + +<p class="hang"><i>Fédya.</i> So you are, but——</p> + +<p class="hang"><i>Iván Petrovich</i> (<i>filling and +lifting his glass</i>). Here's to your immortal journey. May it be +swift and pleasant. Oh, I see it from your point of view. So why +should I stop you? Life and death are the same to genius. I'm dead +during life and I live after death. You kill yourself in order to +make a few people miss you, but I—but I—am going to kill myself +to make the whole <i>world</i> know what it lost. I won't hesitate +or think about it. I'll just take the revolver—one, two—and all +is over—um. But I am premature. My hour is not yet struck. (<i>He +puts the revolver down</i>.) But I shall write nothing. The world +will have to understand all by itself. (FÉDYA <i>continues +to write</i>.) The world, what is it but a mass of preposterous +creatures, who crawl around through life, understanding nothing— +nothing at all—do you hear me? (FÉDYA <i>looks up, rather +exasperated</i>.) Oh, I'm not talking to you. All this is between +me and the cosmos. (Pours himself out another drink.) After all, +what does humanity most lack? Appreciation for its geniuses. As it +is, we're persecuted, tortured, racked, through a lifetime of +perpetual agony, into the asylum or the grave. But no longer will I +be their bauble. Humanity, hypocrite that you are—to hell with +you.</p> + +<p class="indent">[<i>Drinks wine.</i></p> + +<p class="hang"><i>Fédya</i> (<i>having finished his +letter</i>). Oh, go away, please.</p> + +<p class="hang"><i>Iván Petrovich.</i> Away? (<i>With a +gesture</i>.) Away? Me? (<i>With profound resolve</i>.) So be it. +(<i>He leans over the table, faces</i> FÉDYA.) I shall away. +I'll not deter you from accomplishing what I also shall commit—all +in its proper moment, however. Only I <i>should</i> like to say +this——</p> + +<p class="hang"><i>Fédya.</i> Later. Later. But now, listen, +old man, give this to the head waiter. (<i>Handing him some +money</i>.) You understand?</p> + +<p class="hang"><i>Iván Petrovich.</i> Yes, but for God's +sake wait for me to come back. (<i>Moves away</i>.) I've something +rare to tell you, something you'll never hear in the next world—at +least not till I get there—— Look here, shall I give him all this +money?</p> + +<p class="hang"><i>Fédya.</i> No, just what I owe him.</p> + +<p class="indent">[<i>Exit</i> IVÁN PETROVICH, whistling. +FÉDYA <i>sighs with a sense of relief, takes the revolver, +cocks it, stands at mirror on wall up R., and puts it close to his +temple. Then shivers, and lets his hand drop.</i></p> + +<p class="follow">I can't do it. I can't do it.</p> + +<p class="indent">[<i>Pause.</i> MASHA <i>is heard singing.</i> +MASHA <i>bursts into the room.</i></p> + +<p class="hang"><i>Masha</i> (<i>breathless</i>). I've been +everywhere looking for you. To Popov's, Afrémov's, then I +guessed you'd be here. (<i>Crosses to him. Sees revolver, turns, +faces him quickly, concealing it with her body, stands very tense +and taut, looking at him</i>.) Oh, you fool! You hideous fool! Did +you think you'd——</p> + +<p class="hang"><i>Fédya</i> (<i>still completely +unnerved</i>). Awful! It's been awful! I tried—— (<i>With a +gesture of despair</i>.) I couldn't——</p> + +<p class="indent">[<i>Crosses to table L. C.—leans against +it.</i></p> + +<p class="hang"><i>Masha</i> (<i>puts her hand to her face as if +terribly hurt</i>). As if <i>I</i> didn't exist. (<i>Crosses over +to table L. C., puts down revolver</i>.) As if I weren't in your +life at all. Oh, how godless you are! (<i>Brokenly</i>.) Tell me, +tell me, what about all my love for you?</p> + +<p class="hang"><i>Fédya</i> (<i>as if suddenly aware of a +great fatigue</i>). I wanted to set them free. I promised to—and +when the time came I couldn't.</p> + +<p class="hang"><i>Masha.</i> And what about <i>me?</i> What about +me?</p> + +<p class="hang"><i>Fédya.</i> I thought you'd be free, too. +Surely my torturing you can't make you happy.</p> + +<p class="hang"><i>Masha.</i> Oh, I can look out for myself. Maybe +I'd rather be unhappy, miserable, wretched with you every minute +than even <i>think</i> of living without you.</p> + +<p class="hang"><i>Fédya</i> (<i>up R.—half to +himself</i>). If I'd finished just now, you would have cried +bitterly perhaps, my Masha, but you would have lived past it.</p> + +<p class="hang"><i>Masha.</i> Oh, damn you, don't be so sure I'd +cry at all. Can't you even be sorry for me?</p> + +<p class="indent">[<i>She tries to conceal her tears.</i></p> + +<p class="hang"><i>Fédya.</i> Oh God, I only wanted to make +everybody happier.</p> + +<p class="hang"><i>Masha.</i> Yourself happier, you mean.</p> + +<p class="hang"><i>Fédya</i> (<i>smiling</i>). Would I have +been happier to be dead now?</p> + +<p class="hang"><i>Masha</i> (<i>sulkily</i>). I suppose you would. +(<i>Suddenly in a tender voice, crossing to him</i>.) But, +Fédya, do you know what you want? Tell me, what do you +want?</p> + +<p class="hang"><i>Fédya</i> (<i>R</i>). I want so many +things.</p> + +<p class="hang"><i>Masha</i> (<i>impatiently and clinging to +him</i>). But what? What?</p> + +<p class="hang"><i>Fédya.</i> First of all, I want to set +them free. How can I lie? How can I crawl through the muck and +filth of a divorce? I can't. (<i>Moves to end of table and stands +there facing front</i>.) But I must set them free somehow. They're +such good people, my wife and Victor. I can't bear having them +suffer.</p> + +<p class="hang"><i>Masha</i> (<i>R. of table L. C.-scornfully</i>). +Where's the good in her if she left you?</p> + +<p class="hang"><i>Fédya.</i> She didn't. I left her.</p> + +<p class="hang"><i>Masha.</i> She made you think she'd be happier +without you. But go on—— (<i>Impatiently</i>.) Blame yourself, +what else.</p> + +<p class="hang"><i>Fédya.</i> There's you, Masha. Young, +lovely, awfully dear to me. If I stay alive, ah, where will you +be?</p> + +<p class="hang"><i>Masha.</i> Don't bother about me. You can't hurt +me.</p> + +<p class="hang"><i>Fédya</i> (<i>sighing</i>). But the big +reason, the biggest reason of all, is <i>myself</i>. I'm just lost. +Your father is right, my dear. I'm no good.</p> + +<p class="hang"><i>Masha</i> (<i>crossing to him, at once tenderly +and savagely</i>). I won't unfasten myself from you. I'll stick to +you, no matter where you take me, no matter what you do. You're +alive, terribly alive, and I love you. Fédya, drop all this +horror.</p> + +<p class="hang"><i>Fédya.</i> How can I?</p> + +<p class="hang"><i>Masha</i> (<i>trying to project the very essence +of her vitality into him</i>). Oh, you can, you can.</p> + +<p class="hang"><i>Fédya</i> (<i>slowly</i>). When I look at +you, I feel as though I could do anything.</p> + +<p class="hang"><i>Masha</i> (<i>proudly, fondly</i>). My love, my +love. You can do anything, get anywhere you want to. (FÉDYA +<i>moves away impatiently up R. She sees letter</i>.) So you have +been writing to them—to tell them you'll kill yourself. You just +told them you'd kill yourself, is that it? But you didn't say +anything about a revolver. Oh, Fédya, let me think, there +must be some way. Fédya—listen to me. Do you remember the +day we all went to the picnic to the White Lakes with Mama and +Afrémov and the young Cossack officer? And you buried the +bottles of wine in the sand to keep them cool while we went in +bathing? Do you remember how you took my hands and drew me out +beyond the waves till the water was quite silent and flashing +almost up to our throats, and then suddenly it seemed as if there +were nothing under our feet? We tried to get back. We couldn't and +you shouted out, "Afrémov," and if he hadn't been almost +beside us and pulled us in—and how cross he was with you for +forgetting that you couldn't swim, and after, how wonderful it was +to stretch out safely on the sands in the sunlight. Oh, how nice +every one was to us that day and you kept on being so sorry for +forgetting you couldn't swim! And, Fédya, don't you see? Of +course, she must know you can't swim. Oh, it's all getting as clear +as daylight. You will send her this beautiful letter. Your clothes +will be found on the river bank—but instead of being in the river +you will be far away with me—Fédya, don't you see, don't +you see? You will be dead to her, but alive for me. +(<i>Embraces</i> FÉDYA.)</p> + +<p class="indent">[<i>The lights down and out.</i></p> + +<p class="hang">CURTAIN</p> + +<p> </p> + +<h4>SCENE VI</h4> + +<p class="hang"><i>The</i> PROTOSOVS' <i>drawing-room</i>.</p> + +<p class="hang">KARÉNIN <i>and</i> LISA.</p> + +<p class="hang"><i>Karénin</i> (<i>sitting chair R</i>.). He's promised me +definitely, and I'm sure he'll keep to it.</p> + +<p class="hang"><i>Lisa</i> (<i>sitting chair R. C</i>.). I'm +rather ashamed to confess it, Victor, but since I found out about +this—this gypsy, I feel completely free of him. Of course, I am +not in the least jealous, but knowing this makes me see that I owe +him nothing more. Am I clear to you, I wonder?</p> + +<p class="hang"><i>Karénin</i> (<i>coming closer to +her</i>). Yes, dear, I think I'll always understand you.</p> + +<p class="hang"><i>Lisa</i> (<i>smiling</i>). Don't interrupt me, +but let me speak as I think. The thing that tortured me most was I +seemed to love both of you at once, and that made me seem so +indecent to myself.</p> + +<p class="hang"><i>Karénin</i> (<i>incredulously +amused</i>). You indecent?</p> + +<p class="hang"><i>Lisa</i> (<i>continuing</i>). But since I've +found out that there's another woman, that he doesn't need me any +more, I feel free, quite free of him. And now I can say truthfully, +I love you. Because everything is clear in my soul. My only worry +is the divorce, and all the waiting to be gone through before we +can—— Ah, that's torturing.</p> + +<p class="hang"><i>Karénin</i>. Dearest, everything will be +settled soon. After all, he's promised, and I've asked my secretary +to go to him with the petition and not to leave until he's signed +it. Really, sometimes, if I didn't know him as I do, I'd think he +was trying on purpose to discomfort us.</p> + +<p class="hang"><i>Lisa</i>. No. No. It's, only the same weakness +and honesty fighting together in him. He doesn't want to lie. +However, I'm sorry you sent him money.</p> + +<p class="hang"><i>Karénin</i>. If I hadn't, it might have +delayed things. <i>Lisa</i>. I know, but money seems so ugly.</p> + +<p class="hang"><i>Karénin</i> (<i>slightly ruffled</i>). I +hardly think it's necessary to be so delicate with +Fédya.</p> + +<p class="hang"><i>Lisa</i>. Perhaps, perhaps. (<i>Smiling</i>.) +But don't you think we are becoming very selfish?</p> + +<p class="hang"><i>Karénin</i>. Maybe. But it's all your +fault, dear. After all, this hopelessness and waiting, to think of +being happy at last! I suppose happiness does make us selfish.</p> + +<p class="hang"><i>Lisa.</i> Don't believe you're alone in your +happiness or selfishness. I am so filled with joy it makes me +almost afraid. Misha's all right, your mother loves me, and above +all, you are here, close to me, loving me as I love you.</p> + +<p class="hang"><i>Karénin</i> (<i>bending over her and +searching her eyes</i>). You're sure you've no regret?</p> + +<p class="hang"><i>Lisa.</i> From the day I found out about that +gypsy woman, my mind underwent a change that has set me free.</p> + +<p class="hang"><i>Karénin.</i> You're sure?</p> + +<p class="indent">[<i>Kissing her hands.</i></p> + +<p class="hang"><i>Lisa</i> (<i>passionately</i>). Darling, I've +only one desire now, and that is to have you forget the past and +love as I do.</p> + +<p class="indent">[<i>Her little boy toddles in R., sees them and +stops.</i></p> + +<p class="indent">[<i>To the child.</i></p> + +<p class="follow">Come here, my sweetheart.</p> + +<p class="indent">[<i>He goes to her and she takes him on her +knees.</i></p> + +<p class="hang"><i>Karénin.</i> What strange contradictory +instincts and desires make up our beings!</p> + +<p class="hang"><i>Lisa.</i> Why?</p> + +<p class="hang"><i>Karénin</i> (<i>slowly</i>). I don't +know. When I came back from abroad, knew I'd lost you, I was +unhappy, terribly. Yet, it was enough for me to learn that you at +least remembered me. Afterward, when we became friends, and you +were kind to me, and into our friendship wavered a spark of +something more than friendship, ah, I was almost happy! Only one +thing tormented me: fear that such a feeling wronged Fédya. +Afterwards, when Fédya tortured you so, I saw I could help. +Then a certain definite hope sprang up in me. And later, when he +became impossible and you decided to leave him, and I showed you my +heart for the first time, and you didn't say no, but went away in +tears--then I was happy through and through. Then came the +possibility of joining our lives. Mamma loved you. You told me you +loved me, that Fédya was gone out of your heart, out of your +life forever, and there was only, only me.... Ah, Lisa, for what +more could I ask! Yet the past tortured me. Awful fancies would +flush up into my happiness, turning it all into hatred for your +past.</p> + +<p class="hang"><i>Lisa</i> (<i>interrupting reproachfully</i>). +Victor!</p> + +<p class="hang"><i>Karénin.</i> Forgive me, Lisa. I only +tell you this because I don't want to hide a single thought from +you. I want you to know how bad I am, and what a weakness I've got +to fight down. But don't worry, I'll get past it. It's all right, +dear. (<i>He bends over, kissing the child on the head</i>.) And I +love him, too.</p> + +<p class="hang"><i>Lisa</i>. Dearest, I'm so happy. Everything has +happened in my heart to make it as you'd wish.</p> + +<p class="hang"><i>Karénin</i>. All?</p> + +<p class="hang"><i>Lisa</i>. All, beloved, or I never could say +so.</p> + +<p class="indent">[<i>Enter the</i> NURSE <i>L. U.</i></p> + +<p class="hang"><i>Nurse</i>. Your secretary has come back.</p> + +<p class="indent">[LISA <i>and</i> KARÉNIN <i>exchange +glances.</i></p> + +<p class="hang"><i>Lisa</i>. Show him in here, nurse, and take +Misha, will you?</p> + +<p class="hang"><i>Nurse</i>. Come along, my pet. It's time for +your rest.</p> + +<p class="indent">[<i>Exit</i> NURSE <i>with the little boy, +R.</i></p> + +<p class="hang"><i>Karénin</i> (<i>gets up, walks to the +door</i>). This will be Fédya's answer.</p> + +<p class="hang"><i>Lisa</i> (<i>kissing Karénin</i>). At +last, at last we shall know when. (<i>She kisses him</i>.)</p> + +<p class="indent">[<i>Enter</i> VOZNESÉNSKY <i>L. U.</i></p> + +<p class="hang"><i>Karénin</i>. Well?</p> + +<p class="hang"><i>Secretary</i>. He's not there, sir.</p> + +<p class="hang"><i>Karénin</i>. Not there? He's not signed +the petition, then?</p> + +<p class="hang"><i>Secretary</i>. No. But here is a letter +addressed to you and Elizaveta Protosova.</p> + +<p class="indent">[<i>Takes letter from his pocket and gives it +to</i> KARÉNIN.</p> + +<p class="hang"><i>Karénin</i> (<i>interrupting +angrily</i>). More excuses, more excuses. It's perfectly +outrageous. How without conscience he is. Really, he has lost every +claim to——</p> + +<p class="hang"><i>Lisa</i>. But read the letter, dear; see what he +says.</p> + +<p class="indent">[KARÉNIN <i>opens the letter.</i></p> + +<p class="hang"><i>Secretary</i>. Shall you need me, sir?</p> + +<p class="hang"><i>Karénin</i>. No. That's all. Thank you.</p> + +<p class="indent">[<i>Exit</i> SECRETARY. KARÉNIN <i>reads +the letter growing astonishment and concern.</i> LISA <i>watches +his face.</i></p> + +<p class="follow">(<i>Reading</i>.) "Lisa, Victor, I write you both +without using terms of endearment, since I can't feel them, nor can +I conquer a sense of bitterness and reproach, self-reproach +principally, when I think of you together in your love. I know, in +spite of being the husband, I was also the barrier, preventing you +from coming earlier to one another. C'est moi qui suis l'intrue. I +stood in your way, I worried you to death. Yet I can't help feeling +bitterly, coldly, toward you. In one way I love both of you, +especially Lisa Lizenska, but in reality I am more than cold toward +you. Yes, it's unjust, isn't it, but to change is impossible."</p> + +<p class="hang"><i>Lisa</i>. What's all that for?</p> + +<p class="hang"><i>Karénin</i> (<i>standing L. of table C., +continuing</i>). "However, to the point. I am going to fulfill your +wishes in perhaps a little different way from what you desire. To +lie, to act a degrading comedy, to bribe women of the streets for +evidence—the ugliness of it all disgusts me. I am a bad man, but +this despicable thing I am utterly unable to do. My solution is +after all the simplest. You must marry to be happy. I am the +obstacle, consequently that obstacle must be removed."</p> + +<p class="hang"><i>Lisa</i> (<i>R. of table</i>). Victor!</p> + +<p class="hang"><i>Karénin</i> (<i>reading</i>). Must be +removed? "By the time this letter reaches you, I shall no longer +exist. All I ask you is to be happy, and whenever you think of me, +think tender thoughts. God bless you both. Good-bye. +FÉDYA."</p> + +<p class="hang"><i>Lisa</i>. He's killed himself!</p> + +<p class="hang"><i>Karénin</i> (<i>going hurriedly up stage +L. and calls of</i>). My secretary! Call back my secretary!</p> + +<p class="hang"><i>Lisa</i>. Fédya! Fédya, +darling!</p> + +<p class="hang"><i>Karénin</i>. Lisa!</p> + +<p class="hang"><i>Lisa</i>. It's not true! It's not true that I've +stopped loving him! He's the only man in all the world I love! And +now I've killed him! I've killed him as surely as if I'd murdered +him with my own two hands!</p> + +<p class="hang"><i>Karénin</i>. Lisa, for God's sake!</p> + +<p class="hang"><i>Lisa</i>. Stop it! Don't come near me! Don't be +angry with me, Victor. You see I, too, cannot lie!</p> + +<p class="hang">CURTAIN</p> + +<h3>ACT II</h3> + +<h4>SCENE I</h4> + +<p class="hang"><i>A dirty, ill-lighted underground dive; people +are lying around drinking, sleeping, playing cards and making love. +Near the front a small table at which</i> FÉDYA <i>sits; he +is in rags and has fallen very low. By his side is</i> +PETUSHKÓV, a delicate spiritual man, with long yellow hair +and beard. Both are rather drunk.</p> + +<p class="hang"><i>Candle light is the only lighting in this +Scene.</i></p> + +<p class="hang"><i>Petushkóv</i> (<i>R.C. of table C</i>.). +I know. I know. Well, that's real love. So what happened then?</p> + +<p class="hang"><i>Fédya</i> (<i>L. C. of table C., +pensively</i>). You might perhaps expect a girl of our own class, +tenderly brought up, to be capable of sacrificing for the man she +loved, but this girl was a gypsy, reared in greed, yet she gave me +the purest sort of self-sacrificing love. She'd have done anything +for nothing. Such contrasts are amazing.</p> + +<p class="hang"><i>Petushkóv</i>. I see. In painting we call +that value. Only to realize bright red fully when there is green +around it. But that's not the point. What happened?</p> + +<p class="hang"><i>Fédya</i>. Oh, we parted. I felt it +wasn't right to go on taking, taking where I couldn't give. So one +night we were having dinner in a little restaurant, I told her we'd +have to say good-bye. My heart was so wrung all the time I could +hardly help crying.</p> + +<p class="hang"><i>Petushkóv</i>. And she?</p> + +<p class="hang"><i>Fédya</i>. Oh, she was awfully unhappy, but she knew I +was right. So we kissed each other a long while, and she went back +to her gypsy troupe—(<i>Slowly</i>.) Maybe she was glad to +go——</p> + +<p class="indent">[<i>A pause.</i></p> + +<p class="hang"><i>Petushkóv</i>. I wonder.</p> + +<p class="hang"><i>Fédya</i>. Yes. The single good act of my +soul was not ruining that girl.</p> + +<p class="hang"><i>Petushkóv</i>. Was it from pity?</p> + +<p class="hang"><i>Fédya</i>. <i>I</i> sorry for <i>her?</i> +Oh, never. Quite the contrary. I worshipped her unclouded +sincerity, the energy of her clear, strong will, and God in Heaven, +how she sang. And probably she is singing now, for some one else. +Yes, I always looked up at her from beneath, as you do at some +radiance in the sky. I loved her really. And now it's a tender +beautiful memory.</p> + +<p class="hang"><i>Petushkóv</i>. I understand. It was +ideal, and you left it like that.</p> + +<p class="hang"><i>Fédya</i> (<i>ruminatingly</i>). And I've +been attracted often, you know. Once I was in love with a grande +dame, bestially in love, dog-like. Well, she gave me a rendezvous, +and I didn't, couldn't, keep it, because suddenly I thought of her +husband, and it made me feel sick. And you know, it's queer, that +now, when I look back, instead of being glad that I was decent, I +am as sorry as if I had sinned. But with Masha it's so different; +I'm filled with joy that I've never soiled the brightness of my +feeling for her. (<i>He points his finger at the floor</i>.) I may +go much further down.</p> + +<p class="hang"><i>Petushkóv</i> (<i>interrupting</i>). I +know so well what you mean. But where is she now?</p> + +<p class="hang"><i>Fédya</i>. I don't know. I don't want to +know. All that belongs to another life, and I couldn't bear to mix +that life and this life.</p> + +<p class="indent">[A POLICE OFFICER <i>enters from up R., kicks a +man who is lying on the floor—walks down stage, looks at</i> +FÉDYA <i>and</i> PETUSHKÓV, then exits.</p> + +<p class="hang"><i>Petushkóv</i>. Your life's wonderful. I +believe you're a real idealist.</p> + +<p class="hang"><i>Fédya</i>. 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>I</i> did. And look (<i>he spreads his arms out</i>) where my +singing led me to.</p> + +<p class="indent">[<i>He drinks.</i></p> + +<p class="hang"><i>Petushkóv</i>. 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.</p> + +<p class="hang"><i>Fédya</i>. I beg your pardon. Did you say +marriage? Oh, yes, of course. Well, I've been married, too. Oh, my +wife was quite an ideal woman. I don't know why I should say was, +by the way, because she's still living. But there's something—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.</p> + +<p class="hang"><i>Petushkóv</i>. Why do you say seemed?</p> + +<p class="hang"><i>Fédya</i> (<i>wistfully</i>). Oh, she +couldn't creep into the center of my being like Masha. But that's +not what I mean. Before the baby was born, and afterwards, when she +was nursing him, I used to stay away for days and days, and come +back drunk, drunk, and love her less and less each time, because I +was wronging her so terribly. (<i>Excitedly</i>.) Yes. That's it, I +never realized it before. The reason why I loved Masha was because +I did her good, not harm. But I crucified my wife, and her +contortions filled me almost with hatred.</p> + +<p class="indent">[FÉDYA <i>drinks.</i></p> + +<p class="hang"><i>Petushkóv</i>. I think I understand. Now +in my case——</p> + +<p class="indent">[ARTIMIEV <i>enters R. U., approaches with a +cockade on his cap, dyed mustache, and shabby, but carefully mended +clothes.</i></p> + +<p class="hang"><i>Artimiev</i> (<i>stands L. of table</i>). Good +appetite, gentlemen! (<i>Bowing to FÉDYA</i>.) I see you've +made the acquaintance of our great artist.</p> + +<p class="hang"><i>Fédya</i> (<i>coolly</i>). Yes, I +have.</p> + +<p class="hang"><i>Artimiev</i> (<i>to PETUSHKÓV</i>). Have +you finished your portrait?</p> + +<p class="hang"><i>Petushkóv</i>. No, they didn't give me +the commission, after all.</p> + +<p class="hang"><i>Artimiev</i> (<i>sitting down on end of +table</i>). I'm not in your way, am I?</p> + +<p class="indent">[FÉDYA <i>and</i> PETUSHKÓV +<i>don't answer.</i></p> + +<p class="hang"><i>Petushkóv</i>. This gentleman was telling +me about his life.</p> + +<p class="hang"><i>Artimiev</i>. Oh, secrets? Then I won't disturb +you. Pardon me for interrupting. (<i>To himself as he moves +away</i>.) Damn swine!</p> + +<p class="indent">[<i>He goes to the next table, sits down and in +the dim candlelight he can just be seen listening to the +conversation.</i></p> + +<p class="hang"><i>Fédya</i>. I don't like that man.</p> + +<p class="hang"><i>Petushkóv</i>. I think he's offended.</p> + +<p class="hang"><i>Fédya</i>. Let him be. I can't stand him. +If he'd stayed I shouldn't have said a word. Now, it's different +with you. You make me feel all comfortable, you know. Well, what +was I saying?</p> + +<p class="hang"><i>Petushkóv</i>. You were talking about +your wife. How did you happen to separate?</p> + +<p class="hang"><i>Fédya</i>. Oh, that? (<i>A pause</i>.) +It's a rather curious story. My wife's married.</p> + +<p class="hang"><i>Petushkóv</i>. Oh, I see! You're +divorced.</p> + +<p class="hang"><i>Fédya</i>. No. (<i>Smiling</i>.) She's a +widow.</p> + +<p class="hang"><i>Petushkóv</i>. A widow? What do you +mean?</p> + +<p class="hang"><i>Fédya</i>. I mean exactly what I say. +She's a widow. I don't exist.</p> + +<p class="hang"><i>Petushkóv</i> (<i>puzzled</i>). What?</p> + +<p class="hang"><i>Fédya</i> (<i>smiling drunkenly</i>). I'm +dead. You're talking to a corpse.</p> + +<p class="indent">[ARTIMIEV <i>leans towards them and listens +intently.</i></p> + +<p class="follow">Funny, I seem to be able to say anything to you. +And it's so long ago, so long ago. And what is it after all to you +but a story? Well, when I got to the climax of torturing my wife, +when I'd squandered everything I had or could get, and become +utterly rotten, then, there appeared a protector.</p> + +<p class="hang"><i>Petushkóv</i>. The usual thing, I +suppose?</p> + +<p class="hang"><i>Fédya</i>. Don't think anything filthy +about it. He was just her friend, mine too, a very good, decent +fellow; in fact the opposite of myself. He'd known my wife since +she was a child, and I suppose he'd loved her since then. He used +to come to our house a lot. First I was very glad he did, then I +began to see they were falling in love with each other, and +then—an odd thing began to happen to me at night. Do you know when +she lay there asleep beside me (<i>he laughs shrilly</i>) I would +hear him, pushing open the door, crawling into the room, coming to +me on his hands and knees, grovelling, whining, begging me (<i>he +is almost shouting</i>) for her, for her, imagine it! And I, I had +to get up and give my place to him. (<i>He covers his eyes with his +hands in a. convulsive moment</i>.) Phew! Then I'd come to +myself.</p> + +<p class="hang"><i>Petushkóv</i>. God! It must have been +horrible.</p> + +<p class="hang"><i>Fédya</i> (<i>wearily</i>). 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. (<i>Pause</i>.) You understand, +don't you?</p> + +<p class="hang"><i>Petushkóv</i>. Yes, but what about the +body? They didn't find that?</p> + +<p class="hang"><i>Fédya</i> (<i>smiling drunkenly</i>). Oh +yes, they did! You just listen! About a week afterwards some horror +was dragged out of the water. My wife was called in to identify it. +It was in pretty bad shape, you know. She took one glance. "Is that +your husband?" they asked her. And she said, "Yes." Well, that +settled it! I was buried, they were married, and they're living +very happily right here in this city. I'm living here, too! We're +all living here together! Yesterday I walked right by their house. +The windows were lit and somebody's shadow went across the blind. +(<i>A pause</i>.) Of course there're times when I feel like hell +about it, but they don't last. The worst is when there's no money +to buy drinks with.</p> + +<p class="indent">[<i>He drinks.</i></p> + +<p class="hang"><i>Artimiev</i>. (<i>rising and approaching +them</i>). Excuse me, but you know I've been listening to that +story of yours? It's a very good story, and what's more a very +useful one. You say you don't like being without money, but really +there's no need of your ever finding yourself in that position.</p> + +<p class="hang"><i>Fédya</i>. (<i>interrupting</i>). Look +here, I wasn't talking to you and I don't need your advice!</p> + +<p class="hang"><i>Artimiev</i>. But I'm going to give it to you +just the same. Now you're a corpse. Well, suppose you come to life +again!</p> + +<p class="hang"><i>Fédya</i>. What?</p> + +<p class="hang"><i>Artimiev</i>. 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?</p> + +<p class="hang"><i>Fédya</i>. (<i>furiously</i>). Stop +talking and get out of here!</p> + +<p class="hang"><i>Artimiev</i>. The best way is to write them a +letter. If you don't know how I'll do it for you. Just give me +their address and afterwards when the ruble notes commence to drop +in, how grateful you'll be!</p> + +<p class="hang"><i>Fédya</i>. Get out! Get out, I say! I +haven't told you anything!</p> + +<p class="hang"><i>Artimiev</i>. Oh, yes, you have! Here's my +witness! This waiter heard you saying you were a corpse!</p> + +<p class="hang"><i>Fédya</i>. (<i>beside himself</i>). You +damn blackmailing beast——</p> + +<p class="indent">[<i>Rising.</i></p> + +<p class="hang"><i>Artimiev</i>. Oh, I'm a beast, am I? We'll see +about that! (FÉDYA <i>rises to go</i>, ARTIMIEV <i>seizes +him</i>.) Police! Police! (FÉDYA <i>struggles frantically to +escape</i>.)</p> + +<p class="indent">[<i>The</i> POLICE <i>enter and drag him +away.</i></p> + +<p class="hang">CURTAIN</p> + +<p> </p> + +<h4>SCENE II</h4> + +<p class="hang"><i>In the country. A veranda covered by a gay +awning; sunlight; flowers; SOPHIA KARÉNINA, LISA, her little +boy and nurse.</i></p> + +<p class="hang"><i>Lisa</i> (<i>standing C. in door. To the little +boy, smiling</i>), Who do you think is on his way from the +station?</p> + +<p class="hang"><i>Misha</i> (<i>excitedly</i>). Who? Who?</p> + +<p class="hang"><i>Lisa</i>. Papa.</p> + +<p class="hang"><i>Misha</i> (<i>rapturously</i>). Papa's coming! +Papa's coming!</p> + +<p class="indent">[<i>Exits L. through C. door.</i></p> + +<p class="hang"><i>Lisa</i> (<i>contentedly, to SOPHIA +KARÉNINA</i>). How much he loves Victor! As if he were his +real father!</p> + +<p class="hang"><i>Sophia Karénina</i> (<i>on sofa L. +knitting—back to audience</i>). Tant mieux. Do you think he ever +remembers his father?</p> + +<p class="hang"><i>Lisa</i> (<i>sighing</i>). I can't tell. Of +course I've never said anything to him. What's the use of confusing +his little head? Yet sometimes I feel as though I ought. What do +you think, Mamma?</p> + +<p class="hang"><i>Sophia Karénina</i>. I think it's a +matter of feeling. If you can trust your heart, let it guide you. +What extraordinary adjustments death brings about! I confess I used +to think very unkindly of Fédya, when he seemed a barrier to +all this. (<i>She makes a gesture with her hand</i>.) But now I +think of him as that nice boy who was my son's friend, and a man +who was capable of sacrificing himself for those he loved. (<i>She +knits</i>.) I hope Victor hasn't forgotten to bring me some +wool.</p> + +<p class="hang"><i>Lisa</i>. Here he comes. (<i>LISA runs to the +edge of the veranda</i>.) There's some one with him—a lady in a +bonnet! Oh, it's mother! How splendid! I haven't seen her for an +age!</p> + +<p class="indent">[<i>Enter</i> ANNA PÁVLOVNA <i>up +C.</i></p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>kissing LISA</i>). +My darling. (<i>To SOPHIA KARÉNINA</i>.) How do you do? +Victor met me and insisted on my coming down.</p> + +<p class="indent">[<i>Sits bench L. C. beside</i> SOPHIA.</p> + +<p class="hang"><i>Sophia Karénina</i>. This is perfectly +charming!</p> + +<p class="indent">[<i>Enter</i> VICTOR <i>and</i> MÍSHA.</p> + +<p class="hang"><i>Anna Pávlovna</i>. I did want to see Lisa +and the boy. So now, if you don't turn me out, I'll stay till the +evening train.</p> + +<p class="hang"><i>Karénin</i>. (<i>L. C., kissing his wife, +his mother and the boy</i>). 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?</p> + +<p class="hang"><i>Lisa</i>. (<i>R. C</i>.). Two days! That's +glorious! We'll drive over to the Hermitage to-morrow and show it +to mother.</p> + +<p class="hang"><i>Anna Pávlovna</i>. (<i>holding the +boy</i>). He's so like his father, isn't he? I do hope he hasn't +inherited his father's disposition.</p> + +<p class="hang"><i>Sophia Karénina</i>. After all, +Fédya's heart was in the right place. <i>Lisa</i>. Victor +thinks if he'd only been brought up more carefully everything would +have been different.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Well, I'm not so sure +about that, but I do feel sorry for him. I can't think of him +without wanting to cry.</p> + +<p class="hang"><i>Lisa</i>. I know. That's how Victor and I feel. +All the bitterness is gone. There's nothing left but a very tender +memory.</p> + +<p class="hang"><i>Anna Pávlovna</i>. (<i>sighing</i>). I'm +sure of it. <i>Lisa</i>. Isn't it funny? It all seemed so hopeless +back there, and now see how beautifully everything's come out!</p> + +<p class="hang"><i>Sophia Karénina</i>. Oh, by the way, +Victor, did you get my wool?</p> + +<p class="hang"><i>Karénin</i>. I certainly did. (<i>Brings +a bag and takes out parcels</i>.) Here's the wool, here's the +eau-de-cologne, here are the letters—one on "Government Service" +for you, Lisa—— (<i>Hands her the letter. LISA opens letter, then +strolls R, reading it, suddenly stops</i>.) Well, Anna +Pávlovna, I know you want to make yourself beautiful! I must +tidy up, too. It's almost dinner time. Lisa, you've put your +another in the Blue Room, haven't you?</p> + +<p class="indent">[<i>Pause.</i></p> + +<p class="indent">[LISA <i>is pale. She holds the letter with +trembling hands and reads it,</i> KARÉNIN <i>seeing +her.</i></p> + +<p class="follow">What's the matter, Lisa? What is it?</p> + +<p class="hang"><i>Lisa</i>. He's alive. He's alive. My God! I +shall never be free from him. (<i>VICTOR crosses to LISA</i>.) What +does this mean? What's going to happen to us?</p> + +<p class="hang"><i>Karénin</i> (<i>taking the letter and +reading</i>). I don't believe it.</p> + +<p class="hang"><i>Sophia Karénina</i>. What is it? +(<i>Rising</i>.) What's the matter? Why don't you tell us?</p> + +<p class="hang"><i>Karénin</i>. He's alive! They're accusing +us of bigamy! It's a summons for Lisa to go before the Examining +Magistrate.</p> + +<p class="hang"><i>Anna Pávlovna</i>. No—no! It can't +be!</p> + +<p class="hang"><i>Sophia Karénina</i>. Oh, that horrible +man!</p> + +<p class="hang"><i>Karénin</i>. So it was all a lie!</p> + +<p class="hang"><i>Lisa</i> (<i>with a cry of rage</i>). Oh! I hate +him so! Victor!—Fédya!——My God! I don't know what I'm +saying. I don't know what I'm saying.</p> + +<p class="indent">[<i>Sinks in chair down R.</i></p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>rising</i>). He's not really alive?</p> + +<p class="indent">[<i>Lights dim and out.</i></p> + +<p class="hang">CURTAIN</p> + +<p> </p> + +<h4>SCENE III</h4> + +<p class="hang"><i>The room of the examining magistrate, who sits +at a table talking to MÉLNIKOV, a smartly dressed, languid, +man-about-town</i>.</p> + +<p class="hang"><i>At a side-table a CLERK is sorting +papers</i>.</p> + +<p class="hang"><i>Magistrate</i>. (<i>sitting R. of table R. +C</i>.). Oh, I never said so. It's her own notion. And now she is +reproaching me with it.</p> + +<p class="hang"><i>Mélnikov</i>. (<i>sitting C. back to +audience</i>). She's not reproaching you, only her feelings are +awfully hurt.</p> + +<p class="hang"><i>Magistrate</i>. Are they? Oh, well, tell her +I'll come to supper after the performance. But you'd better wait +on. I've rather an interesting case. (<i>To the CLERK</i>.) Here, +you, show them in.</p> + +<p class="hang"><i>Clerk</i>. (<i>sitting C. facing audience</i>). +Both? Excellency. <i>Magistrate</i>. No, only Madame +Karénina.</p> + +<p class="indent">[CLERK <i>exits L. I.</i></p> + +<p class="hang"><i>Clerk</i> (<i>calling off stage</i>). Madame +Protosova, Madame Protosova.</p> + +<p class="hang"><i>Magistrate</i>. Or, to dot my i's, Madame +Protosova.</p> + +<p class="hang"><i>Mélnikov</i> (<i>starting to go out</i>). +Ah, it's the Karénin case.</p> + +<p class="hang"><i>Magistrate</i>. Yes, and an ugly one. I'm just +beginning the investigation. But I assure you it's a first-rate +scandal already. Must you go? Well, see you at supper. +Good-bye.</p> + +<p class="indent">[<i>Exit</i> MÉLNIKOV, <i>R.</i></p> + +<p class="indent">[<i>The</i> CLERK <i>shows in</i> LISA<i>; she +wears a black dress and veil.</i></p> + +<p class="hang"><i>Magistrate</i>. Please sit down, won't you? +(<i>He points to a chair L. C. LISA sits down</i>.) I am extremely +sorry that it's necessary to ask you questions.</p> + +<p class="indent">[LISA <i>appears very much agitated.</i> +MAGISTRATE <i>appears unconcerned and is reading a newspaper as he +speaks.</i></p> + +<p class="follow">But please be calm. You needn't answer them +unless you wish. Only in the interest of every one concerned, I +advise you to help me reach the entire truth.</p> + +<p class="hang"><i>Lisa</i>. I've nothing to conceal.</p> + +<p class="hang"><i>Magistrate</i> (<i>looking at papers</i>). Let's +see. Your name, station, religion. I've got all that. You are +accused of contracting a marriage with another man, knowing your +first husband to be alive.</p> + +<p class="hang"><i>Lisa</i>. But I did not know it.</p> + +<p class="hang"><i>Magistrate</i> (<i>continuing</i>). And also you +are accused of having persuaded with bribes your first husband to +commit a fraud, a pretended suicide, in order to rid yourself of +him.</p> + +<p class="hang"><i>Lisa</i>. All that's not true.</p> + +<p class="hang"><i>Magistrate</i>. Then permit me to ask you these +questions: Did you or did you not send him 1200 rubles in July of +last year?</p> + +<p class="hang"><i>Lisa</i>. That was his own money obtained from +selling his things, which I sent to him during our separation, +while I was waiting for my divorce.</p> + +<p class="hang"><i>Magistrate</i>. Just so. Very well. When the +police asked you to identify the corpse, how were you sure it was +your husband's?</p> + +<p class="hang"><i>Lisa</i>. Oh, I was so terribly distressed that +I couldn't bear to look at the body. Besides, I felt so sure it was +he, and when they asked me, I just said yes.</p> + +<p class="hang"><i>Magistrate</i>. Very good indeed. I can well +understand your distraction, and permit me to observe, Madame, that +although servants of the law, we remain human beings, and I beg you +to be assured that I sympathize with your situation. You were bound +to a spendthrift, a drunkard, a man whose dissipation caused you +infinite misery.</p> + +<p class="hang"><i>Lisa</i> (<i>interrupting</i>). Please, I loved +him.</p> + +<p class="hang"><i>Magistrate</i> (<i>tolerantly</i>). Of course. +Yet naturally you desired to be free, and you took this simple +course without counting the consequence, which is considered a +crime, or bigamy. I understand you, and so will both judges and +jury. And it's for this reason, Madam, I urge you to disclose the +entire truth.</p> + +<p class="hang"><i>Lisa</i>. I've nothing to disclose. I never have +lied. (<i>She begins to cry</i>.) Do you want me any longer?</p> + +<p class="hang"><i>Magistrate</i>. Yes. I must ask you to remain a +few minutes longer. No more questions, however. (<i>To the +CLERK</i>.) Show in Victor Karénin. (<i>To LISA</i>.) I +think you'll find that a comfortable chair. (<i>Sits L. C</i>.)</p> + +<p class="indent">[<i>Enter</i> KARÉNIN, stern and +solemn.</p> + +<p class="follow">Please, sit down.</p> + +<p class="hang"><i>Karénin</i>. Thank you. (<i>He remains +standing L. U</i>.) What do you want from me?</p> + +<p class="hang"><i>Magistrate</i>. I have to take your +deposition.</p> + +<p class="hang"><i>Karénin</i>. In what capacity?</p> + +<p class="hang"><i>Magistrate</i> (<i>smiling</i>). In my capacity +of investigating magistrate. You are here, you know, because you +are charged with a crime.</p> + +<p class="hang"><i>Karénin</i>. Really? What crime?</p> + +<p class="hang"><i>Magistrate</i>. Bigamy, since you've married a +woman already married. But I'll put the questions to you in their +proper order. Sure you'll not sit down?</p> + +<p class="hang"><i>Karénin</i>. Quite sure.</p> + +<p class="hang"><i>Magistrate</i> (<i>writing</i>). Your name?</p> + +<p class="hang"><i>Karénin</i>. Victor Karénin.</p> + +<p class="hang"><i>Magistrate</i>. Rank?</p> + +<p class="hang"><i>Karénin</i>. Chamberlain of the Imperial +Court.</p> + +<p class="hang"><i>Magistrate</i>. Your age?</p> + +<p class="hang"><i>Karénin</i>. Thirty-eight.</p> + +<p class="hang"><i>Magistrate</i>. Religion?</p> + +<p class="hang"><i>Karénin</i>. Orthodox, and I've never +been tried before of any charge. (<i>Pause</i>.) What else?</p> + +<p class="hang"><i>Magistrate</i>. Did you know that Fedor Protosov +was alive when you married his wife?</p> + +<p class="hang"><i>Karénin</i>. No, we were both convinced +that he was drowned.</p> + +<p class="hang"><i>Magistrate</i>. All right. And why did you send +1200 rubles to him a few days before he simulated death on July +17th?</p> + +<p class="hang"><i>Karénin</i>. That money was given me by +my wife.</p> + +<p class="hang"><i>Magistrate</i> (<i>interrupting him</i>). Excuse +me, you mean by <i>Madame</i> Protosova.</p> + +<p class="hang"><i>Karénin</i>. By my wife to send to her +husband. She considered this money his property, and having broken +off all relations with him, felt it unjust to withhold it. What +else do you want?</p> + +<p class="hang"><i>Magistrate</i>. I don't want anything, except to +do my official duty, and to aid you in doing yours, through causing +you to tell me the whole truth, in order that your innocence be +proved. You'd certainly better not conceal things which are sure to +be found out, since Protosov is in such a weakened condition, +physically and mentally, that he is certain to come out with the +entire truth as soon as he gets into court, so from your point of +view I advise....</p> + +<p class="hang"><i>Karénin</i>. Please don't advise me, but +remain within the limits of your official capacity. Are we at +liberty to leave?</p> + +<p class="indent">[<i>He goes to</i> LISA <i>who takes his +arm.</i></p> + +<p class="hang"><i>Magistrate</i>. Sorry, but it's necessary to +detain you. (KARÉNIN <i>looks around in astonishment</i>.) +No, I've no intention of arresting you, although it might be a +quicker way of reaching the truth. I merely want to take Protosov's +deposition in your presence, to confront him with you, that you may +facilitate your chances by proving his statements to be false. +Kindly sit down. (<i>To</i> CLERK.) Show in Fedor Protosov.</p> + +<p class="indent">[<i>There is a pause. The</i> CLERK <i>shows +in</i> FÉDYA <i>in rags, a total wreck. He enters slowly, +dragging his feet. He catches sight of his wife, who is bowed in +grief. For a moment he is about to take her in his arms—he +hesitates--then stands before the</i> MAGISTRATE.</p> + +<p class="hang"><i>Magistrate</i>. I shall ask you to answer some +questions.</p> + +<p class="hang"><i>Fédya</i>. (<i>rises, confronting the +MAGISTRATE</i>). Ask them.</p> + +<p class="hang"><i>Magistrate</i>. Your name?</p> + +<p class="hang"><i>Fédya</i>. You know it.</p> + +<p class="hang"><i>Magistrate</i>. Answer my questions exactly, +please.</p> + +<p class="indent">[<i>Rapping on his desk.</i></p> + +<p class="hang"><i>Fédya</i> (<i>shrugs</i>). Fedor +Protosov.</p> + +<p class="hang"><i>Magistrate</i>. Your rank, age, religion?</p> + +<p class="hang"><i>Fédya</i>. (<i>silent for a moment</i>). +Aren't you ashamed to ask me these absurd questions? Ask me what +you need to know, only that.</p> + +<p class="hang"><i>Magistrate</i>. I shall ask you to take care how +you express yourself.</p> + +<p class="hang"><i>Fédya</i>. Well, since you're not +ashamed. My rank, graduate of the University of Moscow; age 40; +religion orthodox. What else?</p> + +<p class="hang"><i>Magistrate</i>. Did Victor Karénin and +Elizaveta Andreyevna know you were alive when you left your clothes +on the bank of the river and disappeared?</p> + +<p class="hang"><i>Fédya</i>. 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.</p> + +<p class="hang"><i>Magistrate</i>. You gave a somewhat different +account to the police officer. How do you explain that?</p> + +<p class="hang"><i>Fédya</i>. 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.</p> + +<p class="hang"><i>Magistrate</i>. I perceive you wish to be +generous. Unfortunately the law demands the truth. Come, why did +you receive money from them?</p> + +<p class="indent">[FÉDYA <i>is silent.</i></p> + +<p class="follow">Why don't you answer me? Do you realize that it +will be stated in your deposition that the accused refused to +answer these questions, and that will harm (<i>he includes</i> LISA +<i>and</i> VICTOR <i>in a gesture</i>) all of you?</p> + +<p class="indent">[FÉDYA <i>remains silent.</i></p> + +<p class="follow">Aren't you ashamed of your stubborn refusal to +aid these others and yourself by telling the entire truth?</p> + +<p class="hang"><i>Fédya</i> (<i>breaking out +passionately</i>). 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.</p> + +<p class="hang"><i>Magistrate</i>. I must ask you——</p> + +<p class="hang"><i>Fédya</i> (<i>interrupts him</i>). Don't +ask me for I'll speak as I feel. (<i>Turning to</i> CLERK.) And you +write it down. So for once some human words will get into a +deposition.</p> + +<p class="indent">[<i>Raising his voice, which ascends to a climax +during this speech.</i></p> + +<p class="follow">There were three human beings alive: I, he, and +she.</p> + +<p class="indent">[<i>He turns to his wife with a gesture +indicating his love for her. He pauses, then proceeds.</i></p> + +<p class="follow">We all bore towards one another a most complex +relation. We were all engaged in a spiritual struggle beyond your +comprehension: the struggle between anguish and peace; between +falsehood and truth. Suddenly this struggle ended in a way that set +us free. Everybody was at peace. They loved my memory, and I was +happy even in my downfall, because I'd done what should have been +done, and cleared away my weak life from interfering with their +strong good lives. And yet we're all alive. When suddenly a bastard +adventurer appears, who demands that I abet his filthy scheme. I +drive him off as I would a diseased dog, but he finds you, the +defender of public justice, the appointed guardian of morality, to +listen to him. And you, who receive on the 20th of each month a few +kopeks' gratuity for your wretched business, you get into your +uniform, and in good spirits proceed to torture—bully people whose +threshold you're not clean enough to pass. Then when you've had +your fill of showing off your wretched power, oh, then you are +satisfied, and sit and smile there in your damned complacent +dignity. And....</p> + +<p class="hang"><i>Magistrate</i> (<i>raising his voice. Rising +excitedly</i>). Be silent or I'll have you turned out.</p> + +<p class="hang"><i>Fédya</i>. God! Who should <i>I</i> be +afraid of! I'm dead, dead, and away out of your power. (<i>Suddenly +overcome with the horror of the situation</i>.) What can you do to +me? How can you punish me—a corpse?</p> + +<p class="indent">[<i>Beating his breast.</i></p> + +<p class="hang"><i>Magistrate</i>. Be silent! (<i>To</i> CLERK, +<i>who is down L</i>.) Take him out!</p> + +<p class="indent">[FÉDYA <i>turns, seeing his wife, he falls +on his knees before her ... kisses the hem of her dress, crying +bitterly.</i></p> + +<p class="indent">[<i>Slowly he rises, pulls himself together with +a great effort, then exits L.</i></p> + +<p class="indent">[<i>The lights dim and out.</i></p> + +<p class="hang">CURTAIN</p> + +<p> </p> + +<h4>SCENE IV</h4> + +<p class="hang"><i>A corridor at the lower courts; in the +background a door opposite which stands a</i> GUARD; <i>to the +right is another door through which the</i> PRISONERS <i>are +conducted to the court.</i> IVÁN PETROVICH <i>in rags enters +L., goes to this last door, trying to pass through it.</i></p> + +<p class="hang"><i>Guard</i> (<i>at door R. C</i>.). Where do you +think you're going, shoving in like that?</p> + +<p class="hang"><i>Iván Petrovich</i>. Why shouldn't I? The +law says these sessions are public.</p> + +<p class="hang"><i>Guard</i>. You can't get by and that's enough.</p> + +<p class="hang"><i>Iván Petrovich</i> (<i>in pity</i>). Wretched peasant, +you have no idea to whom you are speaking.</p> + +<p class="hang"><i>Guard</i>. Be silent!</p> + +<p class="indent">[<i>Enter a</i> YOUNG LAWYER <i>from R. +I.</i></p> + +<p class="hang"><i>Lawyer</i> (<i>to Petrovich</i>). Are you here +on business?</p> + +<p class="hang"><i>Iván Petrovich</i>. No. I'm the public. +But this wretched peasant won't let me pass.</p> + +<p class="hang"><i>Lawyer</i>. There's no room for the public at +this trial.</p> + +<p class="hang"><i>Iván Petrovich</i>. Perhaps, but I am +above the general rule.</p> + +<p class="hang"><i>Lawyer</i>. Well, you wait outside; they'll +adjourn presently.</p> + +<p class="indent">[<i>He is just going into courtroom through door +R. C. when</i> PRINCE SERGIUS <i>enters L. and stops him.</i></p> + +<p class="hang"><i>Prince Sergius</i>. How does the case stand?</p> + +<p class="hang"><i>Lawyer</i>. The defense has just begun. +Petrúshin is speaking now.</p> + +<p class="hang"><i>Prince Sergius</i>. Are the Karénins +bearing up well?</p> + +<p class="hang"><i>Lawyer</i>. Yes, with extraordinary dignity. +They look as if they were the judges instead of the accused. That's +felt all the way through, and Petrúshin is taking advantage +of it.</p> + +<p class="hang"><i>Prince Sergius</i>. What of Protosov?</p> + +<p class="hang"><i>Lawyer</i>. He's frightfully unnerved, trembling +all over, but that's natural considering the sort of life he's led. +Yes, he's all on edge, and he's interrupted, both judge and jury +several times already.</p> + +<p class="hang"><i>Prince Sergius</i>. How do you think it will +end?</p> + +<p class="hang"><i>Lawyer</i>. Hard to say. The jury are mixed. At +any rate I don't think they'll find the Karénins guilty of +premeditation. Do you want to go in?</p> + +<p class="hang"><i>Prince Sergius</i>. I should very much like +to.</p> + +<p class="hang"><i>Lawyer</i>. Excuse me, you're Prince Sergius +Abréskov, aren't you? (<i>To the Prince</i>.) There's an +empty chair just at the left.</p> + +<p class="indent">[<i>The guard lets</i> PRINCE SERGIUS +<i>pass.</i></p> + +<p class="hang"><i>Iván Petrovich</i>. Prince! Bah! I am an +aristocrat of the soul, and that's a higher title.</p> + +<p class="hang"><i>Lawyer</i>. Excuse me.</p> + +<p class="indent">[<i>And exits down R. C. into courtroom.</i></p> + +<p class="indent">[PETUSHKÓV, FÉDYA'S <i>companion in +the dive, enters approaching</i> IVÁN PETROVICH.</p> + +<p class="hang"><i>Petushkóv</i> (<i>R</i>.). Oh, there you +are. Well, how're things going?</p> + +<p class="hang"><i>Iván Petrovich</i> (<i>L</i>.). The +speeches for the defense have begun, but this ignorant rascal won't +let us in. Curse his damned petty soul.</p> + +<p class="hang"><i>Guard</i> (<i>C</i>.) Silence! Where do you +think you are?</p> + +<p class="indent">[<i>Further applause is heard; door of the court +opens, and there is a rush of lawyers and the general public into +the corridor.</i></p> + +<p class="hang"><i>A Lady</i>. Oh, it's simply wonderful! When he +spoke I felt as if my heart were breaking.</p> + +<p class="hang"><i>An Officer</i>. It's all far better than a +novel. But I don't see how she could ever have loved him. Such a +sinister, horrible figure.</p> + +<p class="indent">[<i>The other door opens over L.; the accused +comes out.</i></p> + +<p class="hang"><i>The Lady</i> (<i>this group is down R</i>.). +Hush! There he is. See how wild he looks.</p> + +<p class="hang"><i>Fédya</i> (<i>seeing</i> IVÁN +PETROVICH). Did you bring it?</p> + +<p class="indent">[<i>Goes to</i> PETROVICH.</p> + +<p class="hang"><i>Petrovich</i>. There.</p> + +<p class="indent">[<i>He hands</i> FÉDYA <i>something;</i> +FÉDYA <i>hides it in his pocket.</i></p> + +<p class="hang"><i>Fédya</i> (<i>seeing</i> +PETUSHKÓV). How foolish! How vulgar and how boring all this +is, isn't it?</p> + +<p class="indent">[<i>Men and women enter door L. and stand down L. +watching.</i></p> + +<p class="indent">[<i>Enter</i> PETRÚSHIN, from R. C., +FÉDYA'S <i>counsel, a stout man with red cheeks; very +animated.</i></p> + +<p class="hang"><i>Petrúshin</i> (<i>rubbing his hands</i>). +Well, well, my friend. It's going along splendidly. Only remember, +don't go and spoil things for me in your last speech.</p> + +<p class="hang"><i>Fédya</i> (<i>takes him by the arm</i>). +Tell me, what'll the worst be?</p> + +<p class="hang"><i>Petrúshin</i>. I've already told you. +Exile to Siberia.</p> + +<p class="hang"><i>Fédya</i>. Who'll be exiled to +Siberia?</p> + +<p class="hang"><i>Petrúshin</i>. You and your wife, +naturally.</p> + +<p class="hang"><i>Fédya</i>. And at the best?</p> + +<p class="hang"><i>Petrúshin</i>. Religious pardon and the +annulment of the second marriage.</p> + +<p class="hang"><i>Fédya</i>. You mean—that we should be +bound again—to one another——</p> + +<p class="hang"><i>Petrúshin</i>. Yes. Only try to collect +yourself. Keep up your courage. After all, there's no occasion for +alarm.</p> + +<p class="hang"><i>Fédya</i>. There couldn't be any other +sentence, you're sure?</p> + +<p class="hang"><i>Petrúshin</i>. None other. None +other.</p> + +<p class="indent">[<i>Exits R. I.</i> FÉDYA <i>stands +motionless.</i></p> + +<p class="hang"><i>Guard</i> (<i>crosses and exits L. I. +Calling</i>). Pass on. Pass on. No loitering in the corridor.</p> + +<p class="indent">[VICTOR <i>and</i> LISA <i>enter from door L. +Start to go off L. when pistol shot stops them.</i></p> + +<p class="hang"><i>Fédya</i> (<i>He turns his back to the +audience, and from beneath his ragged coat shoots himself in the +heart. There is a muffled explosion, smoke. He crumples up in a +heap on the floor. All the people in the passage rush to him</i>.) +(<i>In a very low voice</i>.) This time—it's well done... +Lisa....</p> + +<p class="indent">[<i>People are crowding in from all the doors, +judges, etc.</i> LISA <i>rushes to</i> FÉDYA, +KARÉNIN, IVÁN PETROVICH <i>and</i> PRINCE SERGIUS +<i>follow.</i></p> + +<p class="hang"><i>Lisa</i>. Fédya!... Fédya!... What +have you done? Oh why!... why!...</p> + +<p class="hang"><i>Fédya</i>. Forgive me—— No other +way—— Not for you—but for myself——</p> + +<p class="hang"><i>Lisa</i>. You will live. You must live.</p> + +<p class="hang"><i>Fédya</i>. No—no—— Good-bye—— (<i>He +seems to smile, then he mutters just under his breath</i>.) +Masha.</p> + +<p class="indent">[<i>In the distance the gypsies are heard singing +"No More at Evening." They sing until the curtain.</i></p> + +<p class="follow">You're too late——</p> + +<p class="indent">[Suddenly he raises his head from LISA'S knees, +and barely utters as if he saw something in front of him.</p> + +<p class="follow">Ah.... Happiness!...</p> + +<p class="indent">[<i>His head falls from LISA'S knees to the +ground. She still clings to it, in grief and horror. He +dies.</i></p> + +<p class="indent">[<i>The lights dim and out.</i></p> + +<p class="hang">CURTAIN</p> + +<h4>END OF <i>REDEMPTION</i></h4> +<hr> +<p> </p> + +<h1><a name="darkness">THE POWER OF DARKNESS</a></h1> + +<h2>OR</h2> + +<h2>IF A CLAW IS CAUGHT THE BIRD IS LOST</h2> + +<h3>CHARACTERS</h3> + +<p class="normal">PETER IGNÁTITCH. <i>A well-to-do peasant, 42 years old, +married for the second time, and sickly.<br> +</i> ANÍSYA. <i>His wife, 32 years old, fond of +dress.</i><br> +AKOULÍNA. <i>Peter's daughter by his first marriage, 16 +years old, hard of hearing, mentally undeveloped</i><br> +NAN (ANNA PETRÓVNA). <i>His daughter by his second marriage, +10 years old</i><br> +NIKÍTA. <i>Their laborer, 25 years old, fond of +dress.</i><br> +AKÍM. <i>Nikíta's father, 50 years old, a +plain-looking, God-fearing peasant.</i><br> +MATRYÓNA. <i>His wife and Nikíta's mother, 50 years +old.</i><br> +MARÍNA <i>An orphan girl, 22 years old.</i><br> +MARTHA. <i>Peter's sister.</i><br> +MÍTRITCH <i>An old laborer, ex-soldier.</i><br> +SIMON. <i>Marína's husband.</i><br> +BRIDEGROOM. <i>Engaged to Akoulína.</i><br> +IVÁN. <i>His father.</i><br> +A NEIGHBOR.<br> +FIRST GIRL.<br> +SECOND GIRL.<br> +POLICE OFFICER.<br> +DRIVER.<br> +BEST MAN<br> +MATCHMAKER.<br> +VILLAGE ELDER.<br> +VISITORS, WOMEN, GIRLS, AND PEOPLE <i>come to see the +wedding.</i></p> + +<p class="normal"> + +<i>N.B.</i>—The "oven" mentioned is the usual large, brick, +Russian baking-oven. The top of it outside is flat, so that more +than one person can lie on it. </p> + +<h3>ACT I</h3> + +<p class="hang"><i>The Act takes place in autumn in a large +village. The Scene represents PETER'S</i> roomy hut. PETER <i>is +sitting on a wooden bench, mending a horse-collar.</i> +ANÍSYA <i>and</i> AKOULÍNA <i>are spinning, and +singing a part-song.</i></p> + +<p class="hang"><i>Peter</i> (<i>looking out of the window</i>). +The horses have got loose again. If we don't look out they'll be +killing the colt. Nikíta! Hey, Nikíta! Is the fellow +deaf? (<i>Listens. To the women</i>.) Shut up, one can't hear +anything.</p> + +<p class="hang"><i>Nikíta</i> (<i>from outside</i>). +What?</p> + +<p class="hang"><i>Peter</i>. Drive the horses in.</p> + +<p class="hang"><i>Nikíta</i>. We'll drive 'em in. All in +good time.</p> + +<p class="hang"><i>Peter</i> (<i>shaking his head</i>). Ah, these +laborers! If I were well, I'd not keep one on no account. There's +nothing but bother with 'em. (<i>Rises and sits down again</i>.) +Nikíta!.... It's no good shouting. One of you'd better go. +Go, Akoúl, drive 'em in.</p> + +<p class="hang"><i>Akoulína</i>. What? The horses?</p> + +<p class="hang"><i>Peter</i>. What else?</p> + +<p class="hang"><i>Akoulína</i>. All right.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Peter</i>. Ah, but he's a loafer, that lad ... +no good at all. Won't stir a finger if he can help it.</p> + +<p class="hang"><i>Anísya</i>. You're so mighty brisk +yourself. When you're not sprawling on the top of the oven you're +squatting on the bench. To goad others to work is all you're fit +for.</p> + +<p class="hang"><i>Peter</i>. If one weren't to goad you on a bit, +one'd have no roof left over one's head before the year's out. Oh, +what people!</p> + +<p class="hang"><i>Anísya</i>. You go shoving a dozen jobs +on to one's shoulders, and then do nothing but scold. It's easy to +lie on the oven and give orders.</p> + +<p class="hang"><i>Peter</i> (<i>sighing</i>). Oh, if 'twere not +for this sickness that's got hold of me, I'd not keep him on +another day.</p> + +<p class="hang"><i>Akoulína</i> (<i>off the scene</i>). Gee +up, gee, woo.</p> + +<p class="indent">[<i>A colt neighs, the stamping of horses' feet +and the creaking of the gate are heard.</i></p> + +<p class="hang"><i>Peter</i>. Bragging, that's what he's good at. +I'd like to sack him, I would indeed.</p> + +<p class="hang"><i>Anísya</i> (<i>mimicking him</i>). "Like +to sack him." You buckle to yourself, and then talk.</p> + +<p class="hang"><i>Akoulína</i> (<i>enters</i>). It's all I +could do to drive 'em in. That piebald always will....</p> + +<p class="hang"><i>Peter</i>. And where's Nikíta?</p> + +<p class="hang"><i>Akoulína</i>. Where's Nikíta? Why, +standing out there in the street.</p> + +<p class="hang"><i>Peter</i>. What's he standing there for?</p> + +<p class="hang"><i>Akoulína</i>. What's he standing there +for? He stands there jabbering.</p> + +<p class="hang"><i>Peter</i>. One can't get any sense out of her! +Who's he jabbering with?</p> + +<p class="hang"><i>Akoulína</i> (<i>does not hear</i>). Eh, +what?</p> + +<p class="indent">[PETER <i>waves her off. She sits down to her +spinning.</i></p> + +<p class="hang"><i>Nan</i> (<i>running in to her mother</i>). +Nikíta's father and mother have come. They're going to take +him away. It's true!</p> + +<p class="hang"><i>Anísya</i>. Nonsense!</p> + +<p class="hang"><i>Nan</i>. Yes. Blest if they're not! +(<i>Laughing</i>.) I was just going by, and Nikíta, he says, +"Good-bye, Anna Petróvna," he says, "you must come and dance +at my wedding. I'm leaving you," he says, and laughs.</p> + +<p class="hang"><i>Anísya</i> (<i>to her husband</i>). There +now. Much he cares. You see, he wants to leave of himself. "Sack +him" indeed!</p> + +<p class="hang"><i>Peter</i>. Well, let him go. Just as if I +couldn't find somebody else.</p> + +<p class="hang"><i>Anísya</i>. And what about the money he's +had in advance?</p> + +<p class="indent">[NAN <i>stands listening at the door for awhile, +and then exit.</i></p> + +<p class="hang"><i>Peter</i> (<i>frowning</i>). The money? Well, he +can work it off in summer, anyhow.</p> + +<p class="hang"><i>Anísya</i>. Well, of course you'll be +glad if he goes and you've not got to feed him. It's only me as'll +have to work like a horse all the winter. That lass of yours isn't +over fond of work either. And you'll be lying up on the oven. I +know you.</p> + +<p class="hang"><i>Peter</i>. What's the good of wearing out one's +tongue before one has the hang of the matter?</p> + +<p class="hang"><i>Anísya</i>. The yard's full of cattle. +You've not sold the cow, and have kept all the sheep for the +winter: feeding and watering 'em alone takes all one's time, and +you want to sack the laborer. But I tell you straight, I'm not +going to do a man's work! I'll go and lie on the top of the oven +same as you, and let everything go to pot! You may do what you +like.</p> + +<p class="hang"><i>Peter</i> (<i>to Akoulína</i>). Go and +see about the feeding, will you? it's time.</p> + +<p class="hang"><i>Akoulína</i>. The feeding? All right.</p> + +<p class="indent">[<i>Puts on a coat and takes a rope.</i></p> + +<p class="hang"><i>Anísya</i>. I'm not going to work for +you. You go and work yourself. I've had enough of it, so there!</p> + +<p class="hang"><i>Peter</i>. That'll do. What are you raving +about? Like a sheep with the staggers!</p> + +<p class="hang"><i>Anísya</i>. You're a crazy cur, you are! +One gets neither work nor pleasure from you. Eating your fill, +that's all you do; you palsied cur, you!</p> + +<p class="hang"><i>Peter</i> (<i>spits and puts on coat</i>). +Faugh! The Lord have mercy! I'd better go myself and see what's +up.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Anísya</i> (<i>after him</i>). Scurvy +long-nosed devil!</p> + +<p class="hang"><i>Akoulína</i>. What are you swearing at +dad for?</p> + +<p class="hang"><i>Anísya</i>. Hold your noise, you +idiot!</p> + +<p class="hang"><i>Akoulína</i> (<i>going to the door</i>). +I know why you're swearing at him. You're an idiot yourself, you +bitch. I'm not afraid of you.</p> + +<p class="hang"><i>Anísya</i>. What do you mean? (<i>Jumps +up and looks round for something to hit her with</i>.) Mind, or +I'll give you one with the poker.</p> + +<p class="hang"><i>Akoulína</i> (<i>opening the door</i>). +Bitch! devil! that's what you are! Devil! bitch! bitch! devil!</p> + +<p class="indent">[<i>Runs off.</i></p> + +<p class="hang"><i>Anísya</i> (<i>ponders</i>). "Come and +dance at my wedding!" What new plan is this? Marry? Mind. +Nikíta, if that's your intention, I'll go and.... No, I +can't live without him. I won't let him go.</p> + +<p class="hang"><i>Nikíta</i> (<i>enters, looks round, and, +seeing Anísya alone, approaches quickly. In a low tone</i>). +Here's a go; I'm in a regular fix! That governor of mine wants to +take me away,—tells me I'm to come home. Says quite straight I'm +to marry and live at home.</p> + +<p class="hang"><i>Anísya.</i> Well, go and marry! What's +that to me?</p> + +<p class="hang"><i>Nikíta.</i> Is that it? Why, here am I +reckoning how best to consider matters, and just hear her! She +tells me to go and marry. Why's that? (<i>Winking</i>.) Has she +forgotten?</p> + +<p class="hang"><i>Anísya.</i> Yes, go and marry! What do I +care?</p> + +<p class="hang"><i>Nikíta.</i> What are you spitting for? +Just see, she won't even let me stroke her.... What's the +matter?</p> + +<p class="hang"><i>Anísya.</i> This! That you want to play +me false.... If you do,—why, I don't want you either. So now you +know!</p> + +<p class="hang"><i>Nikíta.</i> That'll do, Anísya. Do +you think I'll forget you? Never while I live! I'll not play you +false, that's flat. I've been thinking that supposing they do go +and make me marry, I'd still come back to you. If only he don't +make me live at home.</p> + +<p class="hang"><i>Anísya.</i> Much need I'll have of you, +once you're married.</p> + +<p class="hang"><i>Nikíta.</i> There's a go now. How is it +possible to go against one's father's will?</p> + +<p class="hang"><i>Anísya.</i> Yes, I daresay, shove it all +on your father. You know it's your own doing. You've long been +plotting with that slut of yours, Marína. It's she has put +you up to it. She didn't come here for nothing t'other day.</p> + +<p class="hang"><i>Nikíta.</i> Marína? What's she to +me? Much I care about her!... Plenty of them buzzing around.</p> + +<p class="hang"><i>Anísya.</i> Then what has made your +father come here? It's you have told him to. You've gone and +deceived me.</p> + +<p class="indent">[<i>Cries.</i></p> + +<p class="hang"><i>Nikíta.</i> Anísya, do you believe +in a God or not? I never so much as dreamt of it. I know nothing at +all about it. I never even dreamt of it—that's flat. My old dad +has got it all out of his own pate.</p> + +<p class="hang"><i>Anísya.</i> If you don't wish it yourself +who can force you? He can't drive you like an ass.</p> + +<p class="hang"><i>Nikíta.</i> Well, I reckon it's not +possible to go against one's parent. But it's not by my wish.</p> + +<p class="hang"><i>Anísya.</i> Don't you budge, that's all +about it!</p> + +<p class="hang"><i>Nikíta.</i> There was a fellow wouldn't +budge, and the village elder gave him such a hiding.... That's what +it might come to! I've no great wish for that sort of thing. They +say it touches one up....</p> + +<p class="hang"><i>Anísya.</i> Shut up with your nonsense. +Nikíta, listen to me: if you marry that Marína I +don't know what I won't do to myself.... I shall lay hands on +myself! I have sinned, I have gone against the law, but I can't go +back now. If you go away I'll....</p> + +<p class="hang"><i>Nikíta.</i> Why should I go? Had I wanted +to go—I should have gone long ago. There was Iván +Semyónitch t'other day—offered me a place as his +coachman.... Only fancy what a life that would have been! But I did +not go. Because, I reckon, I am good enough for any one. Now if you +did not love me it would be a different matter.</p> + +<p class="hang"><i>Anísya.</i> Yes, and that's what you +should remember. My old man will die one of these fine days, I'm +thinking; then we could cover our sin, make it all right and +lawful, and then you'll be master here.</p> + +<p class="hang"><i>Nikíta.</i> Where's the good of making +plans? What do I care? I work as hard as if I were doing it for +myself. My master loves me, and his missus loves me. And if the +wenches run after me, it's not my fault, that's flat.</p> + +<p class="hang"><i>Anísya.</i> And you'll love me?</p> + +<p class="hang"><i>Nikíta</i> (<i>embracing her</i>). There, +as you have ever been in my heart....</p> + +<p class="hang"><i>Matryóna</i> (<i>enters and crosses +herself a long time before the icón. Nikíta and +Anísya step apart</i>). 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.</p> + +<p class="hang"><i>Nikíta.</i> I only came to get the +axe.</p> + +<p class="hang"><i>Matryóna.</i> I know, sonny, I know; them +sort of axes are mostly to be found where the women are.</p> + +<p class="hang"><i>Nikíta</i> (<i>stooping to pick up +axe</i>). I say, mother, is it true you want me to marry? As I +reckon, that's quite unnecessary. Besides, I've got no wish that +way.</p> + +<p class="hang"><i>Matryóna.</i> Eh, honey! why should you +marry? Go on as you are. It's all the old man. You'd better go, +sonny; we can talk these matters over without you.</p> + +<p class="hang"><i>Nikíta.</i> It's a queer go! One moment +I'm to be married, the next, not. I can't make head or tail of +it.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Anísya.</i> What's it all about, then? Do +you really wish him to get married?</p> + +<p class="hang"><i>Matryóna.</i> Eh, why should he marry, my +jewel? It's all nonsense, all my old man's drivel. "Marry, marry." +But he's reckoning without his host. You know the saying, "From +oats and hay, why should horses stray?" When you've enough to +spare, why look elsewhere? And so in this case. (<i>Winks</i>.) +Don't I see which way the wind blows?</p> + +<p class="hang"><i>Anísya.</i> Where's the good of my +pretending to you, Mother Matryóna? You know all about it. I +have sinned. I love your son.</p> + +<p class="hang"><i>Matryóna.</i> Dear me, here's news! D'you +think Mother Matryóna didn't know? Eh, lassie,—Mother +Matryóna's been ground, and ground again, ground fine! This +much I can tell you, my jewel: Mother Matryóna can see +through a brick wall three feet thick. I know it all, my jewel! I +know what young wives need sleeping draughts for, so I've brought +some along.</p> + +<p class="indent">[<i>Unties a knot in her handkerchief and brings +out paper-packets.</i></p> + +<p class="follow">As much as is wanted, I see, and what's not +wanted I neither see nor perceive! There! Mother Matryóna +has also been young. I had to know a thing or two to live with my +old fool. I know seventy-and-seven dodges. But I see your old man's +quite seedy, quite seedy! How's one to live with such as him? Why, +if you pricked him with a hayfork it wouldn't fetch blood. See if +you don't bury him before the spring. Then you'll need some one in +the house. Well, what's wrong with my son? He'll do as well as +another. Then where's the advantage of my taking him away from a +good place? Am I my child's enemy?</p> + +<p class="hang"><i>Anísya</i>. Oh, if only he does not go +away!</p> + +<p class="hang"><i>Matryóna</i>. He won't go away, birdie. +It's all nonsense. You know my old man. His wits are always +wool-gathering; yet sometimes he takes a thing into his pate, and +it's as if it were wedged in, you can't knock it out with a +hammer.</p> + +<p class="hang"><i>Anísya</i>. And what started this +business?</p> + +<p class="hang"><i>Matryóna</i>. 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.</p> + +<p class="hang"><i>Anísya</i>. Marína?</p> + +<p class="hang"><i>Matryóna</i>. Yes, the plague seize her! +Whether anything happened or not, anyhow something got to my old +man's ears. Maybe he heard from the neighbors, maybe she's been and +blabbed....</p> + +<p class="hang"><i>Anísya</i>. Well, she is a bold +hussy!</p> + +<p class="hang"><i>Matryóna</i>. So my old man—the old +blockhead—off he goes: "Marry, marry," he says, "he must marry her +and cover the sin," he says. "We must take the lad home," he says, +"and he shall marry," he says. Well, I did my best to make him +change his mind, but, dear me, no. So, all right, thinks I,—I'll +try another dodge. One always has to entice them fools in this way, +just pretend to be of their mind, and when it comes to the point +one goes and turns it all one's own way. You know, a woman has time +to think seventy-and-seven thoughts while falling off the oven, so +how's such as he to see through it? "Well, yes," says I, "it would +be a good job,—only we must consider well beforehand. Why not go +and see our son, and talk it over with Peter Ignátitch and +hear what he has to say?" So here we are.</p> + +<p class="hang"><i>Anísya</i>. Oh dear, oh dear, how will it +all end? Supposing his father just orders him to marry her?</p> + +<p class="hang"><i>Matryóna</i>. Orders, indeed! Chuck his +orders to the dogs! Don't you worry; that affair will never come +off. I'll go to your old man myself, and sift and strain this +matter clear—there will be none of it left. I have come here only +for the look of the thing. A very likely thing! Here's my son +living in happiness and expecting happiness, and I'll go and match +him with a slut! No fear, I'm not a fool!</p> + +<p class="hang"><i>Anísya</i>. And she—this +Marína—came dangling after him here! Mother, would you +believe, when they said he was going to marry, it was as if a knife +had gone right through my heart. I thought he cared for her.</p> + +<p class="hang"><i>Matryóna</i>. Oh, my jewel! Why, you +don't think him such a fool, that he should go and care for a +homeless baggage like that? Nikíta is a sensible fellow, you +see. He knows whom to love. So don't you go and fret, my jewel. +We'll not take him away, and we won't marry him. No, we'll let him +stay on, if you'll only oblige us with a little money.</p> + +<p class="hang"><i>Anísya</i>. All I know is, that I could +not live if Nikíta went away.</p> + +<p class="hang"><i>Matryóna</i>. Naturally, when one's young +it's no easy matter! You, a wench in full bloom, to be living with +the dregs of a man like that husband of yours.</p> + +<p class="hang"><i>Anísya</i>. Mother Matryóna, would +you believe it? I'm that sick of him, that sick of this long-nosed +cur of mine, I can hardly bear to look at him.</p> + +<p class="hang"><i>Matryóna</i>. Yes, I see, it's one of +them cases. Just look here. (<i>Looks round and whispers</i>.) I've +been to see that old man, you know he's given me simples of two +kinds. This, you see, is a sleeping draught. "Just give him one of +these powders," he says, "and he'll sleep so sound you might jump +on him!" And this here, "This is that kind of simple," he says, +"that if you give one some of it to drink it has no smell whatever, +but its strength is very great. There are seven doses here, a pinch +at a time. Give him seven pinches," he says, "and she won't have +far to look for freedom," he says.</p> + +<p class="hang"><i>Anísya</i>. O-o-oh! What's that?</p> + +<p class="hang"><i>Matryóna</i>. "No sign whatever," he +says. He's taken a rouble for it. "Can't sell it for less," he +says. Because it's no easy matter to get 'em, you know. I paid him, +dearie, out of my own money. If she takes them, thinks I, it's all +right; if she don't, I can let old Michael's daughter have +them.</p> + +<p class="hang"><i>Anísya.</i> O-o-oh! But mayn't some evil +come of them? I'm frightened!</p> + +<p class="hang"><i>Matryóna</i>. What evil, my jewel? If +your old man was hale and hearty, 'twould be a different matter, +but he's neither alive nor dead as it is. He's not for this world. +Such things often happen.</p> + +<p class="hang"><i>Anísya.</i> O-o-oh, my poor head! I'm +afeared, Mother Matryóna, lest some evil come of them. No. +That won't do.</p> + +<p class="hang"><i>Matryóna.</i> Just as you like. I might +even return them to him.</p> + +<p class="hang"><i>Anísya.</i> And are they to be used in +the same way as the others? Mixed in water?</p> + +<p class="hang"><i>Matryóna.</i> Better in tea, he says. "You +can't notice anything," he says, "no smell nor nothing." He's a +cute old fellow, too.</p> + +<p class="hang"><i>Anísya</i> (<i>taking the powder</i>). +O-oh, my poor head! Could I have ever thought of such a thing if my +life were not a very hell?</p> + +<p class="hang"><i>Matryóna.</i> You'll not forget that +rouble? I promised to take it to the old man. He's had some +trouble, too.</p> + +<p class="hang"><i>Anísya.</i> Of course?</p> + +<p class="indent">[<i>Goes to her box and hides the +powders.</i></p> + +<p class="hang"><i>Matryóna.</i> And now, my jewel, keep it +as close as you can, so that no one should find it out. Heaven +defend that it should happen, but <i>if</i> any one notices it, +tell 'em it's for the black-beetles. (<i>Takes the rouble</i>.) +It's also used for beetles. (<i>Stops short</i>.)</p> + +<p class="indent">[<i>Enter</i> AKÍM, who crosses himself in +front of the icon, and then PETER, who sits down.</p> + +<p class="hang"><i>Peter.</i> Well, then, how's it to be, Daddy +Akím?</p> + +<p class="hang"><i>Akím.</i> As it's best, Peter +Ignátitch, as it's best.... I mean—as it's best. 'Cos why? +I'm afeared of what d'you call 'ems, some tomfoolery, you know. I'd +like to, what d'you call it.... to start, you know, start the lad +honest, I mean. But supposing you'd rather, what d'you call it, we +might, I mean, what's name? As it's best....</p> + +<p class="hang"><i>Peter.</i> All right. All right. Sit down and +let's talk it over. (<i>Akím sits down</i>.) Well, then, +what's it all about? You want him to marry?</p> + +<p class="hang"><i>Matryóna.</i> As to marrying, he might +bide a while, Peter Ignátitch. You know our poverty, Peter +Ignátitch. What's he to marry on? We've hardly enough to eat +ourselves. How can he marry then?...</p> + +<p class="hang"><i>Peter.</i> You must consider what will be +best.</p> + +<p class="hang"><i>Matryóna.</i> Where's the hurry for him +to get married? Marriage is not that sort of thing, it's not like +ripe raspberries that drop off if not picked in time.</p> + +<p class="hang"><i>Peter.</i> If he were to get married, 'twould be +a good thing in a way.</p> + +<p class="hang"><i>Akím.</i> We'd like to ... what d'you +call it? 'Cos why, you see. I've what d'you call it ... a job. I +mean, I've found a paying job in town, you know.</p> + +<p class="hang"><i>Matryóna.</i> And a fine job +too—cleaning out cesspools. The other day when he came home, I +could do nothing but spew and spew. Faugh!</p> + +<p class="hang"><i>Akím.</i> It's true, at first it does +seem what d'you call it ... "knocks one clean over," you know,—the +smell, I mean. But one gets used to it, and then it's nothing, no +worse than malt grain, and then it's, what d'you call it, ... pays, +pays, I mean. And as to the smell being, what d'you call it, it's +not for the likes of us to complain. And one changes one's clothes. +So we'd like to take what's his name ... Nikíta, I mean, +home. Let him manage things at home while I, what d'you call +it,—earn something in town.</p> + +<p class="hang"><i>Peter.</i> You want to keep your son at home? +Yes, that would be well: but how about the money he has had in +advance?</p> + +<p class="hang"><i>Akím.</i> That's it, that's it! It's just +as you Say, Ignátitch, it's just what d'you call it. 'Cos +why? If you go into service, it's as good as if you had sold +yourself, they say. That will be all right. I mean he may stay and +serve his time, only he must, what d'you call it, get married. I +mean—so: you let him off for a little while, that he may, what +d'you call it?</p> + +<p class="hang"><i>Peter.</i> Yes, we could manage that.</p> + +<p class="hang"><i>Matryóna.</i> Ah, but it's not yet +settled between ourselves, Peter Ignátitch. I'll speak to +you as I would before God, and you may judge between my old man and +me. He goes on harping on that marriage. But just ask—who it is he +wants him to marry. If it were a girl of the right sort now—I am +not my child's enemy, but the wench is not honest.</p> + +<p class="hang"><i>Akím</i>. 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.</p> + +<p class="hang"><i>Peter</i>. How offended?</p> + +<p class="hang"><i>Akím</i>. That's how. She's what d'you +call it, with him, with my son, Nikíta. With Nikíta, +what d'you call it, mean.</p> + +<p class="hang"><i>Matryóna</i>. You wait a bit, my tongue +runs smoother—let me tell it. You know, this lad of ours lived at +the railway before he came to you. There was a girl there as kept +dangling after him. A girl of no account, you know; her name's +Marína. She used to cook for the men. So now this same girl +accuses our son, Nikíta, that he, so to say, deceived +her.</p> + +<p class="hang"><i>Peter</i>. Well, there's nothing good in +that.</p> + +<p class="hang"><i>Matryóna</i>. But she's no honest girl +herself; she runs after the fellows like a common slut.</p> + +<p class="hang"><i>Akím</i>. There you are again, old woman, +and it's not at all what d'you call it, it's all not what d'you +call it, I mean....</p> + +<p class="hang"><i>Matryóna</i>. There now, that's all the +sense one gets from my old owl—"what d'you call it, what d'you call +it," and he doesn't know himself what he means. Peter +Ignátitch, don't listen to me, but go yourself and ask any +one you like about the girl, everybody will say the same. She's +just a homeless good-for-nothing.</p> + +<p class="hang"><i>Peter</i>. You know, Daddy Akím, if +that's how things are, there's no reason for him to marry her. A +daughter-in-law's not like a shoe, you can't kick her off.</p> + +<p class="hang"><i>Akím</i> (<i>excitedly</i>). It's false, +old woman, it's what d'you call it, false; I mean, about the girl; +false! 'Cos why? The lass is a good lass, a very good lass, you +know. I'm sorry, sorry for the lassie, I mean.</p> + +<p class="hang"><i>Matryóna</i>. It's an old saying: "For +the wide world old Miriam grieves, and at home without bread her +children she leaves." He's sorry for the girl, but not sorry for +his own son! Sling her round your neck and carry her about with +you! That's enough of such empty cackle!</p> + +<p class="hang"><i>Akím</i>. No, it's not empty.</p> + +<p class="hang"><i>Matryóna</i>. There, don't interrupt, let +me have my say.</p> + +<p class="hang"><i>Akím</i> (<i>interrupts</i>). No, not +empty! I mean, you twist things your own way, about the lass or +about yourself. Twist them, I mean, to make it better for yourself; +but God, what d'you call it, turns them His way. That's how it +is.</p> + +<p class="hang"><i>Matryóna</i>. Eh! One only wears out +one's tongue with you.</p> + +<p class="hang"><i>Akím</i>. The lass is hard-working and +spruce, and keeps everything round herself ... what d'you call it. +And in our poverty, you know, it's a pair of hands, I mean; and the +wedding needn't cost much. But the chief thing's the offence, the +offence to the lass, and she's a what d'you call it, an orphan, you +know; that's what she is, and there's the offence.</p> + +<p class="hang"><i>Matryóna</i>. Eh! they'll all tell you a +tale of that sort....</p> + +<p class="hang"><i>Anísya</i>. Daddy Akím, you'd +better listen to us women; we can tell you a thing or two.</p> + +<p class="hang"><i>Akím</i>. 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?</p> + +<p class="hang"><i>Matryóna</i>. Eh! ... started off +again?...</p> + +<p class="hang"><i>Peter</i>. Wait a bit, Daddy Akím. One +can't believe all these girls say, either. The lad's alive, and not +far away; send for him, and find out straight from him if it's +true. He won't wish to lose his soul. Go and call the fellow, +(<i>Anísya rises</i>) and tell him his father wants him.</p> + +<p class="indent">[<i>Exit</i> ANÍSYA.</p> + +<p class="hang"><i>Matryóna</i>. That's right, dear friend; +you've cleared the way clean, as with water. Yes, let the lad speak +for himself. Nowadays, you know, they'll not let you force a son to +marry; one must first of all ask the lad. He'll never consent to +marry her and disgrace himself, not for all the world. To my +thinking, it's best he should go on living with you and serving you +as his master. And we need not take him home for the summer either; +we can hire a help. If you would only give us ten roubles now, +we'll let him stay on. <i>Peter</i>. All in good time. First let us +settle one thing before we start another. <i>Akím</i>. You +see, Peter Ignátitch, I speak. 'Cos why? you know how it +happens. We try to fix things up as seems best for ourselves, you +know; and as to God, we what d'you call it, we forget Him. We think +it's best so, turn it our own way, and lo! we've got into a fix, +you know. We think it will be best, I mean; and lo! it turns out +much worse—without God, I mean.</p> + +<p class="hang"><i>Peter</i>. Of course one must not forget +God.</p> + +<p class="hang"><i>Akím</i>. 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....</p> + +<p class="indent">[<i>Enter</i> NIKÍTA <i>and</i> NAN.</p> + +<p class="hang"><i>Nikíta</i>. You called me?</p> + +<p class="indent">[<i>Sits down and takes out his +tobacco-pouch.</i></p> + +<p class="hang"><i>Peter</i> (<i>in a low, reproachful voice</i>). +What are you thinking about—have you no manners? Your father is +going to speak to you, and you sit down and fool about with +tobacco. Come, get up!</p> + +<p class="indent">[NIKÍTA <i>rises, leans carelessly with +his elbow on the table, and smiles</i>.</p> + +<p class="hang"><i>Akím</i>. It seems there's a complaint, +you know, about you, Nikíta—a complaint, I mean, a +complaint.</p> + +<p class="hang"><i>Nikíta</i>. Who's been complaining?</p> + +<p class="hang"><i>Akím</i>. Complaining? It's a maid, an +orphan maid, complaining, I mean. It's her, you know—-a complaint +against you, from Marína, I mean.</p> + +<p class="hang"><i>Nikíta</i> (<i>laughs</i>). Well, that's +a good one. What's the complaint? And who's told you—she +herself?</p> + +<p class="hang"><i>Akím</i>. It's I am asking you, and you +must now, what d'you call it, give me an answer. Have you got mixed +up with the lass, I mean—mixed up, you know?</p> + +<p class="hang"><i>Nikíta</i>. I don't know what you mean. +What's up?</p> + +<p class="hang"><i>Akím</i>. Foolin', I mean, what d'you +call it? foolin'. Have you been foolin' with her, I mean?</p> + +<p class="hang"><i>Nikíta</i>. Never mind what's been! Of +course one does have some fun with a cook now and then to while +away the time. One plays the concertina and gets her to dance. What +of that?</p> + +<p class="hang"><i>Peter</i>. Don't shuffle, Nikíta, but +answer your father straight out.</p> + +<p class="hang"><i>Akím</i> (<i>solemnly</i>). You can hide +it from men but not from God, Nikíta. You, what d'you call +it—think, I mean, and don't tell lies. She's an orphan; so, you +see, any one is free to insult her. An orphan, you see. So you +should say what's rightest.</p> + +<p class="hang"><i>Nikíta</i>. But what if I have nothing to +say? I have told you everything—because there isn't anything to +tell, that's flat! (<i>Getting excited</i>.) She can go and say +anything about me, same as if she was speaking of one as is dead. +Why don't she say anything about Fédka Mikíshin? +Besides, how's this, that one mayn't even have a bit of fun +nowadays? And as for her, well, she's free to say anything she +likes.</p> + +<p class="hang"><i>Akím</i>. Ah, Nikíta, mind! A lie +will out. Did anything happen?</p> + +<p class="hang"><i>Nikíta</i> (<i>aside</i>). How he sticks +to it; it's too bad. (<i>To Akím</i>.) I tell you, I know +nothing more. There's been nothing between us. (<i>Angrily</i>.) By +God! and may I never leave this spot (<i>crosses himself</i>) if I +know anything about it. (<i>Silence. Then still more +excitedly</i>.) Why! have you been thinking of getting me to marry +her? What do you mean by it?—it's a confounded shame. Besides, +nowadays you've got no such rights as to force a fellow to marry. +That's plain enough. Besides, haven't I sworn I know nothing about +it?</p> + +<p class="hang"><i>Matryóna</i> (<i>to her husband</i>). +There now, that's just like your silly pate, to believe all they +tell you. He's gone and put the lad to shame all for nothing. The +best thing is to let him live as he is living, with his master. His +master will help us in our present need, and give us ten roubles, +and when the time comes....</p> + +<p class="hang"><i>Peter</i>. Well, Daddy Akím, how's it to +be?</p> + +<p class="hang"><i>Akím</i> (<i>looks at his son, clicking +his tongue disapprovingly</i>). Mind, Nikíta, the tears of +one that's been wronged never, what d'you call it—never fall +beside the mark but always on, what's name—the head of the man as +did the wrong. So mind, don't what d'you call it.</p> + +<p class="hang"><i>Nikíta</i> (<i>sits down</i>). What's +there to mind? mind yourself.</p> + +<p class="hang"><i>Nan</i> (<i>aside</i>). I must run and tell +mother.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Matryóna</i> (<i>to Peter</i>). That's +always the way with this old mumbler of mine, Peter +Ignátitch. Once he's got anything wedged in his pate there's +no knocking it out. We've gone and troubled you all for nothing. +The lad can go on living as he has been. Keep him; he's your +servant.</p> + +<p class="hang"><i>Peter</i>. Well, Daddy Akím, what do you +say?</p> + +<p class="hang"><i>Akím</i>. Why, the lad's his own master, +if only he what d'you call it.... I only wish that, what d'you call +it, I mean.</p> + +<p class="hang"><i>Matryóna</i>. You don't know yourself +what you're jawing about. The lad himself has no wish to leave. +Besides, what do we want with him at home? We can manage without +him.</p> + +<p class="hang"><i>Peter</i>. Only one thing, Daddy Akím—if +you are thinking of taking him back in summer, I don't want him +here for the winter. If he is to stay at all, it must be for the +whole year.</p> + +<p class="hang"><i>Matryóna</i>. And it's for a year he'll +bind himself. If we want help when the press of work comes, we can +hire help, and the lad shall remain with you. Only give us ten +roubles now....</p> + +<p class="hang"><i>Peter</i>. Well then, is it to be for another +year?</p> + +<p class="hang"><i>Akím</i> (<i>sighing</i>). Yes, it seems, +it what d'you call it ... if it's so, I mean, it seems that it must +be what d'you call it.</p> + +<p class="hang"><i>Matryóna</i>. For a year, counting from +St. Dimítry's day. We know you'll pay him fair wages. But +give us ten roubles now. Help us out of our difficulties. (<i>Gets +up and bows to Peter</i>.)</p> + +<p class="indent">[Enter NAN and ANÍSYA. The latter sits +down at one side.</p> + +<p class="hang"><i>Peter</i>. Well, if that's settled we might step +across to the inn and have a drink. Come, Daddy Akím, what +do you say to a glass of vódka?</p> + +<p class="hang"><i>Akím</i>. No, I never drink that sort of +thing.</p> + +<p class="hang"><i>Peter</i>. Well, you'll have some tea?</p> + +<p class="hang"><i>Akím</i>. Ah, tea! yes, I do sin that +way. Yes, tea's the thing.</p> + +<p class="hang"><i>Peter</i>. And the women will also have some +tea. Come. And you, Nikíta, go and drive the sheep in and +clear away the straw.</p> + +<p class="hang"><i>Nikíta</i>. All right. (<i>Exeunt all +but</i> NIKÍTA. NIKÍTA <i>lights a cigarette. It +grows darker</i>.) Just see how they bother one. Want a fellow to +tell 'em how he larks about with the wenches! It would take long to +tell 'em all those stories—"Marry her," he says. Marry them all! +One would have a good lot of wives! And what need have I to marry? +Am as good as married now! There's many a chap as envies me. Yet +how strange it felt when I crossed myself before the icón. +It was just as if some one shoved me. The whole web fell to pieces +at once. They say it's frightening to swear what's not true. That's +all humbug. It's all talk, that is. It's simple enough.</p> + +<p class="hang"><i>Akoulína</i> (<i>enters with a rope, +which she puts down. She takes off her outdoor things and goes into +closet</i>). You might at least have got a light.</p> + +<p class="hang"><i>Nikíta</i>. What, to look at you? I can +see you well enough without.</p> + +<p class="hang"><i>Akoulína</i>. Oh, bother you!</p> + +<p class="indent">[NAN <i>enters and whispers to</i> +NIKÍTA.</p> + +<p class="hang"><i>Nan</i>. Nikíta, there's a person wants +you. There is!</p> + +<p class="hang"><i>Nikíta</i>. What person?</p> + +<p class="hang"><i>Nan</i>. Marína from the railway; she's +out there, round the corner.</p> + +<p class="hang"><i>Nikíta</i>. Nonsense!</p> + +<p class="hang"><i>Nan</i>. Blest if she isn't! +<i>Nikíta</i>. What does she want?</p> + +<p class="hang"><i>Nan</i>. She wants you to come out. She says, "I +only want to say a word to Nikíta." I began asking, but she +won't tell, but only says, "Is it true he's leaving you?" And I +say, "No, only his father wanted to take him away and get him to +marry, but he won't, and is going to stay with us another year." +And she says, "For goodness' sake send him out to me. I must see +him," she says, "I must say a word to him somehow." She's been +waiting a long time. Why don't you go?</p> + +<p class="hang"><i>Nikíta</i>. Bother her! What should I go +for?</p> + +<p class="hang"><i>Nan</i>. She says, "If he don't come, I'll go +into the hut to him." Blest if she didn't say she'd come in!</p> + +<p class="hang"><i>Nikíta</i>. Not likely. She'll wait a bit +and then go away.</p> + +<p class="hang"><i>Nan</i>. "Or is it," she says, "that they want +him to marry Akoulína?"</p> + +<p class="indent">[<i>Re-enter</i> AKOULÍNA, passing near +NIKÍTA <i>to take her distaff.</i></p> + +<p class="hang"><i>Akoulína</i>. Marry whom to +Akoulína?</p> + +<p class="hang"><i>Nan</i>. Why, Nikíta. +<i>Akoulína</i>. A likely thing! Who says it?</p> + +<p class="hang"><i>Nikíta</i> (<i>looks at her and +laughs</i>). It seems people do say it. Would you marry me, +Akoulína?</p> + +<p class="hang"><i>Akoulína</i>. Who, you? Perhaps I might +have afore, but I won't now.</p> + +<p class="hang"><i>Nikíta</i>. And why not now? +<i>Akoulína</i>. 'Cos you wouldn't love me.</p> + +<p class="hang"><i>Nikíta</i>. Why not? +<i>Akoulína.</i> 'Cos you'd be forbidden to.</p> + +<p class="indent">[<i>Laughs.</i></p> + +<p class="hang"><i>Nikíta</i>. Who'd forbid it?</p> + +<p class="hang"><i>Akoulína</i>. Who? My step-mother. She +does nothing but grumble, and is always staring at you.</p> + +<p class="hang"><i>Nikíta</i> (<i>laughing</i>). Just hear +her! Ain't she cute?</p> + +<p class="hang"><i>Akoulína</i>. Who? Me? What's there to be +cute about? Am I blind? She's been rowing and rowing at dad all +day. The fat-muzzled witch!</p> + +<p class="indent">[<i>Goes into closet.</i></p> + +<p class="hang"><i>Nan</i> (<i>looking out of the window</i>). +Look, Nikíta, she's coming! I'm blest if she isn't! I'll go +away.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Marína</i> (<i>enters</i>). What are you +doing with me?</p> + +<p class="hang"><i>Nikíta.</i> Doing? I'm not doing +anything.</p> + +<p class="hang"><i>Marína.</i> You mean to desert me.</p> + +<p class="hang"><i>Nikíta</i> (<i>gets up angrily</i>). What +does this look like, your coming here?</p> + +<p class="hang"><i>Marína.</i> Oh, Nikíta!</p> + +<p class="hang"><i>Nikíta.</i> Well, you are strange! What +have you come for?</p> + +<p class="hang"><i>Marína.</i> Nikíta!</p> + +<p class="hang"><i>Nikíta.</i> That's my name. What do you +want with Nikíta? Well, what next? Go away, I tell you!</p> + +<p class="hang"><i>Marína.</i> I see, you do want to throw +me over.</p> + +<p class="hang"><i>Nikíta.</i> Well, and what's there to +remember? You yourself don't know. When you stood out there round +the corner and sent Nan for me, and I didn't come, wasn't it plain +enough that you're not wanted? It seems pretty simple. So +there—go!</p> + +<p class="hang"><i>Marína.</i> Not wanted! So now I'm not +wanted! I believed you when you said you would love me. And now +that you've ruined me, I'm not wanted.</p> + +<p class="hang"><i>Nikíta.</i> Where's the good of talking? +This is quite improper. You've been telling tales to father. Now, +do go away, will you?</p> + +<p class="hang"><i>Marína.</i> You know yourself I never +loved any one but you. Whether you married me or not, I'd not have +been angry. I've done you no wrong, then why have you left off +caring for me? Why?</p> + +<p class="hang"><i>Nikíta.</i> Where's the use of baying at +the moon? You go away. Goodness me! what a duffer!</p> + +<p class="hang"><i>Marína.</i> It's not that you deceived me +when you promised to marry me that hurts, but that you've left off +loving. No, it's not that you've stopped loving me either, but that +you've changed me for another, that's what hurts. I know who it +is!</p> + +<p class="hang"><i>Nikíta</i> (<i>comes up to her +viciously</i>). Eh! what's the good of talking to the likes of you, +that won't listen to reason? Be off, or you'll drive me to do +something you'll be sorry for.</p> + +<p class="hang"><i>Marína.</i> What, will you strike me, +then? Well then, strike me! What are you turning away for? Ah, +Nikíta!</p> + +<p class="hang"><i>Nikíta.</i> Supposing some one came in. +Of course, it's quite improper. And what's the good of talking?</p> + +<p class="hang"><i>Marína.</i> So this is the end of it! +What has been has flown. You want me to forget it? Well then, +Nikíta, listen. I kept my maiden honor as the apple of my +eye. You have ruined me for nothing, you have deceived me. You have +no pity on a fatherless and motherless girl! (<i>Weeping</i>.) You +have deserted, you have killed me, but I bear you no malice. God +forgive you! If you find a better one you'll forget me, if a worse +one you'll remember me. Yes, you will remember, Nikíta! +Good-bye, then, if it is to be. Oh, how I loved you! Good-bye for +the last time.</p> + +<p class="indent">[<i>Takes his head in her hands and tries to kiss +him.</i></p> + +<p class="hang"><i>Nikíta</i> (<i>tossing his head +back</i>). I'm not going to talk with the likes of you. If you +won't go away I will, and you may stay here by yourself.</p> + +<p class="hang"><i>Marína</i> (<i>screams</i>). You are a +brute. (<i>In the doorway</i>.) God will give you no joy.</p> + +<p class="indent">[<i>Exit, crying.</i></p> + +<p class="hang"><i>Akoulína</i> (<i>comes out of +closet</i>). You're a dog, Nikíta!</p> + +<p class="hang"><i>Nikíta.</i> What's up?</p> + +<p class="hang"><i>Akoulína.</i> What a cry she gave!</p> + +<p class="indent">[<i>Cries.</i></p> + +<p class="hang"><i>Nikíta.</i> What's up with you?</p> + +<p class="hang"><i>Akoulína.</i> What's up? You've hurt her, +... That's the way you'll hurt me also. You're a dog.</p> + +<p class="indent">[<i>Exit into closet.</i></p> + +<p class="indent">[<i>Silence.</i></p> + +<p class="hang"><i>Nikíta.</i> Here's a fine muddle. I'm as +sweet as honey on the lasses, but when a fellow's sinned with 'em +it's a bad look-out!</p> + +<p class="hang">CURTAIN</p> + +<h3>ACT II</h3> + +<p class="hang"><i>The scene represents the village street. To the +left the outside of</i> PETER'S <i>hut, built of logs, with a porch +in the middle; to the right of the hut the gates and a corner of +the yard buildings</i>. ANÍSYA <i>is beating hemp in the +street near the corner of the yard. Six months have elapsed since +the First Act</i>.</p> + +<p class="hang"><i>Anísya</i> (<i>stops and listens</i>). +Mumbling something again. He's probably got off the stove.</p> + +<p class="indent">[AKOULÍNA <i>enters, carrying two pails on +a yoke.</i></p> + +<p class="hang"><i>Anísya</i>. He's calling. You go and see +what he wants, kicking up such a row.</p> + +<p class="hang"><i>Akoulína</i>. Why don't you go?</p> + +<p class="hang"><i>Anísya</i>. Go, I tell you!</p> + +<p class="indent">[<i>Exit</i> AKOULÍNA <i>into hut</i>.</p> + +<p class="follow">He's bothering me to death. Won't let out where +the money is, and that's all about it. He was out in the passage +the other day. He must have been hiding it there. Now, I don't know +myself where it is. Thank goodness he's afraid of parting with it, +so that at least it will stay in the house. If only I could manage +to find it. He hadn't it on him yesterday. Now I don't know where +it can be. He has quite worn the life out of me.</p> + +<p class="indent">[<i>Enter</i> AKOULÍNA, tying her kerchief +over her head.</p> + +<p class="hang"><i>Anísya</i>. Where are you off to?</p> + +<p class="hang"><i>Akoulína</i>. Where? Why, he's told me to +go for Aunt Martha. "Fetch my sister," he says. "I am going to +die," he says. "I have a word to say to her."</p> + +<p class="hang"><i>Anísya</i> (<i>aside</i>). Asking for his +sister? Oh, my poor head! Sure he wants to give it her. What shall +I do? Oh! (<i>To</i> AKOULÍNA.) Don't go! Where are you off +to?</p> + +<p class="hang"><i>Akoulína</i>. To call Aunt.</p> + +<p class="hang"><i>Anísya</i>. Don't go I tell you, I'll go +myself. You go and take the clothes to the river to rinse. Else +you'll not have finished by the evening.</p> + +<p class="hang"><i>Akoulína.</i> But he told me to go.</p> + +<p class="hang"><i>Anísya.</i> You go and do as you're bid. +I tell you I'll fetch Martha myself. Take the shirts off the +fence.</p> + +<p class="hang"><i>Akoulína.</i> The shirts? But maybe +you'll not go. He's given the order.</p> + +<p class="hang"><i>Anísya.</i> Didn't I say I'd go? Where's +Nan?</p> + +<p class="hang"><i>Akoulína.</i> Nan? Minding the +calves.</p> + +<p class="hang"><i>Anísya.</i> Send her here. I dare say +they'll not run away.</p> + +<p class="indent">[AKOULÍNA <i>collects the clothes, and +exit.</i></p> + +<p class="hang"><i>Anísya.</i> If one doesn't go he'll +scold. If one goes he'll give the money to his sister. All my +trouble will be wasted. I don't myself know what I'm to do. My poor +head's splitting.</p> + +<p class="indent">[<i>Continues to work.</i></p> + +<p class="indent">[<i>Enter</i> MATRYÓNA, with a stick and a +bundle, in outdoor clothes.</p> + +<p class="hang"><i>Matryóna.</i> May the Lord help you, +honey.</p> + +<p class="hang"><i>Anísya</i> (<i>looks round, stops +working, and claps her hands with joy</i>). Well, I never expected +this! Mother Matryóna, God has sent the right guest at the +right time.</p> + +<p class="hang"><i>Matryóna.</i> Well, how are things?</p> + +<p class="hang"><i>Anísya.</i> Ah, I'm driven well-nigh +crazy. It's awful!</p> + +<p class="hang"><i>Matryóna.</i> Well, still alive, I +hear?</p> + +<p class="hang"><i>Anísya.</i> Oh, don't talk about it. He +doesn't live and doesn't die!</p> + +<p class="hang"><i>Matryóna.</i> But the money—has he given +it to anybody?</p> + +<p class="hang"><i>Anísya.</i> He's just sending for his +sister Martha--probably about the money.</p> + +<p class="hang"><i>Matryóna.</i> Well, naturally! But hasn't +he given it to any one else?</p> + +<p class="hang"><i>Anísya.</i> To no one. I watch like a +hawk.</p> + +<p class="hang"><i>Matryóna.</i> And where is it?</p> + +<p class="hang"><i>Anísya.</i> He doesn't let out. And I +can't find out in any way. He hides it now here, now there, and I +can't do anything because of Akoulína. Idiot though she is, +she keeps watch, and is always about. Oh my poor head! I'm bothered +to death.</p> + +<p class="hang"><i>Matryóna.</i> Oh, my jewel, if he gives +the money to any one but you, you'll never cease regretting it as +long as you live! They'll turn you out of house and home without +anything. You've been worriting, and worriting all your life with +one you don't love, and will have to go a-begging when you are a +widow.</p> + +<p class="hang"><i>Anísya.</i> No need to tell me, mother. +My heart's that weary, and I don't know what to do. No one to get a +bit of advice from. I told Nikíta, but he's frightened of +the job. The only thing he did was to tell me yesterday it was +hidden under the floor.</p> + +<p class="hang"><i>Matryóna.</i> Well, and did you look +there?</p> + +<p class="hang"><i>Anísya.</i> I couldn't. The old man +himself was in the room. I notice that sometimes he carries it +about on him, and sometimes he hides it.</p> + +<p class="hang"><i>Matryóna.</i> But you, my lass, must +remember that if once he gives you the slip there's no getting it +right again! (<i>Whispering</i>.) Well, and did you give him the +strong tea?</p> + +<p class="hang"><i>Anísya.</i> Oh! oh!...</p> + +<p class="indent">[<i>About to answer, but sees neighbor and +stops.</i></p> + +<p class="indent">[<i>The</i> NEIGHBOR <i>(a woman) passes the hut, +and listens to a call from within.</i></p> + +<p class="hang"><i>Neighbor</i> (<i>to</i> Anísya). I say, +Anísya! Oh, Anísya! There's your old man calling, I +think.</p> + +<p class="hang"><i>Anísya</i>. That's the way he always +coughs,--just as if he were screaming. He's getting very bad.</p> + +<p class="hang"><i>Neighbor</i> (<i>approaches</i> +MATRYÓNA). How do you do, granny? Have you come far?</p> + +<p class="hang"><i>Matryóna</i>. 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.</p> + +<p class="hang"><i>Neighbor</i>. Yes, that's always so. (To +Anísya.) And I was thinking of beginning to bleach the +linen, but it is a bit early, no one has begun yet.</p> + +<p class="hang"><i>Anísya</i>. Where's the hurry?</p> + +<p class="hang"><i>Matryóna</i>. Well, and has he had +communion?</p> + +<p class="hang"><i>Anísya</i>. Oh, dear, yes, the priest was +here yesterday.</p> + +<p class="hang"><i>Neighbor</i>. I had a look at him yesterday. +Dearie me! one wonders his body and soul keep together. And, O +Lord, the other day he seemed just at his last gasp, so that they +laid him under the holy <a name="d1-r">icóns.</a> <sup> +<a href="#d1">1</a></sup> They +started lamenting and got ready to lay him out.</p> + +<p class="hang"><i>Anísya</i>. He came to, and creeps about +again.</p> + +<p class="hang"><i>Matryóna</i>. Well, and is he to have +extreme unction?</p> + +<p class="hang"><i>Anísya</i>. The neighbors advise it. If +he lives till to-morrow we'll send for the priest.</p> + +<p class="hang"><i>Neighbor</i>. Oh, Anísya dear, I should +think your heart must be heavy. As the saying goes, "Not he is sick +that's ill in bed, but he that sits and waits in dread."</p> + +<p class="hang"><i>Anísya</i>. Yes, if it were only over one +way or other!</p> + +<p class="hang"><i>Neighbor</i>. Yes, that's true, dying for a +year, it's no joke. You're bound hand and foot like that.</p> + +<p class="hang"><i>Matryóna</i>. Ah, but a widow's lot is +also bitter. It's all right as long as one's young, but who'll care +for you when you're old? Oh yes, old age is not pleasure. Just look +at me. I've not walked very far, and yet am so footsore I don't +know how to stand. Where's my son?</p> + +<p class="hang"><i>Anísya</i>. Ploughing. But you come in +and we'll get the samovár ready; the tea'll set you up +again.</p> + +<p class="hang"><i>Matryóna</i> (<i>sitting down</i>). Yes, +it's true, I'm quite done up, my dears. As to extreme unction, +that's absolutely necessary. Besides, they say it's good for the +soul.</p> + +<p class="hang"><i>Anísya</i>. Yes, we'll send +to-morrow.</p> + +<p class="hang"><i>Matryóna</i>. Yes, you had better. And +we've had a wedding down in our parts.</p> + +<p class="hang"><i>Neighbor</i>. What, in <a name="d2-r">spring?</a> <sup> +<a href="#d2">2</a></sup></p> + +<p class="hang"><i>Matryóna</i>. Ah, now if it were a poor +man, then, as the saying is, it's always unseasonable for a poor +man to marry. But it's Simon Matvéyitch, he's married that +Marína.</p> + +<p class="hang"><i>Anísya</i>. What luck for her!</p> + +<p class="hang"><i>Neighbor</i>. He's a widower. I suppose there +are children?</p> + +<p class="hang"><i>Matryóna</i>. Four of 'em. What decent +girl would have him! Well, so he's taken her, and she's glad. You +see, the vessel was not sound, so the wine trickled out.</p> + +<p class="hang"><i>Neighbor</i>. Oh, my! And what do people say to +it? And he, a rich peasant!</p> + +<p class="hang"><i>Matryóna</i>. They are living well enough +so far.</p> + +<p class="hang"><i>Neighbor</i>. Yes, it's true enough. Who wants +to marry where there are children? There now, there's our Michael. +He's such a fellow, dear me....</p> + +<p class="hang"><i>Peasant's voice</i>. Hullo, Mávra. Where +the devil are you? Go and drive the cow in.</p> + +<p class="indent">[<i>Exit</i> NEIGHBOR.</p> + +<p class="hang"><i>Matryóna</i> (<i>while the NEIGHBOR is +within hearing speaks in her ordinary voice</i>). Yes, lass, thank +goodness, she's married. At any rate my old fool won't go bothering +about Nikíta. Now (<i>suddenly changing her tone</i>), she's +gone! (<i>Whispers</i>.) I say, did you give him the tea?</p> + +<p class="hang"><i>Anísya</i>. 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?</p> + +<p class="hang"><i>Matryóna</i>. What of the powders? The +sleeping powders, lass,—why not give them? No evil can come of +them.</p> + +<p class="hang"><i>Anísya</i>. I am not talking of the +sleeping ones, but the others, the white ones.</p> + +<p class="hang"><i>Matryóna</i>. Well, honey, those powders +are medicinal.</p> + +<p class="hang"><i>Anísya</i> (<i>sighs</i>). I know, yet +it's frightening. Though he's worried me to death.</p> + +<p class="hang"><i>Matryóna</i>. Well, and did you use +many?</p> + +<p class="hang"><i>Anísya</i>. I gave two doses.</p> + +<p class="hang"><i>Matryóna</i>. Was anything +noticeable?</p> + +<p class="hang"><i>Anísya</i>. 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.</p> + +<p class="hang"><i>Matryóna</i>. Don't go thinking about it. +The more one thinks the worse it is.</p> + +<p class="hang"><i>Anísya</i>. I wish you'd never given them +to me and led me into sin. When I think of it something seems to +tear my heart. Oh, dear, why did you give them to me?</p> + +<p class="hang"><i>Matryóna</i>. What do you mean, honey? +Lord help you! Why are you turning it on to me? Mind, lass, don't +go twisting matters from the sick on to the healthy. If anything +were to happen, I stand aside! I know nothing! I'm aware of +nothing! I'll kiss the cross on it; I never gave you any kind of +powders, never saw any, never heard of any, and never knew there +were such powders. You think about yourself, lass. Why, we were +talking about you the other day. "Poor thing, what torture she +endures. The step-daughter an idiot; the old man rotten, sucking +her lifeblood. What wouldn't one be ready to do in such a +case!"</p> + +<p class="hang"><i>Anísya</i>. I'm not going to deny it. A +life such as mine could make one do worse than that. It could make +you hang yourself or throttle him. Is this a life?</p> + +<p class="hang"><i>Matryóna</i>. That's just it. There's no +time to stand gaping; the money must be found one way or other, and +then he must have his tea.</p> + +<p class="hang"><i>Anísya</i>. O-oh, my head, my head! I +can't think what to do. I am so frightened; he'd better die of +himself. I don't want to have it on my soul.</p> + +<p class="hang"><i>Matryóna</i> (<i>viciously</i>). And why +doesn't he show the money? Does he mean to take it along with him? +Is no one to have it? Is that right? God forbid such a sum should +be lost all for nothing. Isn't that a sin? What's he doing? Is he +worth considering?</p> + +<p class="hang"><i>Anísya</i>. I don't know anything. He's +worried me to death.</p> + +<p class="hang"><i>Matryóna</i>. What is it you don't know? +The business is clear. If you make a slip now, you'll repent it all +your life. He'll give the money to his sister and you'll be left +without.</p> + +<p class="hang"><i>Anísya</i>. O—oh dear! Yes, and he did +send for her—I must go.</p> + +<p class="hang"><i>Matryóna</i>. You wait a bit and light +the samovár first. We'll give him some tea and search him +together—we'll find it, no fear.</p> + +<p class="hang"><i>Anísya</i>. Oh dear, oh dear; supposing +something were to happen.</p> + +<p class="hang"><i>Matryóna</i>. What now? What's the good +of waiting? Do you want the money to slip from your hand when it's +just in sight? You go and do as I say.</p> + +<p class="hang"><i>Anísya</i>. Well, I'll go and light the +samovár.</p> + +<p class="hang"><i>Matryóna</i>. Go, honey, do the business +so as not to regret it afterwards. That's right!</p> + +<p class="indent">[ANÍSYA <i>turns to go.</i> +MATRYÓNA <i>calls her back.</i></p> + +<p class="hang"><i>Matryóna</i>. Just a word. Don't tell +Nikíta about the business. He's silly. God forbid he should +find out about the powders. The Lord only knows what he would do. +He's so tender-hearted. D'you know, he usen't to be able to kill a +chicken. Don't tell him. 'Twould be a fine go, he wouldn't +understand things.</p> + +<p class="indent">[<i>Stops horror-struck as</i> PETER <i>appears +in the doorway.</i></p> + +<p class="hang"><i>Peter</i> (<i>holding on to the wall, creeps out +into the porch and calls with a faint voice</i>). How's it one +can't make you hear? Oh, oh, Anísya! Who's there?</p> + +<p class="indent">[<i>Drops on the bench.</i></p> + +<p class="hang"><i>Anísya</i> (<i>steps from behind the +corner</i>). Why have you come out? You should have stayed where +you were lying.</p> + +<p class="hang"><i>Peter</i>. Has the girl gone for Martha? It's +very hard.... Oh, if only death would come quicker!</p> + +<p class="hang"><i>Anísya</i>. She had no time. I sent her +to the river. Wait a bit, I'll go myself when I'm ready.</p> + +<p class="hang"><i>Peter</i>. Send Nan. Where's she? Oh, I'm that +bad! Oh, death's at hand!</p> + +<p class="hang"><i>Anísya</i>. I've sent for her already. +<i>Peter</i>. Oh, dear! Then where is she?</p> + +<p class="hang"><i>Anísya</i>. Where's she got to, the +plague seize her!</p> + +<p class="hang"><i>Peter</i>. Oh, dear! I can't bear it. All my +inside's on fire. It's as if a gimlet were boring me. Why have you +left me as if I were a dog? ... no one to give me a drink.... Oh +... send Nan to me.</p> + +<p class="hang"><i>Anísya</i>. Here she is. Nan, go to +father.</p> + +<p class="indent">[NAN <i>runs in.</i> ANÍSYA <i>goes behind +the corner of the house.</i></p> + +<p class="hang"><i>Peter</i>. Go you. Oh ... to Aunt Martha, tell +her father wants her; say she's to come, I want her.</p> + +<p class="hang"><i>Nan</i>. All right.</p> + +<p class="hang"><i>Peter</i>. Wait a bit. Tell her she's to come +quick. Tell her I'm dying. O—oh!</p> + +<p class="hang"><i>Nan</i>. I'll just get my shawl and be off.</p> + +<p class="indent">[<i>Runs off.</i></p> + +<p class="hang"><i>Matryóna</i> (<i>winking</i>). Now, then, +mind and look sharp, lass. Go into the hut, hunt about everywhere, +like a dog that's hunting for fleas: look under everything, and +I'll search him.</p> + +<p class="hang"><i>Anísya</i> (<i>to</i> MATRYÓNA). I +feel a bit bolder, somehow, now you're here. (<i>Goes up to porch. +To</i> PETER.) Hadn't I better light the samovár? Here's +Mother Matryóna come to see her son; you'll have a cup of +tea with her?</p> + +<p class="hang"><i>Peter</i>. Well, then, light it.</p> + +<p class="indent">[ANÍSYA <i>goes into the house.</i> +MATRYÓNA <i>comes up to the porch.</i></p> + +<p class="hang"><i>Peter</i>. How do you do?</p> + +<p class="hang"><i>Matryóna</i> (<i>bowing</i>). How d'you +do, my benefactor; how d'you do, my precious ... still ill, I see. +And my old man, he's that sorry! "Go," says he, "see how he's +getting on." He sends his respects to you.</p> + +<p class="indent">[<i>Bows again.</i></p> + +<p class="hang"><i>Peter</i>. I'm dying.</p> + +<p class="hang"><i>Matryóna</i>. Ah, yes, Peter +Ignátitch, now I look at you I see, as the saying has it, +"Sickness lives where men live." You've shrivelled, shrivelled, all +to nothing, poor dear, now I come to look at you. Seems illness +does not add to good looks.</p> + +<p class="hang"><i>Peter</i>. My last hour has come.</p> + +<p class="hang"><i>Matryóna</i>. Oh well, Peter +Ignátitch, it's God's will you know, you've had communion, +and you'll have unction, God willing. Your missus is a wise woman, +the Lord be thanked; she'll give you a good burial, and have +prayers said for your soul, all most respectable! And my son, he'll +look after things meanwhile.</p> + +<p class="hang"><i>Peter</i>. There'll be no one to manage things! +She's not steady. Has her head full of folly—why, I know all about +it, I know. And my girl is silly and young. I've got the homestead +together, and there's no one to attend to things. One can't help +feeling it.</p> + +<p class="indent">[<i>Whimpers.</i></p> + +<p class="hang"><i>Matryóna</i>. Why, if it's money, or +something, you can leave orders?</p> + +<p class="hang"><i>Peter</i> (<i>to Anísya inside the +house</i>). Has Nan gone?</p> + +<p class="hang"><i>Matryóna</i> (<i>aside</i>). There now, +he's remembered!</p> + +<p class="hang"><i>Anísya</i> (<i>from inside</i>). She went +then and there. Come inside, won't you? I'll help you in.</p> + +<p class="hang"><i>Peter</i>. Let me sit here a bit for the last +time. The air's so stuffy inside. Oh, how bad I feel! Oh, my +heart's burning.... Oh, if death would only come!</p> + +<p class="hang"><i>Matryóna</i>. If God don't take a soul, +the soul can't go out. Death and life are in God's will. Peter +Ignátitch. You can't be sure of death either. Maybe you'll +recover yet. There was a man in our village just like that, at the +very point of death....</p> + +<p class="hang"><i>Peter</i>. No, I feel I shall die to-day, I feel +it.</p> + +<p class="indent">[<i>Leans back and shuts his eyes.</i></p> + +<p class="hang"><i>Anísya</i> (<i>enters</i>). Well, now, +are you coming in or not? You do keep one waiting. Peter! eh, +Peter!</p> + +<p class="hang"><i>Matryóna</i> (<i>steps aside and beckons +to</i> ANÍSYA <i>with her finger</i>). Well?</p> + +<p class="hang"><i>Anísya</i> (<i>comes down the porch +steps</i>). Not there.</p> + +<p class="hang"><i>Matryóna</i>. But have you searched +everywhere? Under the floor?</p> + +<p class="hang"><i>Anísya</i>. No, it's not there either. In +the shed perhaps; he was rummaging there yesterday.</p> + +<p class="hang"><i>Matryóna</i>. Go, search, search for all +you're worth. Go all over everywhere, as if you licked with your +tongue! But I see he'll die this very day, his nails are turning +blue and his face looks earthy. Is the samovár ready?</p> + +<p class="hang"><i>Anísya</i>. Just on the boil.</p> + +<p class="hang"><i>Nikíta</i> (<i>comes from the other side, +if possible on horse-back, up to the gate, and does not see</i> +PETER. <i>To</i> MATRYÓNA). How d'you do, mother, is all +well at home?</p> + +<p class="hang"><i>Matryóna</i>. The Lord be thanked, we're +all alive and have a crust to bite.</p> + +<p class="hang"><i>Nikíta</i>. Well and how's master?</p> + +<p class="hang"><i>Matryóna</i>. Hush, there he sits.</p> + +<p class="indent">[<i>Points to porch.</i></p> + +<p class="hang"><i>Nikíta</i>. Well, let him sit. What's it +to me?</p> + +<p class="hang"><i>Peter</i> (<i>opens his eyes</i>). +Nikíta, I say, Nikíta, come here!</p> + +<p class="indent">[NIKÍTA <i>approaches.</i> ANÍSYA +<i>and</i> MATRYÓNA <i>whisper together.</i></p> + +<p class="hang"><i>Peter</i>. Why have you come back so early?</p> + +<p class="hang"><i>Nikíta</i>. I've finished ploughing.</p> + +<p class="hang"><i>Peter</i>. Have you done the strip beyond the +bridge?</p> + +<p class="hang"><i>Nikíta</i>. It's too far to go there.</p> + +<p class="hang"><i>Peter</i>. Too far? From here it's still +farther. You'll have to go on purpose now. You might have made one +job of it.</p> + +<p class="indent">[ANÍSYA, without showing herself, stands +and listens.</p> + +<p class="hang"><i>Matryóna</i> (<i>approaches</i>). Oh, +sonny, why don't you take more pains for your master? Your master +is ill and depends on you; you should serve him as you would your +own father, straining every muscle just as I always tell you +to.</p> + +<p class="hang"><i>Peter</i>. Well, then—o—oh!... Get out the +seed potatoes, and the women will go and sort them.</p> + +<p class="hang"><i>Anísya</i> (<i>aside</i>). No fear, I'm +not going. He's again sending every one away; he must have the +money on him now, and wants to hide it somewhere.</p> + +<p class="hang"><i>Peter</i>. Else ... o—oh! when the time comes +for planting, they'll all be rotten. Oh, I can't stand it!</p> + +<p class="indent">[<i>Rises.</i></p> + +<p class="hang"><i>Matryóna</i> (<i>runs up into the porch +and holds</i> PETER <i>up</i>). Shall I help you into the hut?</p> + +<p class="hang"><i>Peter</i>. Help me in. (<i>Stops</i>.) +Nikíta!</p> + +<p class="hang"><i>Nikíta</i> (<i>angrily</i>). What +now?</p> + +<p class="hang"><i>Peter</i>. I shan't see you again.... I'll die +to-day.... Forgive <a name="d3-r">me,</a> <sup> +<a href="#d3">3</a></sup> for Christ's sake, forgive me if I have ever sinned +against you.... If I have sinned in word or deed.... There's been +all sorts of things. Forgive me!</p> + +<p class="hang"><i>Nikíta</i>. What's there to forgive? I'm +a sinner myself.</p> + +<p class="hang"><i>Matryóna</i>. Ah, sonny, have some +feeling.</p> + +<p class="hang"><i>Peter</i>. Forgive me, for Christ's sake.</p> + +<p class="indent">[<i>Weeps.</i></p> + +<p class="hang"><i>Nikíta</i> (<i>snivels</i>). God will +forgive you, Daddy Peter. I have no cause to complain of you. +You've never done me any wrong. You forgive me; maybe I've sinned +worse against you. (<i>Weeps</i>.)</p> + +<p class="indent">[PETER <i>goes in whimpering,</i> MATRYÓNA +<i>supporting him.</i></p> + +<p class="hang"><i>Anísya</i>. Oh, my poor head! It's not +without some reason he's hit on that. (<i>Approaches</i> +NIKÍTA.) Why did you say the money was under the floor? It's +not there.</p> + +<p class="hang"><i>Nikíta</i> (<i>does not answer, but +cries</i>). I have never had anything bad from him, nothing but +good, and what have I gone and done!</p> + +<p class="hang"><i>Anísya</i>. Enough now! Where's the +money?</p> + +<p class="hang"><i>Nikíta</i> (<i>angrily</i>). How should I +know? Go and look for it yourself!</p> + +<p class="hang"><i>Anísya</i>. What's made you so +tender?</p> + +<p class="hang"><i>Nikíta</i>. I am sorry for him,—that +sorry. How he cried! Oh, dear!</p> + +<p class="hang"><i>Anísya</i>. 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!</p> + +<p class="hang"><i>Nikíta</i>. What are you to be pitied +for?</p> + +<p class="hang"><i>Anísya</i>. If he dies, and the money's +been hidden away....</p> + +<p class="hang"><i>Nikíta</i>. No fear, he'll not hide +it....</p> + +<p class="hang"><i>Anísya</i>. Oh, Nikíta darling! +he's sent for his sister, and wants to give it to her. It will be a +bad lookout for us. How are we going to live, if he gives her the +money? They'll turn me out of the house! You try and manage +somehow! You said he went to the shed last night.</p> + +<p class="hang"><i>Nikíta</i>. I saw him coming from there, +but where he's shoved it to, who can tell?</p> + +<p class="hang"><i>Anísya</i>. Oh, my poor head! I'll go and +have a look there.</p> + +<p class="indent">[NIKÍTA <i>steps aside.</i></p> + +<p class="hang"><i>Matryóna</i> (<i>comes out of the hut and +down the steps of the porch to</i> ANÍSYA <i>and</i> +NIKÍTA). Don't go anywhere. He's got the money on him. I +felt it on a string round his neck.</p> + +<p class="hang"><i>Anísya</i>. Oh my head, my head!</p> + +<p class="hang"><i>Matryóna</i>. If you don't keep wide +awake now, then you may whistle for it. If his sister comes—then +good-bye to it!</p> + +<p class="hang"><i>Anísya</i>. That's true. She'll come and +he'll give it her. What's to be done? Oh, my poor head!</p> + +<p class="hang"><i>Matryóna</i>. What is to be done? Why, +look here; the samovár is boiling, go and make the tea and +pour him out a cup, and then (<i>whispers</i>) put in all that's +left in the paper. When he's drunk the cup, then just take it. +He'll not tell, no fear.</p> + +<p class="hang"><i>Anísya</i>. Oh! I'm afeared!</p> + +<p class="hang"><i>Matryóna</i>. Don't be talking now, but +look alive, and I'll keep his sister off if need be. Mind, don't +make a blunder! Get hold of the money and bring it here, and +Nikíta will hide it.</p> + +<p class="hang"><i>Anísya</i>. Oh my head, my head! I don't +know how I'm going to....</p> + +<p class="hang"><i>Matryóna</i>. Don't talk about it I tell +you, do as I bid you. Nikíta!</p> + +<p class="hang"><i>Nikíta</i>. What is it?</p> + +<p class="hang"><i>Matryóna</i>. You stay here—sit down—in +case something is wanted.</p> + +<p class="hang"><i>Nikíta</i> (<i>waves his hand</i>). Oh, +these women, what won't they be up to? Muddle one up completely. +Bother them! I'll really go and fetch out the potatoes.</p> + +<p class="hang"><i>Matryóna</i> (<i>catches him by the +arm</i>). Stay here, I tell you.</p> + +<p class="indent">[NAN <i>enters.</i></p> + +<p class="hang"><i>Anísya</i>. Well?</p> + +<p class="hang"><i>Nan</i>. She was down in her daughter's +vegetable plot—she's coming.</p> + +<p class="hang"><i>Anísya</i>. Coming! What shall we do?</p> + +<p class="hang"><i>Matryóna</i>. There's plenty of time if +you do as I tell you.</p> + +<p class="hang"><i>Anísya</i>. I don't know what to do; I +know nothing, my brain's all in a whirl. Nan! Go, daughter, and see +to the calves, they'll have run away, I'm afraid.... Oh dear, I +haven't the courage.</p> + +<p class="hang"><i>Matryóna</i>. Go on! I should think the +samovár's boiling over.</p> + +<p class="hang"><i>Anísya</i>. Oh my head, my poor head!</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Matryóna</i> (<i>approaches</i> +NIKÍTA). Now then, sonny. (<i>Sits down beside him</i>.) +Your affairs must also be thought about, and not left anyhow.</p> + +<p class="hang"><i>Nikíta</i>. What affairs?</p> + +<p class="hang"><i>Matryóna</i>. Why, this affair—how +you're to live your life.</p> + +<p class="hang"><i>Nikíta</i>. How to live my life? Others +live, and I shall live!</p> + +<p class="hang"><i>Matryóna</i>. The old man will probably +die to-day.</p> + +<p class="hang"><i>Nikíta</i>. Well, if he dies, God give +him rest! What's that to me?</p> + +<p class="hang"><i>Matryóna</i> (<i>keeps looking towards +the porch while she speaks</i>). Eh, sonny! Those that are alive +have to think about living. One needs plenty of sense in these +matters, honey. What do you think? I've tramped all over the place +after your affairs, I've got quite footsore bothering about +matters. And you must not forget me when the time comes.</p> + +<p class="hang"><i>Nikíta</i>. And what's it you've been +bothering about?</p> + +<p class="hang"><i>Matryóna</i>. About your affairs, about +your future. If you don't take trouble in good time you'll get +nothing. You know Iván Mosévitch? Well, I've been to +him too. I went there the other day. I had something else to +settle, you know. Well, so I sat and chatted awhile and then came +to the point. "Tell me, Iván Mosévitch," says I, +"how's one to manage an affair of this kind? Supposing," says I, "a +peasant as is a widower married a second wife, and supposing all +the children he has is a daughter by the first wife, and a daughter +by the second. Then," says I, "when that peasant dies, could an +outsider get hold of the homestead by marrying the widow? Could +he," says I, "give both the daughters in marriage and remain master +of the house himself?" "Yes, he could," says he, "but," says he, +"it would mean a deal of trouble; still the thing could be managed +by means of money, but if there's no money it's no good +trying."</p> + +<p class="hang"><i>Nikíta</i> (<i>laughs</i>). That goes +without saying, only fork out the money. Who does not want +money?</p> + +<p class="hang"><i>Matryóna</i>. Well then, honey, so I +spoke out plainly about the affair. And he says, "First and +foremost, your son will have to get himself on the register of that +village—that will cost something. The elders will have to be +treated. And they, you see, they'll sign. Everything," says he, +"must be done sensibly." Look (<i>unwraps her kerchief and takes +out a paper</i>), he's written out this paper; just read it, you're +a scholar, you know.</p> + +<p class="indent">[NIKÍTA <i>reads.</i></p> + +<p class="hang"><i>Nikíta</i>. This paper's only a decision +for the elders to sign. There's no great wisdom needed for +that.</p> + +<p class="hang"><i>Matryóna</i>. But you just hear what +Iván Mosévitch bids us do. "Above all," he says, +"mind and don't let the money slip away, dame. If she don't get +hold of the money," he says, "they'll not let her do it. Money's +the great thing!" So look out, sonny, things are coming to a +head.</p> + +<p class="hang"><i>Nikíta</i>. What's that to me? The +money's hers—so let her look out.</p> + +<p class="hang"><i>Matryóna</i>. Ah, sonny, how you look at +it! How can a woman manage such affairs? Even if she does get the +money, is she capable of arranging it all? One knows what a woman +is! You're a man anyhow. You can hide it, and all that. You see, +you've after all got more sense, in case of anything happening.</p> + +<p class="hang"><i>Nikíta</i>. Oh, your woman's notions are +all so inexpedient!</p> + +<p class="hang"><i>Matryóna</i>. Why inexpedient? You just +collar the money, and the woman's in your hands. And then should +she ever turn snappish you'd be able to tighten the reins!</p> + +<p class="hang"><i>Nikíta</i>. Bother you all,—I'm +going.</p> + +<p class="hang"><i>Anísya</i> (<i>quite pale, runs out of +the hut and round the corner to MATRYÓNA</i>). So it was, it +was on him! Here it is!</p> + +<p class="indent">[<i>Shows that she has something under her +apron.</i></p> + +<p class="hang"><i>Matryóna</i>. Give it to Nikíta; +he'll hide it. Nikíta, take it and hide it somewhere.</p> + +<p class="hang"><i>Nikíta</i>. All right, give here!</p> + +<p class="hang"><i>Anísya</i>. O—oh, my poor head! No, I'd +better do it myself.</p> + +<p class="indent">[<i>Goes towards the gate.</i></p> + +<p class="hang"><i>Matryóna</i> (<i>seizing her by the +arm</i>). Where are you going to? You'll be missed. There's the +sister coming; give it him; he knows what to do. Eh, you +blockhead!</p> + +<p class="hang"><i>Anísya</i> (<i>stops irresolutely</i>). +Oh, my head, my head!</p> + +<p class="hang"><i>Nikíta</i>. Well, give it here. I'll +shove it away somewhere.</p> + +<p class="hang"><i>Anísya</i>. Where will you shove it +to?</p> + +<p class="hang"><i>Nikíta</i> (<i>laughing</i>). Why, are +you afraid?</p> + +<p class="indent">[<i>Enter</i> AKOULÍNA, <i>carrying +clothes from the wash.</i></p> + +<p class="hang"><i>Anísya</i>. O—oh, my poor head! +(<i>Gives the money</i>.) Mind, Nikíta.</p> + +<p class="hang"><i>Nikíta</i>. What are you afraid of? I'll +hide it so that I'll not be able to find it myself.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Anísya</i> (<i>stands in terror</i>). Oh +dear, and supposing he....</p> + +<p class="hang"><i>Matryóna</i>. Well, is he dead?</p> + +<p class="hang"><i>Anísya</i>. Yes, he seems dead. He did +not move when I took it.</p> + +<p class="hang"><i>Matryóna</i>. Go in, there's +Akoulína.</p> + +<p class="hang"><i>Anísya</i>. Well there, I've done the sin +and he has the money....</p> + +<p class="hang"><i>Matryóna</i>. Have done and go in! +There's Martha coming!</p> + +<p class="hang"><i>Anísya</i>. There now, I've trusted him. +What's going to happen now?</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Martha</i> (<i>enters from one side, +AKOULÍNA enters from the other. To AKOULÍNA</i>). I +should have come before, but I was at my daughter's. Well, how's +the old man? Is he dying?</p> + +<p class="hang"><i>Akoulína</i> (<i>puts down the +clothes</i>). Don't know; I've been to the river.</p> + +<p class="hang"><i>Martha</i> (<i>pointing to MATRYÓNA</i>). +Who's that?</p> + +<p class="hang"><i>Matryóna</i>. I'm from Zoúevo. I'm +Nikíta's mother from Zoúevo, my dearie. Good +afternoon to you. He's withering, withering away, poor dear—your +brother, I mean. He came out himself. "Send for my sister," he +said, "because," said he.... Dear me, why, I do believe he's +dead!</p> + +<p class="hang"><i>Anísya</i> (<i>runs out screaming. Clings +to a post, and begins wailing</i>)<a name="d4-r">.</a><sup><a href="#d4">4</a> +</sup>Oh, oh, ah! who-o-o-o-m have you left me to, +why-y-y have you dese-e-e-e-rted me—a miserable widow ... to live +my life alone.... Why have you closed your bright eyes....</p> + +<p class="hang">[<i>Enter</i> NEIGHBOR. MATRYÓNA <i>and</i> +NEIGHBOR <i>catch hold of</i> ANÍSYA <i>under the arms to +support her.</i> AKOULÍNA <i>and</i> MARTHA go into the hut. +A crowd assembles.</p> + +<p class="hang"><i>A voice in the crowd</i>. Send for the old women +to lay out the body.</p> + +<p class="hang"><i>Matryóna</i> (<i>rolls up her +sleeves</i>). Is there any water in the copper? But I daresay the +samovár is still hot. I'll also go and help a bit.</p> + +<p class="hang">CURTAIN</p> + +<h3>ACT III</h3> + +<p class="hang"><i>The same hut. Winter. Nine months have passed +since Act II. ANÍSYA, plainly dressed, sits before a loom +weaving. NAN is on the oven.</i></p> + +<p class="hang"><i>Mítritch</i> (<i>an old laborer, enters +and slowly takes off his outdoor things</i>). Oh Lord, have mercy! +Well, hasn't the master come home yet?</p> + +<p class="hang"><i>Anísya</i>. What?</p> + +<p class="hang"><i>Mítritch</i>. Nikíta isn't back +from town, is he?</p> + +<p class="hang"><i>Anísya</i>. No.</p> + +<p class="hang"><i>Mítritch</i>. Must have been on the +spree. Oh Lord!</p> + +<p class="hang"><i>Anísya.</i> Have you finished in the +stackyard?</p> + +<p class="hang"><i>Mítritch</i>. What d'you think? Got it +all as it should be, and covered everything with straw! I don't +like doing things by halves! Oh Lord! holy Nicholas! (<i>Picks at +the corns on his hands</i>.) But it's time he was back.</p> + +<p class="hang"><i>Anísya</i>. What need has he to hurry? +He's got money. Merry-making with that girl, I daresay....</p> + +<p class="hang"><i>Mítritch</i>. Why shouldn't one make +merry if one has the money? And why did Akoulína go to +town?</p> + +<p class="hang"><i>Anísya</i>. You'd better ask her. How do +I know what the devil took her there!</p> + +<p class="hang"><i>Mítritch</i>. What! to town? There's all +sorts of things to be got in town if one's got the means. Oh +Lord!</p> + +<p class="hang"><i>Nan</i>. Mother, I heard myself. "I'll get you a +little shawl," he says, blest if he didn't; "you shall choose it +yourself," he says. And she got herself up so fine; she put on her +velveteen coat and the French shawl.</p> + +<p class="hang"><i>Anísya</i>. Really, a girl's modesty +reaches only to the door. Step over the threshold and it's +forgotten. She is a shameless creature.</p> + +<p class="hang"><i>Mítritch</i>. Oh my! What's the use of +being ashamed? While there's plenty of money make merry. Oh Lord! +It is too soon to have supper, eh? (<i>ANÍSYA does not +answer</i>.) I'll go and get warm meanwhile. (<i>Climbs on the +stove</i>.) Oh, Lord! Blessed Virgin Mother! Holy Nicholas!</p> + +<p class="hang"><i>Neighbor</i> (<i>enters</i>). Seems your +good man's not back yet?</p> + +<p class="hang"><i>Anísya</i>. No.</p> + +<p class="hang"><i>Neighbor</i>. It's time he was. Hasn't he +perhaps stopped at our inn? My sister, Thekla, says there's heaps +of sledges standing there as have come from the town.</p> + +<p class="hang"><i>Anísya</i>. Nan! Nan, I say!</p> + +<p class="hang"><i>Nan</i>. Yes?</p> + +<p class="hang"><i>Anísya</i>. You run to the inn and see! +Mayhap, being drunk, he's gone there.</p> + +<p class="hang"><i>Nan</i> (<i>jumps down from the oven and +dresses</i>). All right.</p> + +<p class="hang"><i>Neighbor</i>. And he's taken Akoulína +with him?</p> + +<p class="hang"><i>Anísya</i>. Else he'd not have had any +need of going. It's because of her he's unearthed all the business +there. "Must go to the bank," he says; "it's time to receive the +payments," he says. But it's all her fooling.</p> + +<p class="hang"><i>Neighbor</i> (<i>shakes her head</i>). It's a +bad look-out.</p> + +<p class="indent">[<i>Silence.</i></p> + +<p class="hang"><i>Nan</i> (<i>at the door</i>). And if he's there, +what am I to say?</p> + +<p class="hang"><i>Anísya</i>. You only see if he's +there.</p> + +<p class="hang"><i>Nan</i>. All right. I'll be back in a +winking.</p> + +<p class="indent">[<i>Long silence.</i></p> + +<p class="hang"><i>Mítritch</i> (<i>roars</i>). Oh Lord! +merciful Nicholas!</p> + +<p class="hang"><i>Neighbor</i> (<i>starting</i>). Oh, how he +scared me! Who is it?</p> + +<p class="hang"><i>Anísya</i>. Why, Mítritch, our +laborer.</p> + +<p class="hang"><i>Neighbor</i>. Oh dear, oh dear, what a fright he +did give me! I had quite forgotten. But tell me, dear, I've heard +some one's been wooing Akoulína?</p> + +<p class="hang"><i>Anísya</i> (<i>gets up from the loom and +sits down by the table</i>). There was some one from +Dédlovo; but it seems the affair's got wind there too. They +made a start, and then stopped; so the thing fell through. Of +course, who'd care to?</p> + +<p class="hang"><i>Neighbor</i>. And the Lizounófs from +Zoúevo?</p> + +<p class="hang"><i>Anísya</i>. They made some steps too, but +it didn't come off either. They won't even see us.</p> + +<p class="hang"><i>Neighbor</i>. Yet it's time she was married.</p> + +<p class="hang"><i>Anísya</i>. Time and more than time! Ah, +my dear, I'm that impatient to get her out of the house; but the +matter does not come off. He does not wish it, nor she either. He's +not yet had enough of his beauty, you see.</p> + +<p class="hang"><i>Neighbor</i>. Eh, eh, eh, what doings! Only +think of it. Why, he's her step-father!</p> + +<p class="hang"><i>Anísya</i>. Ah, friend, they've taken me +in completely. They've done me so fine it's beyond saying. I, fool +that I was, noticed nothing, suspected nothing, and so I married +him. I guessed nothing, but they already understood one +another.</p> + +<p class="hang"><i>Neighbor</i>. Oh dear, what goings on!</p> + +<p class="hang"><i>Anísya</i>. 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.</p> + +<p class="hang"><i>Neighbor</i>. That goes without saying.</p> + +<p class="hang"><i>Anísya</i>. Ah, how hard it is to bear +such treatment from him! Oh, how it hurts!</p> + +<p class="hang"><i>Neighbor</i>. Yes, and I've heard say he's +becoming too free with his fists?</p> + +<p class="hang"><i>Anísya</i>. And that too! There was a +time when he was gentle when he'd had a drop. He used to hit out +before, but of me he was always fond! But now when he's in a temper +he goes for me and is ready to trample me under his feet. The other +day he got both my hands entangled in my hair so that I could +hardly get away. And the girl's worse than a serpent; it's a wonder +the earth bears such furies.</p> + +<p class="hang"><i>Neighbor</i>. Ah, ah, my dear, now I look at +you, you are a sufferer! To suffer like that is no joke. To have +given shelter to a beggar, and he to lead you such a dance! Why +don't you pull in the reins?</p> + +<p class="hang"><i>Anísya</i>. Ah, but, my dear, if it +weren't for my heart! Him as is gone was stern enough, still I +could twist him about any way I liked; but with this one I can do +nothing. As soon as I see him all my anger goes. I haven't a grain +of courage before him; I go about like a drowned hen.</p> + +<p class="hang"><i>Neighbor</i>. Ah, neighbor, you must be under a +spell. I've heard that Matryóna goes in for that sort of +thing. It must be her.</p> + +<p class="hang"><i>Anísya</i>. Yes, dear; I think so myself +sometimes. Gracious me, how hurt I feel at times! I'd like to tear +him to pieces. But when I set eyes on him, my heart won't go +against him.</p> + +<p class="hang"><i>Neighbor</i>. It's plain you're bewitched. It +don't take long to blight a body. There now, when I look at you, +what you have dwindled to!</p> + +<p class="hang"><i>Anísya</i>. Growing a regular +spindle-shanks. And just look at that fool Akoulína. Wasn't +the girl a regular untidy slattern, and just look at her now! Where +has it all come from? Yes, he has fitted her out. She's grown so +smart, so puffed up, just like a bubble that's ready to burst. And, +though she's a fool, she's got it into her head. "I'm the +mistress," she says; "the house is mine; it's me father wanted him +to marry." And she's that vicious! Lord help us, when she gets into +a rage she's ready to tear the thatch off the house.</p> + +<p class="hang"><i>Neighbor</i>. Oh dear, what a life yours is, now +I come to look at you. And yet there's people envying you: "They're +rich," they say; but it seems that gold don't keep tears from +falling.</p> + +<p class="hang"><i>Anísya</i>. Much reason for envy indeed! +And the riches, too, will soon be made ducks and drakes of. Dear +me, how he squanders money!</p> + +<p class="hang"><i>Neighbor</i>. But how's it, dear, you've been so +simple to give up the money? It's yours.</p> + +<p class="hang"><i>Anísya</i>. Ah, if you knew all! The +thing is that I've made one little mistake.</p> + +<p class="hang"><i>Neighbor</i>. Well, if I were you, I'd go +straight and have the law of him. The money's yours; how dare he +squander it? There's no such rights.</p> + +<p class="hang"><i>Anísya</i>. They don't pay heed to that +nowadays.</p> + +<p class="hang"><i>Neighbor</i>. Ah, my dear, now I come to look at +you, you've got that weak. <i>Anísya</i>. Yes, quite weak, +dear, quite weak. He's got me into a regular fix. I don't myself +know anything. Oh, my poor head!</p> + +<p class="hang"><i>Neighbor</i> (<i>listening</i>). There's some +one coming, I think.</p> + +<p class="indent">[<i>The door opens and</i> AKÍM +<i>enters.</i></p> + +<p class="hang"><i>Akím</i> (<i>crosses himself, knocks the +snow off his feet, and takes off his coat</i>). Peace be to this +house! How do you do? Are you well, daughter?</p> + +<p class="hang"><i>Anísya</i>. How d'you do, father? Do you +come straight from home?</p> + +<p class="hang"><i>Akím</i>. 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.</p> + +<p class="hang"><i>Anísya</i>. No; he's gone to the +town.</p> + +<p class="hang"><i>Akím</i> (<i>sits down on a bench</i>). +I've some business with him, d'you see, some business, I mean. I +told him t'other day, told him I was in need—told him, I mean, +that our horse was done for, our horse, you see. So we must what +d'ye call it, get a horse, I mean, some kind of a horse, I mean. So +there, I've come, you see.</p> + +<p class="hang"><i>Anísya</i>. Nikíta told me. When +he comes back you'll have a talk. (<i>Goes to the oven</i>.) Have +some supper now, and he'll soon come. Mítritch, eh, +Mítritch, come have your supper.</p> + +<p class="hang"><i>Mítritch</i>. Oh Lord! merciful +Nicholas!</p> + +<p class="hang"><i>Anísya</i>. Come to supper.</p> + +<p class="hang"><i>Neighbor</i>. I shall go now. Good-night.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Mítritch</i> (<i>gets down from the +oven</i>). I never noticed how I fell asleep. Oh, Lord! gracious +Nicholas! How d'you do, Daddy Akím?</p> + +<p class="hang"><i>Akím</i>. Ah, Mítritch! What are +you, what d'ye call it, I mean?...</p> + +<p class="hang"><i>Mítritch</i>. Why, I'm working for your +son, Nikíta.</p> + +<p class="hang"><i>Akím</i>. Dear me! What d'ye call ... +working for my son, I mean. Dear me!</p> + +<p class="hang"><i>Mítritch</i>. I was living with a +tradesman in town, but drank all I had there. Now I've come back to +the village. I've no home, so I've gone into service. +(<i>Gapes</i>.) Oh Lord!</p> + +<p class="hang"><i>Akím</i>. But how's that, what d'you call +it, or what's name, Nikíta, what does he do? Has he some +business, I mean besides, that he should hire a laborer, a laborer, +I mean, hire a laborer?</p> + +<p class="hang"><i>Anísya</i>. What business should he have? +He used to manage, but now he's other things on his mind, so he's +hired a laborer.</p> + +<p class="hang"><i>Mítritch</i>. Why shouldn't he, seeing he +has money?</p> + +<p class="hang"><i>Akím</i>. Now that's what d'you call it, +that's wrong, I mean, quite wrong, I mean. That's spoiling +oneself.</p> + +<p class="hang"><i>Anísya</i>. Oh, he has got spoilt, that +spoilt, it's just awful.</p> + +<p class="hang"><i>Akím</i>. There now, what d'you call it, +one thinks how to make things better, and it gets worse I mean. +Riches spoil a man, spoil, I mean.</p> + +<p class="hang"><i>Mítritch</i>. Fatness makes even a dog go +mad; how's one not to get spoilt by fat living? Myself now; how I +went on with fat living. I drank for three weeks without being +sober. I drank my last breeches. When I had nothing left, I gave it +up. Now I've determined not to. Bother it!</p> + +<p class="hang"><i>Akím</i>. And where's what d'you call, +your old woman?</p> + +<p class="hang"><i>Mítritch</i>. My old woman has found her +right place, old fellow. She's hanging about the gin-shops in town. +She's a swell too; one eye knocked out, and the other black, and +her muzzle twisted to one side. And she's never sober; drat +her!</p> + +<p class="hang"><i>Akím</i>. Oh, oh, oh, how's that?</p> + +<p class="hang"><i>Mítritch</i>. And where's a soldier's +wife to go? She has found her right place.</p> + +<p class="indent">[<i>Silence.</i></p> + +<p class="hang"><i>Akím</i> (<i>to ANÍSYA</i>). And +Nikíta,—has he what d'you call it, taken anything up to +town? I mean, anything to sell?</p> + +<p class="hang"><i>Anísya</i> (<i>laying the table and +serving up</i>). No, he's taken nothing. He's gone to get money +from the bank.</p> + +<p class="hang"><i>Akím</i> (<i>sitting down to supper</i>). +Why? D'you wish to put it to another use, the money I mean?</p> + +<p class="hang"><i>Anísya.</i> No, we don't touch it. Only +some twenty or thirty roubles as have come due; they must be +taken.</p> + +<p class="hang"><i>Akím.</i> Must be taken. Why take it, the +money I mean? You'll take some to-day I mean, and some to-morrow; +and so you'll what d'you call it, take it all, I mean.</p> + +<p class="hang"><i>Anísya.</i> We get this besides. The +money is all safe.</p> + +<p class="hang"><i>Akím.</i> All safe? How's that, safe? You +take it, and it what d'you call it, it's all safe. How's that? You +put a heap of meal into a bin, or a barn, I mean, and go on taking +meal, will it remain there, what d'you call it, all safe, I mean? +That's, what d'you call it, it's cheating. You'd better find out, +or else they'll cheat you. Safe indeed! I mean you what d'ye call +... you take it and it remains all safe there?</p> + +<p class="hang"><i>Anísya.</i> I know nothing about it. +Iván Mosévitch advised us at the time. "Put the money +in the bank," he said, "the money will be safe, and you'll get +interest," he said.</p> + +<p class="hang"><i>Mítritch</i> (<i>having finished his +supper</i>). That's so. I've lived with a tradesman. They all do +like that. Put the money in the bank, then lie down on the oven and +it will keep coming in.</p> + +<p class="hang"><i>Akím.</i> 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?</p> + +<p class="hang"><i>Anísya.</i> They take the money out of +the bank.</p> + +<p class="hang"><i>Mítritch.</i> Get along! Tain't a thing a +woman can understand! You look here, I'll make it all clear to you. +Mind and remember. You see, suppose you've got some money, and I, +for instance, have spring coming on, my land's idle, I've got no +seeds, or I have to pay taxes. So, you see, I go to you. +"Akím," I say, "give us a ten-rouble note, and when I've +harvested in autumn I'll return it, and till two acres for you +besides, for having obliged me!" And you, seeing I've something to +fall back on—a horse say, or a cow—you say, "No, give two or +three roubles for the obligation," and there's an end of it. I'm +stuck in the mud, and can't do without. So I say, "All right!" and +take a tenner. In the autumn, when I've made my turnover, I bring +it back, and you squeeze the extra three roubles out of me.</p> + +<p class="hang"><i>Akím</i>. Yes, but that's what peasants +do when they what d'ye call it, when they forget God. It's not +honest, I mean, it's no good, I mean.</p> + +<p class="hang"><i>Mítritch</i>. You wait. You'll see it +comes just to the same thing. Now don't forget how you've skinned +me. And Anísya, say, has got some money lying idle. She does +not know what to do with it, besides, she's a woman, and does not +know how to use it. She comes to you. "Couldn't you make some +profit with my money too?" she says. "Why not?" say you, and you +wait. Before the summer I come again and say, "Give me another +tenner, and I'll be obliged." Then you find out if my hide isn't +all gone, and if I can be skinned again you give me Anísya's +money. But supposing I'm clean shorn,—have nothing to eat,—then +you see I can't be fleeced any more, and you say, "Go your way, +friend," and you look out for another, and lend him your own and +Anísya's money and skin him. That's what the bank is. So it +goes round and round. It's a cute thing, old fellow!</p> + +<p class="hang"><i>Akím</i> (<i>excitedly</i>). 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....</p> + +<p class="hang"><i>Mítritch</i>. That, old fellow, is just +what they're fond off And remember, them that are stupid, or the +women folk, as can't put their money into use themselves, they take +it to the bank, and they there, deuce take 'em, clutch hold of it, +and with this money they fleece the people. It's a cute thing!</p> + +<p class="hang"><i>Akím</i> (<i>sighing</i>). Oh dear, I +see, what d'ye call it, without money it's bad, and with money it's +worse! How's that? God told us to work, but you, what d'you call +... I mean you put money into the bank and go to sleep, and the +money will what d'ye call it, will feed you while you sleep. It's +filthy, that's what I call it; it's not right.</p> + +<p class="hang"><i>Mítritch.</i> Not right? Eh, old fellow, +who cares about that nowadays? And how clean they pluck you, too! +That's the fact of the matter.</p> + +<p class="hang"><i>Akím</i> (<i>sighs</i>). Ah, yes, seems +the time's what d'ye call it, the time's growing ripe. There, I've +had a look at the closets in town. What they've come to! It's all +polished and polished I mean, it's fine, it's what d'ye call it, +it's like inside an inn. And what's it all for? What's the good of +it? Oh, they've forgotten God. Forgotten, I mean. We've forgotten, +forgotten God, God, I mean! Thank you, my dear, I've had enough. +I'm quite satisfied.</p> + +<p class="indent">[<i>Rises.</i> MÍTRITCH <i>climbs on to +the oven.</i></p> + +<p class="hang"><i>Anísya</i> (<i>eats, and collects the +dishes</i>). If his father would only take him to task! But I'm +ashamed to tell him.</p> + +<p class="hang"><i>Akím</i>. What d'you say?</p> + +<p class="hang"><i>Anísya</i>. Oh! it's nothing.</p> + +<p class="indent">[<i>Enter</i> NAN.</p> + +<p class="hang"><i>Akím</i>. Here's a good girl, always +busy! You're cold, I should think?</p> + +<p class="hang"><i>Nan</i>. Yes, I am, terribly. How d'you do, +grandfather?</p> + +<p class="hang"><i>Anísya</i>. Well? Is he there?</p> + +<p class="hang"><i>Nan</i>. No. But Andriyán is there. He's +been to town, and he says he saw them at an inn in town. He says +Dad's as drunk as drunk can be!</p> + +<p class="hang"><i>Anísya</i>. Do you want anything to eat? +Here you are.</p> + +<p class="hang"><i>Nan</i> (<i>goes to the oven</i>). Well, it is +cold. My hands are quite numb.</p> + +<p class="indent">[AKÍM <i>takes off his leg-bands and +bast-shoes.</i> ANÍSYA <i>washes up.</i></p> + +<p class="hang"><i>Anísya</i>. Father!</p> + +<p class="hang"><i>Akím</i>. Well, what is it?</p> + +<p class="hang"><i>Anísya</i>. And is Marína living +well?</p> + +<p class="hang"><i>Akím</i>. Yes, she's living all right. +The little woman is what d'ye call it, clever and steady; she's +living, and what d'ye call it, doing her best. She's all right; the +little woman's of the right sort I mean; painstaking and what d'ye +call it, submissive; the little woman's all right I mean, all +right, you know.</p> + +<p class="hang"><i>Anísya</i>. And is there no talk in your +village that a relative of Marína's husband thinks of +marrying our Akoulína? Have you heard nothing of it?</p> + +<p class="hang"><i>Akím.</i> Ah; that's Mirónof. Yes, +the women did chatter something. But I didn't pay heed, you know. +It don't interest me I mean, I don't know anything. Yes, the old +women did say something, but I've a bad memory, bad memory, I mean. +But the Mirónofs are what d'ye call it, they're all right, I +mean they're all right.</p> + +<p class="hang"><i>Anísya.</i> I'm that impatient to get her +settled.</p> + +<p class="hang"><i>Akím.</i> And why?</p> + +<p class="hang"><i>Nan</i> (<i>listens</i>). They've come!</p> + +<p class="hang"><i>Anísya.</i> Well, don't you go bothering +them.</p> + +<p class="indent">[<i>Goes on washing the spoons without turning +her head.</i></p> + +<p class="hang"><i>Nikíta</i> (<i>enters</i>). +Anísya! Wife! who has come?</p> + +<p class="indent">[ANÍSYA <i>looks up and turns away in +silence.</i></p> + +<p class="hang"><i>Nikíta</i> (<i>severely</i>). Who has +come? Have you forgotten?</p> + +<p class="hang"><i>Anísya.</i> Now don't humbug. Come +in!</p> + +<p class="hang"><i>Nikíta</i> (<i>still more severely</i>). +Who's come?</p> + +<p class="hang"><i>Anísya</i> (<i>goes up and takes him by +the arm</i>). Well, then, husband has come. Now then, come in!</p> + +<p class="hang"><i>Nikíta</i> (<i>holds back</i>). Ah, +that's it! Husband! And what's husband called? Speak properly.</p> + +<p class="hang"><i>Anísya.</i> Oh bother you! +Nikíta!</p> + +<p class="hang"><i>Nikíta.</i> Where have you learnt +manners? The full name.</p> + +<p class="hang"><i>Anísya.</i> Nikíta +Akímitch! Now then!</p> + +<p class="hang"><i>Nikíta.</i> (<i>still in the +doorway</i>). Ah, that's it! But now—the surname?</p> + +<p class="hang"><i>Anísya</i> (<i>laughs and pulls him by +the arm</i>). Tchilíkin. Dear me, what airs!</p> + +<p class="hang"><i>Nikíta.</i> Ah, that's it. (<i>Holds on +to the door-post</i>.) No, now say with which foot Tchilíkin +steps into this house!</p> + +<p class="hang"><i>Anísya.</i> That's enough! You're letting +the cold in!</p> + +<p class="hang"><i>Nikíta.</i> Say with which foot he steps? +You've got to say it,—that's flat.</p> + +<p class="hang"><i>Anísya</i> (<i>aside</i>). He'll go on +worrying. (To NIKÍTA.) Well then, with the left. Come +in!</p> + +<p class="hang"><i>Nikíta.</i> Ah, that's it.</p> + +<p class="hang"><i>Anísya.</i> You look who's in the +hut!</p> + +<p class="hang"><i>Nikíta</i>. Ah, my parent! Well, what of +that? I'm not ashamed of my parent. I can pay my respects to my +parent. How d'you do, father? (<i>Bows and puts out his hand</i>.) +My respects to you.</p> + +<p class="hang"><i>Akím</i> (<i>does not answer</i>). Drink, +I mean drink, what it does! It's filthy!</p> + +<p class="hang"><i>Nikíta</i>. Drink, what's that? I've been +drinking? I'm to blame, that's flat! I've had a glass with a +friend, drank his health.</p> + +<p class="hang"><i>Anísya</i>. Go and lie down, I say.</p> + +<p class="hang"><i>Nikíta</i>. Wife, say where am I +standing?</p> + +<p class="hang"><i>Anísya</i>. Now then, it's all right, lie +down!</p> + +<p class="hang"><i>Nikíta</i>. No, I'll first drink a +samovár with my parent. Go and light the samovár. +Akoulína, I say, come here!</p> + +<p class="indent">[Enter <i>AKOULÍNA</i>, smartly dressed +and carrying their purchases.</p> + +<p class="hang"><i>Akoulína</i>. Why have you thrown +everything about? Where's the yarn?</p> + +<p class="hang"><i>Nikíta</i>. The yarn? The yarn's there. +Hullo, Mítritch, where are you? Asleep? Asleep? Go and put +the horse up.</p> + +<p class="hang"><i>Akím</i> (<i>not seeing</i> +AKOULÍNA <i>but looking at his son</i>). Dear me, what is he +doing? The old man's what d'ye call it, quite done up, I +mean,—been thrashing,—and look at him, what d'ye call it, putting +on airs! Put up the horse! Faugh, what filth!</p> + +<p class="hang"><i>Mítritch</i> (<i>climbs down from the +oven, and puts on felt boots</i>). Oh, merciful Lord! Is the horse +in the yard? Done it to death, I dare say. Just see how he's been +swilling, the deuce take him. Up to his very throat. Oh Lord, Holy +Nicholas!</p> + +<p class="indent">[<i>Puts on sheepskin and exit.</i></p> + +<p class="hang"><i>Nikíta</i> (<i>sits down</i>). You must +forgive me, father. It's true I've had a drop; well, what of that? +Even a hen will drink. Ain't it true? So you must forgive me. Never +mind Mítritch, he doesn't mind, he'll put it up.</p> + +<p class="hang"><i>Anísya</i>. Shall I really light the +samovár?</p> + +<p class="hang"><i>Nikíta</i>. Light it! My parent has come. +I wish to talk to him, and shall drink tea with him. (<i>To</i> +AKOULÍNA.) Have you brought all the parcels?</p> + +<p class="hang"><i>Akoulína.</i> The parcels? I've brought +mine, the rest's in the sledge. Hi, take this, this isn't mine!</p> + +<p class="indent">[<i>Throws a parcel on the table and puts the +others into her box. NAN watches her while she puts them away.</i> +AKÍM <i>does not look at his son, but puts his leg-bands and +bast-shoes on the oven.</i></p> + +<p class="hang"><i>Anísya</i> (<i>going out with the +samovár</i>). Her box is full as it is, and still he's +bought more!</p> + +<p class="hang"><i>Nikíta</i> (<i>pretending to be +sober</i>). You must not be cross with me, father. You think I'm +drunk? I am all there, that's flat! As they say, "Drink, but keep +your wits about you." I can talk with you at once, father. I can +attend to any business. You told me about the money; your horse is +worn-out,—I remember! That can all be managed. That's all in our +hands. If it was an enormous sum that's wanted, then we might wait; +but as it is I can do everything. That's the case.</p> + +<p class="hang"><i>Akím</i> (<i>goes on fidgeting with the +leg-bands</i>). Eh, lad, "It's ill sledging when the thaw has set +in."</p> + +<p class="hang"><i>Nikíta.</i> What do you mean by that? +"And it's ill talking with one who is drunk?" But don't you worry, +let's have some tea. And I can do anything; that's flat! I can put +everything to rights.</p> + +<p class="hang"><i>Akím</i> (<i>shakes his head</i>). Eh, +eh, eh!</p> + +<p class="hang"><i>Nikíta.</i> The money, here it is. +(<i>Puts his hand in his pocket, pulls out pocket-book, handles the +notes in it and takes out a ten-rouble note</i>.) Take this to get +a horse; I can't forget my parent. I shan't forsake him, that's +flat. Because he's my parent! Here you are, take it! Really now, I +don't grudge it. (Comes up and pushes the note towards AKÍM, +who won't take it. NIKÍTA catches hold of his father's +hand.) Take it, I tell you. I don't grudge it.</p> + +<p class="hang"><i>Akím.</i> I can't what d'you call it, I +mean, can't take it! And can't what d'ye call it, talk to you, +because you're not yourself, I mean.</p> + +<p class="hang"><i>Nikíta.</i> I'll not let you go! Take +it!</p> + +<p class="indent">[<i>Puts the money into</i> AKÍM'S +<i>hand.</i></p> + +<p class="hang"><i>Anísya</i> (<i>enters, and stops</i>). +You'd better take it, he'll give you no peace!</p> + +<p class="hang"><i>Akím</i> (<i>takes it, and shakes his +head</i>). Oh! that liquor. Not like a man, I mean!</p> + +<p class="hang"><i>Nikíta</i>. That's better! If you repay +it you'll repay it, if not I'll make no bother. That's what I am! +(<i>Sees</i> AKOULÍNA.) Akoulína, show your +presents.</p> + +<p class="hang"><i>Akoulína</i>. What?</p> + +<p class="hang"><i>Nikíta</i>. Show your presents.</p> + +<p class="hang"><i>Akoulína</i>. The presents, what's the +use of showing 'em? I've put 'em away.</p> + +<p class="hang"><i>Nikíta</i>. Get them, I tell you. Nan +will like to see 'em. Undo the shawl. Give it here.</p> + +<p class="hang"><i>Akím</i>. Oh, oh! It's sickening!</p> + +<p class="indent">[<i>Climbs on the oven.</i></p> + +<p class="hang"><i>Akoulína</i> (<i>gets out the parcels and +puts them on the table</i>). Well, there you are,—what's the good +of looking at 'em?</p> + +<p class="hang"><i>Nan</i>. Oh how lovely! It's as good as +Stepanída's.</p> + +<p class="hang"><i>Akoulína</i>. Stepanída's? What's +Stepanída's compared to this? (<i>Brightening up and undoing +the parcels</i>.) Just look here,—see the quality! It's a French +one.</p> + +<p class="hang"><i>Nan</i>. The print <i>is</i> fine! Mary has a +dress like it, only lighter on a blue ground. This <i>is</i> +pretty.</p> + +<p class="hang"><i>Nikíta</i>. Ah, that's it!</p> + +<p class="indent">[ANÍSYA <i>passes angrily into the closet, +returns with a tablecloth and the chimney of the Samovár, +and goes up to the table.</i></p> + +<p class="hang"><i>Anísya</i>. Drat you, littering the +table!</p> + +<p class="hang"><i>Nikíta</i>. You look here!</p> + +<p class="hang"><i>Anísya</i>. What am I to look at? Have I +never seen anything? Put it away!</p> + +<p class="indent">[<i>Sweeps the shawl on to the floor with her +arm.</i></p> + +<p class="hang"><i>Akoulína</i>. What are you pitching +things down for? You pitch your own things about!</p> + +<p class="indent">[<i>Picks up the shawl.</i></p> + +<p class="hang"><i>Nikíta</i>. Anísya! Look here!</p> + +<p class="hang"><i>Anísya</i>. Why am I to look?</p> + +<p class="hang"><i>Nikíta</i>. You think I have forgotten +you? Look here! (<i>Shows her a parcel and sits down on it</i>.) +It's a present for you. Only you must earn it! Wife, where am I +sitting?</p> + +<p class="hang"><i>Anísya.</i> Enough of your humbug. I'm +not afraid of you. Whose money are you spreeing on and buying your +fat wench presents with? Mine!</p> + +<p class="hang"><i>Akoulína.</i> Yours indeed? No fear! You +wished to steal it, but it did not come off! Get out of the +way!</p> + +<p class="indent">[<i>Pushes her while trying to pass.</i></p> + +<p class="hang"><i>Anísya.</i> What are you shoving for? +I'll teach you to shove!</p> + +<p class="hang"><i>Akoulína.</i> Shove me? You try!</p> + +<p class="indent">[<i>Presses against</i> ANÍSYA.</p> + +<p class="hang"><i>Nikíta.</i> Now then, now then, you +women. Have done now!</p> + +<p class="indent">[<i>Steps between them.</i></p> + +<p class="hang"><i>Akoulína.</i> Comes shoving herself in! +You ought to keep quiet and remember your doings! You think no one +knows!</p> + +<p class="hang"><i>Anísya.</i> Knows what? Out with it, out +with it! What do they know?</p> + +<p class="hang"><i>Akoulína.</i> I know something about +you!</p> + +<p class="hang"><i>Anísya.</i> You're a slut who goes with +another's husband!</p> + +<p class="hang"><i>Akoulína.</i> And you did yours to +death!</p> + +<p class="hang"><i>Anísya</i> (<i>throwing herself on</i> +AKOULÍNA). You're raving!</p> + +<p class="hang"><i>Nikíta</i> (<i>holding her back</i>). +Anísya, you seem to have forgotten!</p> + +<p class="hang"><i>Anísya.</i> Want to frighten me! I'm not +afraid of you!</p> + +<p class="hang"><i>Nikíta</i> (<i>turns</i> ANÍSYA +<i>round and pushes her out</i>). Be off!</p> + +<p class="hang"><i>Anísya.</i> Where am I to go? I'll not go +out of my own house!</p> + +<p class="hang"><i>Nikíta.</i> Be off, I tell you, and don't +dare to come in here!</p> + +<p class="hang"><i>Anísya.</i> I won't go! (NIKÍTA +<i>pushes her,</i> ANÍSYA <i>cries and screams and clings to +the door</i>.) What! am I to be turned out of my own house by the +scruff of the neck? What are you doing, you scoundrel? Do you think +there's no law for you? You wait a bit!</p> + +<p class="hang"><i>Nikíta.</i> Now then!</p> + +<p class="hang"><i>Anísya.</i> I'll go to the Elder! To the +policeman!</p> + +<p class="hang"><i>Nikíta.</i> Off, I tell you!</p> + +<p class="indent">[<i>Pushes her out.</i></p> + +<p class="hang"><i>Anísya</i> (<i>behind the door</i>). I'll +hang myself!</p> + +<p class="hang"><i>Nikíta.</i> No fear!</p> + +<p class="hang"><i>Nan.</i> Oh, oh, oh! Mother, dear, darling!</p> + +<p class="indent">[<i>Cries.</i></p> + +<p class="hang"><i>Nikíta.</i> Me frightened of her! A +likely thing! What are you crying for? She'll come back, no fear. +Go and see to the samovár.</p> + +<p class="indent">[<i>Exit</i> NAN.</p> + +<p class="hang"><i>Akoulína</i> (<i>collects and folds her +presents</i>). The mean wretch, how she's messed it up. But wait a +bit, I'll cut up her jacket for her! Sure I will!</p> + +<p class="hang"><i>Nikíta.</i> I've turned her out; what +more do you want?</p> + +<p class="hang"><i>Akoulína.</i> She's dirtied my new shawl. +If that bitch hadn't gone away, I'd have torn her eyes out!</p> + +<p class="hang"><i>Nikíta.</i> That's enough. Why should you +be angry? Now if I loved her....</p> + +<p class="hang"><i>Akoulína.</i> Loved her? She's worth +loving, with her fat mug! If you'd have given her up, then nothing +would have happened. You should have sent her to the devil. And the +house was mine all the same, and the money was mine! Says she is +the mistress, but what sort of mistress is she to her husband? +She's a murderess, that's what she is! She'll serve you the same +way!</p> + +<p class="hang"><i>Nikíta.</i> Oh dear, how's one to stop a +woman's jaw? You don't yourself know what you're jabbering +about!</p> + +<p class="hang"><i>Akoulína.</i> Yes, I do. I'll not live +with her! I'll turn her out of the house! She can't live here with +me. The mistress indeed! She's not the mistress,—that +jailbird!</p> + +<p class="hang"><i>Nikíta.</i> That's enough! What have you +to do with her? Don't mind her. You look at me! I am the master! I +do as I like. I've ceased to love her, and now I love you. I love +who I like! The power is mine, she's under me. That's where I keep +her. (<i>Points to his feet</i>.) A pity we've no concertina.</p> + +<p class="hang">[<i>Sings.</i></p> + +<p class="follow">"We have loaves on the stoves,<br> +We have porridge on the shelf.<br> +So we'll live and be gay,<br> +Making merry every day,<br> +And when death comes,<br> +Then we'll die!<br> +We have loaves on the stoves,<br> +We have porridge on the shelf...."</p> + +<p class="indent">[<i>Enter</i> MÍTRITCH. <i>He takes off +his outdoor things and climbs on the oven.</i></p> + +<p class="hang"><i>Mítritch.</i> Seems the women have been +fighting again! Tearing each other's hair. Oh Lord, gracious +Nicholas!</p> + +<p class="hang"><i>Akím.</i> (<i>sitting on the edge of the +oven, takes his leg-bands and shoes and begins putting them on</i>). +Get in, get into the corner.</p> + +<p class="hang"><i>Mítritch.</i> Seems they can't settle +matters between them. Oh Lord!</p> + +<p class="hang"><i>Nikíta.</i> Get out the liquor, we'll +have some with our tea.</p> + +<p class="hang"><i>Nan</i> (<i>to</i> AKOULÍNA). Sister, the +samovár is just boiling over.</p> + +<p class="hang"><i>Nikíta.</i> And where's your mother?</p> + +<p class="hang"><i>Nan.</i> She's standing and crying out there in +the passage.</p> + +<p class="hang"><i>Nikíta.</i> Oh, that's it! Call her, and +tell her to bring the samovár. And you, Akoulína, get +the tea things.</p> + +<p class="hang"><i>Akoulína.</i> The tea things? All +right.</p> + +<p class="indent">[<i>Brings the things.</i></p> + +<p class="hang"><i>Nikíta</i> (<i>unpacks spirits, rusks, +and salt herrings</i>). That's for myself. This is yarn for the +wife. The paraffin is out there in the passage, and here's the +money. Wait a bit (<i>takes a counting-frame</i>); I'll add it up. +(<i>Adds</i>.) Wheat-flour, 80 kopeykas, oil ... Father, 10 roubles +... Father, come let's have some tea!</p> + +<p class="indent">[<i>Silence.</i> AKÍM <i>sits on the oven +and winds the bands round his legs. Enter</i> ANÍSYA <i>with +samovár.</i></p> + +<p class="hang"><i>Anísya.</i> Where shall I put it?</p> + +<p class="hang"><i>Nikíta.</i> Here on the table. Well! have +you been to the Elder? Ah, that's it! Have your say and then eat +your words. Now then, that's enough. Don't be cross; sit down and +drink this. (<i>Fills a wine-glass for her</i>.) And here's your +present.</p> + +<p class="indent">[<i>Gives her the parcel he had been sitting +on.</i> ANÍSYA <i>takes it silently and shakes her +head.</i></p> + +<p class="hang"><i>Akím</i> (<i>gets down and puts on his +sheepskin, then comes up to the table and puts down the money</i>). +Here, take your money back! Put it away.</p> + +<p class="hang"><i>Nikíta</i> (<i>does not see the +money</i>). Why have you put on your things?</p> + +<p class="hang"><i>Akím</i>. I'm going, going, I mean; +forgive me, for the Lord's sake.</p> + +<p class="indent">[<i>Takes up his cap and belt.</i></p> + +<p class="hang"><i>Nikíta</i>. My gracious! Where are you +going to at this time of night?</p> + +<p class="hang"><i>Akím</i>. I can't, I mean what d'ye call +'em, in your house, what d'ye call 'em, can't stay I mean, stay, +can't stay, forgive me.</p> + +<p class="hang"><i>Nikíta</i>. But are you going without +having any tea?</p> + +<p class="hang"><i>Akím</i> (<i>fastens his belt</i>). Going +because, I mean, it's not right in your house, I mean, what d'you +call it, not right, Nikíta, in the house, what d'ye call it, +not right! I mean, you are living a bad life, Nikíta, +bad,—I'll go.</p> + +<p class="hang"><i>Nikíta</i>. Eh, now! Have done talking! +Sit down and drink your tea!</p> + +<p class="hang"><i>Anísya</i>. Why, father, you'll shame us +before the neighbors. What has offended you?</p> + +<p class="hang"><i>Akím</i>. Nothing what d'ye call it, +nothing has offended me, nothing at all! I mean only, I see, what +d'you call it, I mean, I see my son, to ruin, I mean, to ruin, I +mean my son's on the road to ruin, I mean.</p> + +<p class="hang"><i>Nikíta</i>. What ruin? Just prove it!</p> + +<p class="hang"><i>Akím</i>. Ruin, ruin; you're in the midst +of it! What did I tell you that time?</p> + +<p class="hang"><i>Nikíta</i>. You said all sorts of things! +<i>Akím</i>. I told you, what d'ye call it, I told you about +the orphan lass. That you had wronged an orphan—Marína, I +mean, wronged her!</p> + +<p class="hang"><i>Nikíta</i>. Eh! he's at it again. Let +bygones be bygones.... All that's past!</p> + +<p class="hang"><i>Akím</i> (<i>excited</i>). Past! No, lad, +it's not past. Sin, I mean, fastens on to sin—drags sin after it, +and you've stuck fast, Nikíta, fast in sin! Stuck fast in +sin! I see you're fast in sin. Stuck fast, sunk in sin, I mean!</p> + +<p class="hang"><i>Nikíta.</i> Sit down and drink your tea, +and have done with it!</p> + +<p class="hang"><i>Akím.</i> I can't, I mean can't what d'ye +call it, can't drink tea. Because of your filth, I mean; I feel +what d'ye call it, I feel sick, very sick! I can't what d'ye call +it, I can't drink tea with you.</p> + +<p class="hang"><i>Nikíta.</i> Eh! There he goes rambling! +Come to the table.</p> + +<p class="hang"><i>Akím.</i> You're in your riches same as +in a net—you're in a net, I mean. Ah, Nikíta, it's the soul +that God needs!</p> + +<p class="hang"><i>Nikíta.</i> Now really, what right have +you to reprove me in my own house? Why do you keep on at me? Am I a +child that you can pull by the hair? Nowadays those things have +been dropped!</p> + +<p class="hang"><i>Akím.</i> That's true. I have heard that +nowadays, what d'ye call it, that nowadays children pull their +fathers' beards, I mean! But that's ruin, that's ruin, I mean!</p> + +<p class="hang"><i>Nikíta</i> (<i>angrily</i>). We are +living without help from you, and it's you who came to us with your +wants!</p> + +<p class="hang"><i>Akím</i>. The money? There's your money! +I'll go begging, begging I mean, before I'll take it, I mean.</p> + +<p class="hang"><i>Nikíta</i>. That's enough! Why be angry +and upset the whole company!</p> + +<p class="indent">[<i>Holds him by the arm.</i></p> + +<p class="hang"><i>Akím</i> (<i>shrieks</i>). Let go! I'll +not stay. I'd rather sleep under some fence than in the midst of +your filth! Faugh! God forgive me!</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Nikíta.</i> Here's a go!</p> + +<p class="hang"><i>Akím</i> (<i>reopens the door</i>). Come +to your senses, Nikíta! It's the soul that God wants!</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Akoulína</i> (<i>takes cups</i>). Well, +shall I pour out the tea?</p> + +<p class="indent">[<i>Takes a cup. All are silent.</i></p> + +<p class="hang"><i>Mítritch</i> (<i>roars</i>). Oh Lord be +merciful to me a sinner!</p> + +<p class="indent">[<i>All start.</i></p> + +<p class="hang"><i>Nikíta</i> (<i>lies down on the +bench</i>). Oh, it's dull, it's dull! (<i>To</i> AKOULINA.) Where's +the concertina?</p> + +<p class="hang"><i>Akoulína.</i> The concertina? He's +bethought himself of it. Why, you took it to be mended. I've poured +out your tea. Drink it!</p> + +<p class="hang"><i>Nikíta</i>. I don't want it! Put out the +light.... Oh, how dull I feel, how dull!</p> + +<p class="indent">[<i>Sobs</i>.</p> + +<p class="hang">CURTAIN</p> + +<h3>ACT IV</h3> + +<p class="hang"><i>Autumn. Evening. The moon is shining. The stage +represents the interior of courtyard. The scenery at the back +shows, in the middle, the back porch of the hut. To the right the +winter half of the hut and the gate; to the left the summer half +and the cellar. To the right of the stage is a shed. The sound of +tipsy voices and shouts are heard from the hut</i><a name="d5-r">.</a> +<sup><a href="#d5">5</a></sup> SECOND <i></i> NEIGHBOR WOMAN <i>comes +out of the hut and beckons to</i> FIRST NEIGHBOR WOMAN.</p> + +<p class="hang"><i>Second Neighbor</i>. How's it Akoulína +has not shown herself?</p> + +<p class="hang"><i>First Neighbor</i>. Why hasn't she shown +herself? She'd have been glad to; but she's too ill, you know. The +suitor's relatives have come, and want to see the girl; and she, my +dear, she's lying in the cold hut and can't come out, poor +thing!</p> + +<p class="hang"><i>Second Neighbor</i>. But how's that?</p> + +<p class="hang"><i>First Neighbor</i>. They say she's been +bewitched by an evil eye! She's got pains in the stomach!</p> + +<p class="hang"><i>Second Neighbor</i>. You don't say so?</p> + +<p class="hang"><i>First Neighbor</i>. What else could it be?</p> + +<p class="indent">[<i>Whispers.</i></p> + +<p class="hang"><i>Second Neighbor</i>. Dear me! There's a go! But his +relatives will surely find it out?</p> + +<p class="hang"><i>First Neighbor</i>. They find it out! They're +all drunk! Besides, they are chiefly after her dowry. Just think +what they give with the girl! Two furs, my dear, six dresses, a +French shawl, and I don't know how many pieces of linen, and money +as well,—two hundred roubles, it's said!</p> + +<p class="hang"><i>Second Neighbor</i>. That's all very well, but +even money can't give much pleasure in the face of such a +disgrace.</p> + +<p class="hang"><i>First Neighbor</i>. Hush!... There's his father, +I think.</p> + +<p class="indent">[<i>They cease talking and go into the +hut.</i></p> + +<p class="indent">[<i>The</i> SUITOR'S FATHER <i>comes out of the +hut hiccoughing.</i></p> + +<p class="hang"><i>The Father</i>. Oh, I'm all in a sweat. It's +awfully hot! Will just cool myself a bit. (<i>Stands puffing</i>.) +The Lord only knows what—something is not right. I can't feel +happy.—Well, it's the old woman's affair.</p> + +<p class="indent">[<i>Enter</i> MATRYÓNA <i>from +hut.</i></p> + +<p class="hang"><i>Matryóna</i>. And I was just thinking, +where's the father? Where's the father? And here you are, dear +friend.... Well, dear friend, the Lord be thanked! Everything is as +honorable as can be! When one's arranging a match one should not +boast. And I have never learnt to boast. But as you've come about +the right business, so with the Lord's help, you'll be grateful to +me all your life! She's a wonderful girl! There's no other like her +in all the district!</p> + +<p class="hang"><i>The Father.</i> That's true enough, but how +about the money?</p> + +<p class="hang"><i>Matryóna.</i> Don't you trouble about the +money! All she had from her father goes with her. And it's more +than one gets easily, as things are nowadays. Three times fifty +roubles!</p> + +<p class="hang"><i>The Father.</i> We don't complain, but it's for +our own child. Naturally we want to get the best we can.</p> + +<p class="hang"><i>Matryóna.</i> I'll tell you straight, +friend: if it hadn't been for me, you'd never have found anything +like her! They've had an offer from the Karmilins, but I stood out +against it. And as for the money, I'll tell you truly: when her +father, God be merciful to his soul, was dying, he gave orders that +the widow should take Nikíta into the homestead—of course I +know all about it from my son,—and the money was to go to +Akoulína. Why, another one might have thought of his own +interests, but Nikíta gives everything clean! It's no +trifle. Fancy what a sum it is!</p> + +<p class="hang"><i>The Father.</i> People are saying that more +money was left her? The lad's sharp too!</p> + +<p class="hang"><i>Matryóna</i>. Oh, dear soul alive! A +slice in another's hand always looks big; all she had will be +handed over. I tell you, throw doubts to the wind and make all +sure! What a girl she is! as fresh as a daisy!</p> + +<p class="hang"><i>The Father</i>. That's so. But my old woman and +I were only wondering about the girl; why has she not come out? +We've been thinking, suppose she's sickly?</p> + +<p class="hang"><i>Matryóna</i>. Ah, ah.... Who? She? +Sickly? Why, there's none to compare with her in the district. The +girl's as sound as a bell; you can't pinch her. But you saw her the +other day! And as for work, she's wonderful! She's a bit deaf, +that's true, but there are spots on the sun, you know. And her not +coming out, you see, it's from an evil eye! A spell's been cast on +her! And I know the bitch who's done the business! They know of the +betrothal and they bewitched her. But I know a counter-spell. The +girl will get up to-morrow. Don't you worry about the girl!</p> + +<p class="hang"><i>The Father</i>. Well, of course, the thing's +settled.</p> + +<p class="hang"><i>Matryóna</i>. Yes, of course! Don't you +turn back. And don't forget me, I've had a lot of trouble. Don't +forget....</p> + +<p class="indent">[<i>A woman's voice from the hut.</i></p> + +<p class="hang"><i>Voice</i>. If we are to go, let's go. Come +along, Iván!</p> + +<p class="hang"><i>The Father</i>. I'm coming.</p> + +<p class="indent">[<i>Exeunt. Guests crowd together in the passage +and prepare to go away.</i></p> + +<p class="hang"><i>Nan</i> (<i>runs out of the hut and calls to</i> +ANÍSYA). Mother!</p> + +<p class="hang"><i>Anísya</i> (<i>from inside</i>.) What +d'you want?</p> + +<p class="hang"><i>Nan</i>. Mother, come here, or they'll hear.</p> + +<p class="indent">[ANÍSYA <i>enters and they go together to +the shed.</i></p> + +<p class="hang"><i>Anísya</i>. Well? What is it? Where's +Akoulína?</p> + +<p class="hang"><i>Nan</i> She's gone into the barn. It's awful +what's she's doing there! I'm blest! "I can't bear it," she says. +"I'll scream," she says, "I'll scream out loud." Blest if she +didn't.</p> + +<p class="hang"><i>Anísya</i>. She'll have to wait. We'll +see our visitors off first.</p> + +<p class="hang"><i>Nan</i>. Oh, mother! She's so bad! And she's +angry too. "What's the good of their drinking my health?" she says. +"I shan't marry," she says. "I shall die," she says. Mother, +supposing she does die! It's awful. I'm so frightened!</p> + +<p class="hang"><i>Anísya.</i> No fear, she'll not die. But +don't you go near her. Come along.</p> + +<p class="indent">[<i>Exit</i> ANÍSYA <i>and</i> NAN.</p> + +<p class="hang"><i>Mítritch</i> (<i>comes in at the gate and +begins collecting the scattered hay</i>). Oh, Lord! Merciful +Nicholas! What a lot of liquor they've been and swilled, and the +smell they've made! It smells even out here! But no, I don't want +any, drat it! See how they've scattered the hay about. They don't +eat it, but only trample it under foot. A truss gone before you +know it. Oh, that smell, it seems to be just under my nose! Drat +it! (<i>Yawns</i>.) It's time to go to sleep! But I don't care to +go into the hut. It seems to float just round my nose! It has a +strong scent, the damned stuff! (<i>The guests are heard driving +off</i>.) They're off at last. Oh Lord! Merciful Nicholas! There +they go, binding themselves and gulling one another. And it's all +gammon!</p> + +<p class="indent">[<i>Enter</i> NIKÍTA.</p> + +<p class="hang"><i>Nikíta.</i> Mítritch, you get off +to sleep and I'll put this straight.</p> + +<p class="hang"><i>Mítritch.</i> All right, you throw it to +the sheep. Well, have you seen 'em all off?</p> + +<p class="hang"><i>Nikíta.</i> Yes, they're off! But things +are not right! I don't know what to do!</p> + +<p class="hang"><i>Mítritch.</i> It's a fine mess. But +there's the <a name="d6-r">Foundlings'</a><sup> <a href="#d6">6</a></sup> for that sort +of thing. Whoever likes may drop one there; they'll take 'em all. +Give 'em as many as you like, they ask no questions, and even +pay--if the mother goes in as a wet-nurse. It's easy enough +nowadays.</p> + +<p class="hang"><i>Nikíta.</i> But mind, Mítritch, +don't go blabbing.</p> + +<p class="hang"><i>Mítritch.</i> It's no concern of mine. +Cover the tracks as you think best. Dear me, how you smell of +liquor! I'll go in. Oh, Lord!</p> + +<p class="indent">[<i>Exit, yawning.</i></p> + +<p class="indent">[NIKÍTA <i>is long silent. Sits down on a +sledge.</i></p> + +<p class="hang"><i>Nikíta.</i> Here's a go!</p> + +<p class="indent">[<i>Enter</i> ANÍSYA.</p> + +<p class="hang"><i>Anísya.</i> Where are you?</p> + +<p class="hang"><i>Nikíta.</i> Here.</p> + +<p class="hang"><i>Anísya.</i> What are you doing there? +There's no time to be lost! We must take it out directly!</p> + +<p class="hang"><i>Nikíta.</i> What are we to do?</p> + +<p class="hang"><i>Anísya.</i> I'll tell you what you are to +do. And you'll have to do it!</p> + +<p class="hang"><i>Nikíta.</i> You'd better take it to the +Foundlings'--if anything.</p> + +<p class="hang"><i>Anísya.</i> Then you'd better take it +there yourself if you like! You've a hankering for smut, but you're +weak when it comes to settling up, I see!</p> + +<p class="hang"><i>Nikíta.</i> What's to be done?</p> + +<p class="hang"><i>Anísya.</i> Go down into the cellar, I +tell you, and dig a hole!</p> + +<p class="hang"><i>Nikíta.</i> Couldn't you manage, somehow, +some other way?</p> + +<p class="hang"><i>Anísya</i> (<i>imitating him</i>). "Some +other way?" Seems we can't "some other way!" You should have +thought about it a year ago. Do what you're told to! +<i>Nikíta.</i> Oh, dear, what a go!</p> + +<p class="indent">[<i>Enter</i> NAN.</p> + +<p class="hang"><i>Nan.</i> Mother! Grandmother's calling! I think +sister's got a baby! I'm blest if it didn't scream!</p> + +<p class="hang"><i>Anísya.</i> What are you babbling about? +Plague take you! It's kittens whining there. Go into the hut and +sleep, or I'll give it you!</p> + +<p class="hang"><i>Nan.</i> Mammy dear, truly, I swear....</p> + +<p class="hang"><i>Anísya</i> (<i>raising her arm as if to +strike</i>). I'll give it you! You be off and don't let me catch +sight of you! (<i>Nan runs into hut. To Nikíta</i>.) Do as +you're told, or else mind!</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Nikíta</i> (<i>alone. After a long +silence</i>). Here's a go! Oh, these women! What a fix! Says you +should have thought of it a year ago. When's one to think +beforehand? When's one to think? Why, last year this Anísya +dangled after me. What was I to do? Am I a monk? The master died; +and I covered my sin as was proper, so I was not to blame there. +Aren't there lots of such cases? And then those powders. Did I put +her up to that? Why, had I known what the bitch was up to, I'd have +killed her! I'm sure I should have killed her! She's made me her +partner in these horrors—that jade! And she became loathsome to me +from that day! She became loathsome, loathsome to me as soon as +mother told me about it. I can't bear the sight of her! Well, then, +how could I live with her? And then it begun.... That wench began +hanging round. Well, what was I to do! If I had not done it, some +one else would. And this is what comes of it! Still I'm not to +blame in this either. Oh, what a go! (<i>Sits thinking</i>.) They +are bold, these women! What a plan to think of! But I won't have a +hand in it!</p> + +<p class="indent">[<i>Enter</i> MATRYÓNA <i>with a lantern +and spade, panting.</i></p> + +<p class="hang"><i>Matryóna.</i> Why are you sitting there +like a hen on a perch? What did your wife tell you to do? You just +get things ready!</p> + +<p class="hang"><i>Nikíta.</i> What do you mean to do?</p> + +<p class="hang"><i>Matryóna.</i> We know what to do. You do +your share!</p> + +<p class="hang"><i>Nikíta.</i> You'll be getting me into a +mess!</p> + +<p class="hang"><i>Matryóna.</i> What? You're not thinking +of backing out, are you? Now it's come to this, and you back +out!</p> + +<p class="hang"><i>Nikíta.</i> Think what a thing it would +be! It's a living soul.</p> + +<p class="hang"><i>Matryóna.</i> A living soul indeed! Why, +it's more dead than alive. And what's one to do with it? Go and +take it to the Foundlings'--it will die just the same, and the rumor +will get about, and people will talk, and the girl be left on our +hands.</p> + +<p class="hang"><i>Nikíta.</i> And supposing it's found +out?</p> + +<p class="hang"><i>Matryóna.</i> Not manage to do it in +one's own house? We'll manage it so that no one will have an +inkling. Only do as I tell you. We women can't do it without a man. +There, take the spade, and get it done there,—I'll hold the +light.</p> + +<p class="hang"><i>Nikíta.</i> What am I to get done?</p> + +<p class="hang"><i>Matryóna</i> (<i>in a low voice</i>). Dig +a hole; then we'll bring it out and get it out of the way in a +trice! There, she's calling again. Now then, get in, and I'll +go.</p> + +<p class="hang"><i>Nikíta</i>. Is it dead then?</p> + +<p class="hang"><i>Matryóna</i>. Of course it is. Only you +must be quick, or else people will notice! They'll see or they'll +hear! The rascals must needs know everything. And the policeman +went by this evening. Well then, you see (<i>gives him the +spade)</i>, you get down into the cellar and dig a hole right in +the corner; the earth is soft there, and you'll smooth it over. +Mother earth will not blab to any one; she'll keep it close. Go +then; go, dear.</p> + +<p class="hang"><i>Nikíta</i>. You'll get me into a mess, +bother you! I'll go away! You do it alone as best you can!</p> + +<p class="hang"><i>Anísya</i> (<i>through the doorway</i>). +Well? Has he dug it?</p> + +<p class="hang"><i>Matryóna</i>. Why have you come away? +What have you done with it?</p> + +<p class="hang"><i>Anísya</i>. I've covered it with rags. No +one can hear it. Well, has he dug it?</p> + +<p class="hang"><i>Matryóna</i>. He doesn't want to!</p> + +<p class="hang"><i>Anísya</i> (<i>springs out enraged</i>). +Doesn't want to! How will he like feeding vermin in prison! I'll go +straight away and tell everything to the police! It's all the same +if one must perish. I'll go straight and tell!</p> + +<p class="hang"><i>Nikíta</i> (<i>taken aback</i>). What +will you tell?</p> + +<p class="hang"><i>Anísya</i>. What? Everything! Who took +the money? You! (NIKÍTA <i>is silent</i>.) And who gave the +poison? I did! But you knew! You knew! You knew! We were in +agreement!</p> + +<p class="hang"><i>Matryóna</i>. That's enough now. +Nikíta dear, why are you obstinate? What's to be done now? +One must take some trouble. Go, honey.</p> + +<p class="hang"><i>Anísya</i>. See the fine gentleman! He +doesn't like it! You've put upon me long enough! You've trampled me +under foot! Now it's my turn! Go, I tell you, or else I'll do what +I said.... There, take the spade; there, now go!</p> + +<p class="hang"><i>Nikíta</i>. Drat you! Can't you leave a +fellow alone! (<i>Takes the spade, but shrinks</i>.) If I don't +choose to, I'll not go!</p> + +<p class="hang"><i>Anísya.</i> Not go? (<i>Begins to +shout</i>.) Neighbors! Heh! heh!</p> + +<p class="hang"><i>Matryóna</i> (<i>closes her mouth</i>). +What are you about? You're mad! He'll go.... Go, sonny, go, my +own.</p> + +<p class="hang"><i>Anísya.</i> I'll cry murder!</p> + +<p class="hang"><i>Nikíta.</i> Now stop! Oh, what people! +You'd better be quick.... As well be hung for a sheep as a +lamb!</p> + +<p class="indent">[<i>Goes towards the cellar.</i></p> + +<p class="hang"><i>Matryóna.</i> Yes, that's just it, honey. +If you know how to amuse yourself, you must know how to hide the +consequences.</p> + +<p class="hang"><i>Anísya</i> (<i>still excited</i>). He's +trampled on me ... he and his slut! But it's enough! I'm not going +to be the only one! Let him also be a murderer! Then he'll know how +it feels!</p> + +<p class="hang"><i>Matryóna.</i> There, there! How she +flares up! Don't you be cross, lass, but do things quietly little +by little, as it's best. You go to the girl, and he'll do the +work.</p> + +<p class="indent">[<i>Follows</i> NIKÍTA <i>to the cellar +with a lantern. He descends into the cellar.</i></p> + +<p class="hang"><i>Anísya.</i> And I'll make him strangle +his dirty brat! (<i>Still excited</i>.) I've worried myself to +death all alone, with Peter's bones weighing on my mind! Let him +feel it too! I'll not spare myself; I've said I'll not spare +myself!</p> + +<p class="hang"><i>Nikíta</i> (<i>from the cellar</i>). Show +a light!</p> + +<p class="hang"><i>Matryóna</i> (<i>holds up the lantern to +him. To</i> ANÍSYA). He's digging. Go and bring it.</p> + +<p class="hang"><i>Anísya.</i> You stay with him, or he'll +go away, the wretch! And I'll go and bring it.</p> + +<p class="hang"><i>Matryóna.</i> Mind, don't forget to +baptize it, or I will if you like. Have you a cross?</p> + +<p class="hang"><i>Anísya.</i> I'll find one. Ï know +how to do it.</p> + +<p class="indent">[<i>Exit.</i></p> + +<hr> + +<p class="hang"><i>See at end of Act, </i><a href="#var">VARIATION</a><i>, which may be used +instead of the following.</i></p> + +<hr> + +<p class="hang"><i>Matryóna.</i> How the woman +bristled up! But one must allow she's been put upon. Well, but with +the Lord's help, when we've covered this business, there'll be an +end of it. We'll shove the girl off without any trouble. My son +will live in comfort. The house, thank God, is as full as an egg. +They'll not forget me either. Where would they have been without +Matryóna? They'd not have known how to contrive things. +(<i>Peering into the cellar</i>.) Is it ready, sonny?</p> + +<p class="hang"><i>Nikíta</i> (<i>puts out his head</i>). +What are you about there? Bring it quick! What are you dawdling +for? If it is to be done, let it be done.</p> + +<p class="hang"><i>Matryóna</i> (<i>goes towards door of the +hut and meets</i> ANÍSYA. ANÍSYA <i>comes out with a +baby wrapped in rags</i>). Well, have you baptized it?</p> + +<p class="hang"><i>Anísya</i>. Why, of course. It was all I +could do to take it away—she wouldn't give it up!</p> + +<p class="indent">[<i>Comes forward and hands it to</i> +NIKÍTA.</p> + +<p class="hang"><i>Nikíta</i> (<i>does not take it</i>). You +bring it yourself!</p> + +<p class="hang"><i>Anísya</i>. Take it, I tell you!</p> + +<p class="indent">[<i>Throws the baby to him.</i></p> + +<p class="hang"><i>Nikíta</i> (<i>catches it</i>). It's +alive! Gracious me, it's moving! It's alive! What am I to....</p> + +<p class="hang"><i>Anísya</i> (<i>snatches the baby from him +and throws it into the cellar</i>). Be quick and smother it, and +then it won't be alive! (<i>Pushes</i> NIKÍTA <i>down.</i>) +It's your doing, and you must finish it.</p> + +<p class="hang"><i>Matryóna</i> (<i>sits on the doorstep of +the hut</i>). He's tender-hearted. It's hard on him, poor dear. +Well, what of that? Isn't it also his sin?</p> + +<p class="indent">[ANÍSYA <i>stands by the cellar.</i></p> + +<p class="hang"><i>Matryóna</i> (<i>sits looking at her and +discourses</i>). Oh, oh, oh! How frightened he was: well, but what +of that? If it <i>is</i> hard, it's the only thing to be done. +Where was one to put it? And just think, how often it happens that +people pray to God to have children! But no, God gives them none; +or they are all still-born. Look at our priest's wife now.... And +here, where it's not wanted, here it lives. (<i>Looks towards the +cellar</i>.) I suppose he's finished. (<i>To</i> ANÍSYA.) +Well?</p> + +<p class="hang"><i>Anísya</i> (<i>looking into the +cellar</i>). He's put a board on it and is sitting on it. It must +be finished!</p> + +<p class="hang"><i>Matryóna</i>. Oh, oh! One would be glad +not to sin, but what's one to do?</p> + +<p class="indent">[<i>Re-enter</i> NIKÍTA <i>from cellar, +trembling all over.</i></p> + +<p class="hang"><i>Nikíta</i>. It's still alive! I can't! +It's alive!</p> + +<p class="hang"><i>Anísya</i>. If it's alive, where are you +off to?</p> + +<p class="indent">[<i>Tries to stop him.</i></p> + +<p class="hang"><i>Nikíta</i> (<i>rushes at her</i>). Go +away! I'll kill you! (<i>Catches hold of her arms; she escapes, he +runs after her with the spade</i>. MATRYÓNA <i>runs towards +him and stops him</i>. ANÍSYA <i>runs into the porch</i>. +MATRYÓNA <i>tries to wrench the spade from him. To his +mother</i>.) I'll kill you! I'll kill you! Go away! +(MATRYÓNA <i>runs to</i> ANÍSYA <i>in the porch</i>. +NIKÍTA <i>stops</i>.) I'll kill you! I'll kill you all!</p> + +<p class="hang"><i>Matryóna.</i> That's because he's so +frightened! Never mind, it will pass!</p> + +<p class="hang"><i>Nikíta</i>. What have they made me do? +What have they made me do? How it whimpered.... How it crunched +under me! What have they done with me?... And it's really alive, +still alive! (<i>Listens in silence</i>.) It's whimpering... There, +it's whimpering.</p> + +<p class="indent">[<i>Runs to the cellar.</i></p> + +<p class="hang"><i>Matryóna</i> (<i>to</i> ANÍSYA). +He's going; it seems he means to bury it. Nikíta, you'd +better take the lantern!</p> + +<p class="hang"><i>Nikíta</i> (<i>does not heed her, but +listens by the cellar door</i>). I can hear nothing! I suppose it +was fancy! (<i>Moves away, then stops</i>.) How the little bones +crunched under me. Krr ... kr.... What have they made me do? +(<i>Listens again</i>.) Again whimpering! It's really whimpering! +What can it be? Mother! Mother, I say!</p> + +<p class="indent">[<i>Goes up to her.</i></p> + +<p class="hang"><i>Matryóna</i>. What is it, sonny?</p> + +<p class="hang"><i>Nikíta</i>. Mother, my own mother, I +can't do any more! Can't do any more! My own mother, have some pity +on me!</p> + +<p class="hang"><i>Matryóna</i>. Oh dear, how frightened you +are, my darling! Come, come, drink a drop to give you courage!</p> + +<p class="hang"><i>Nikíta</i>. Mother, mother! It seems my +time has come! What have you done with me? How the little bones +crunched, and how it whimpered! My own mother! What have you done +with me?</p> + +<p class="indent">[<i>Steps aside and sits down on the +sledge.</i></p> + +<p class="hang"><i>Matryóna</i>. Come, my own, have a drink! +It certainly does seem uncanny at night-time. But wait a bit. When +the day breaks, you know, and one day and another passes, you'll +forget even to think of it. Wait a bit; when the girl's married +we'll even forget to think of it. But you go and have a drink; have +a drink! I'll go and put things straight in the cellar myself.</p> + +<p class="hang"><i>Nikíta</i> (<i>rouses himself</i>). Is +there any drink left? Perhaps I can drink it off!</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="indent">[ANÍSYA, <i>who has stood all the time by +the door, silently makes way for him.</i></p> + +<p class="hang"><i>Matryóna.</i> Go, go, honey, and I'll set +to work! I'll go down myself and dig! Where has he thrown the spade +to? (<i>Finds the spade, and goes down into the cellar</i>.) +Anísya, come here! Hold the light, will you?</p> + +<p class="hang"><i>Anísya.</i> And what of him?</p> + +<p class="hang"><i>Matryóna.</i> He's so frightened! You've +been too hard with him. Leave him alone, he'll come to his senses. +God help him! I'll set to work myself. Put the lantern down here. I +can see.</p> + +<p class="indent">[MATRYÓNA <i>disappears into the +cellar.</i></p> + +<p class="hang"><i>Anísya.</i> (<i>looking towards the door +by which Nikíta entered the hut</i>). Well, have you had +enough spree? You've been puffing yourself up, but now you'll know +how it feels! You'll lose some of your bluster!</p> + +<p class="hang"><i>Nikíta</i> (<i>rushes out of the hut +towards the cellar</i>). Mother! Mother, I say!</p> + +<p class="hang"><i>Matryóna</i> (<i>puts out her head</i>). +What is it, sonny?</p> + +<p class="hang"><i>Nikíta</i> (<i>listening)</i> Don't bury +it, it's alive? Don't you hear? Alive! There—it's whimpering! +There ... quite plain!</p> + +<p class="hang"><i>Matryóna.</i> How can it whimper? Why, +you've flattened it into a pancake! The whole head is smashed to +bits!</p> + +<p class="hang"><i>Nikíta</i>. What is it then? (<i>Stops +his ears</i>.) It's still whimpering! I am lost! Lost! What have +they done with me?... Where shall I go?</p> + +<p class="indent">[<i>Sits down on the step.</i></p> + +<p class="hang">CURTAIN</p> + +<hr> +<h4><a name="var">VARIATION</a></h4> + +<p class="hang"><i>Instead of the end of Act IV.</i> (<i>from the +words,</i> "ANÍSYA. I'll find one. I know how to do it. +[<i>Exit</i>]") <i>the following variation may be read, and is the +one usually acted.</i></p> + +<p class="hang"><i><u>or</u> </i></p> + +<p class="hang"><i>Continue on to</i> <a href="#act5">ACT V</a>.</p> + +<hr> + +<h4>SCENE II</h4> + +<p class="hang"><i>The interior of the hut as in Act I.</i></p> + +<p class="hang">NAN <i>lies on the bench, and is covered with a +coat.</i> MÍTRITCH <i>is sitting on the oven +smoking.</i></p> + +<p class="hang"><i>Mítritch.</i> Dear me! How they've made +the place smell I Drat 'em! They've been spilling the fine stuff. +Even tobacco don't get rid of the smell! It keeps tickling one's +nose so. Oh Lord! But it's bedtime, I guess.</p> + +<p class="indent">[<i>Approaches the lamp to put it out.</i></p> + +<p class="hang"><i>Nan</i> (<i>jumps up, and remains sitting +up</i>). Daddy <a name="d7-r">dear,</a><sup><a href="#d7">7</a></sup> + don't put it out!</p> + +<p class="hang"><i>Mítritch.</i> Not put it out? Why?</p> + +<p class="hang"><i>Nan</i>. Didn't you hear them making a row in +the yard? (<i>Listens</i>.) D'you hear, there in the barn again +now?</p> + +<p class="hang"><i>Mítritch</i>. What's that to you? I guess +no one's asked you to mind! Lie down and sleep! And I'll turn down +the light.</p> + +<p class="indent">[<i>Turns down lamp.</i></p> + +<p class="hang"><i>Nan</i>. Daddy darling! Don't put it right out; +leave a little bit if only as big as a mouse's eye, else it's so +frightening!</p> + +<p class="hang"><i>Mítritch</i> (<i>laughs</i>). All right, +all right. (<i>Sits down by her</i>.) What's there to be afraid +of?</p> + +<p class="hang"><i>Nan</i>. How can one help being frightened, +daddy! Sister did go on so! She was beating her head against the +box! (<i>Whispers</i>.) You know, I know ... a little baby is going +to be born.... It's already born, I think....</p> + +<p class="hang"><i>Mítritch</i>. Eh, what a little busybody +it is! May the frogs tick her! Must needs know everything. Lie down +and sleep! (NAN <i>lies down</i>.) That's right! (<i>Tucks her +up</i>.) That's right! There now, if you know too much you'll grow +old too soon.</p> + +<p class="hang"><i>Nan</i>. And you are going to lie on the +oven?</p> + +<p class="hang"><i>Mitrich</i>. Well, of course! What a little +silly you are, now I come to look at you! Must needs know +everything. (<i>Tucks her up again, then stands up to go</i>.) +There now, lie still and sleep!</p> + +<p class="indent">[<i>Goes up to the oven.</i></p> + +<p class="hang"><i>Nan</i>. It gave just one cry, and now there's +nothing to be heard.</p> + +<p class="hang"><i>Mítritch.</i> Oh Lord! Gracious Nicholas! +What is it you can't hear?</p> + +<p class="hang"><i>Nan</i>. The baby.</p> + +<p class="hang"><i>Mítritch</i>. There is none, that's why +you can't hear it.</p> + +<p class="hang"><i>Nan</i>. But I heard it! Blest if I didn't hear +it! Such a thin voice!</p> + +<p class="hang"><i>Mítritch</i>. 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.</p> + +<p class="hang"><i>Nan</i>. What bogey?</p> + +<p class="hang"><i>Mítritch</i>. Why, just his very self! +(<i>Climbs up on to the oven</i>.) The oven is beautifully warm +to-night. Quite a treat! Oh Lord! Gracious Nicholas!</p> + +<p class="hang"><i>Nan</i>. Daddy! are you going to sleep?</p> + +<p class="hang"><i>Mítritch</i>. What else? Do you think I'm +going to sing songs?</p> + +<p class="indent">[<i>Silence.</i></p> + +<p class="hang"><i>Nan</i>. Daddy! Daddy, I say! They are digging! +they're digging—don't you hear? Blest if they're not, they're +digging!</p> + +<p class="hang"><i>Mítritch</i>. What are you dreaming +about? Digging! Digging in the night! Who's digging? The cow's +rubbing herself, that's all. Digging indeed! Go to sleep I tell +you, else I'll just put out the light!</p> + +<p class="hang"><i>Nan</i>. Daddy darling, don't put it out! I +won't ... truly, truly, I won't. It's so frightful!</p> + +<p class="hang"><i>Mítritch</i>. Frightful? Don't be afraid +and then it won't be frightful. Look at her, she's afraid, and then +says it's frightful. How can it help being frightful if you are +afraid? Eh, what a stupid little girl!</p> + +<p class="indent">[<i>Silence. The cricket chirps.</i></p> + +<p class="hang"><i>Nan</i> (<i>whispers</i>). Daddy! I say, daddy! +Are you asleep?</p> + +<p class="hang"><i>Mítritch</i>. Now then, what d'you +want?</p> + +<p class="hang"><i>Nan</i>. What's the bogey like?</p> + +<p class="hang"><i>Mítritch</i>. Why, like this! When he +finds such a one as you, who won't sleep, he comes with a sack and +pops the girl into it, then in he gets himself, head and all, lifts +her dress, and gives her a fine whipping!</p> + +<p class="hang"><i>Nan</i>. What with?</p> + +<p class="hang"><i>Mítritch</i>. He takes a birch-broom with +him.</p> + +<p class="hang"><i>Nan</i>. But he can't see there--inside the +sack!</p> + +<p class="hang"><i>Mítritch</i>. He'll see, no fear!</p> + +<p class="hang"><i>Nan</i>. But I'll bite him.</p> + +<p class="hang"><i>Mítritch</i>. No, friend, him you can't +bite!</p> + +<p class="hang"><i>Nan</i>. Daddy, there's some one coming! Who is +it? Oh gracious goodness! Who can it be?</p> + +<p class="hang"><i>Mítritch</i>. Well, if some one's coming, +let them come! What's the matter with you? I suppose it's your +mother!</p> + +<p class="indent">[<i>Enter</i> ANÍSYA.</p> + +<p class="hang"><i>Anísya</i> (NAN <i>pretends to be +asleep</i>). Mítritch!</p> + +<p class="hang"><i>Mítritch</i>. What?</p> + +<p class="hang"><i>Anísya</i>. What's the lamp burning for? +We are going to sleep in the summer-hut.</p> + +<p class="hang"><i>Mítritch</i>. Why, you see I've only just +got straight. I'll put the light out all right.</p> + +<p class="hang"><i>Anísya</i> (<i>rummages in her box and +grumbles</i>). When a thing's wanted one never can find it!</p> + +<p class="hang"><i>Mítritch</i>. Why, what is it you are +looking for?</p> + +<p class="hang"><i>Anísya</i>. I'm looking for a cross. +Suppose it were to die unbaptized! It would be a sin, you know!</p> + +<p class="hang"><i>Mítritch</i>. Of course it would! +Everything in due order.... Have you found it?</p> + +<p class="hang"><i>Anísya</i>. Yes, I've found it.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Mítritch</i>. That's right, else I'd have +lent her mine. Oh Lord!</p> + +<p class="hang"><i>Nan</i> (<i>jumps up trembling</i>). Oh, oh, +daddy! Don't go to sleep; for goodness' sake, don't! It's so +frightful!</p> + +<p class="hang"><i>Mítritch</i>. What's frightful?</p> + +<p class="hang"><i>Nan</i>. It will die—the little baby will! At +Aunt Irene's the old woman also baptized the baby, and it died!</p> + +<p class="hang"><i>Mítritch</i>. If it dies, they'll bury +it!</p> + +<p class="hang"><i>Nan</i>. But maybe it wouldn't have died, only +old Granny Matryóna's there! Didn't I hear what granny was +saying? I heard her! Blest if I didn't!</p> + +<p class="hang"><i>Mítritch</i>. What did you hear? Go to +sleep, I tell you. Cover yourself up, head and all, and let's have +an end of it!</p> + +<p class="hang"><i>Nan</i>. If it lived, I'd nurse it!</p> + +<p class="hang"><i>Mítritch</i> (<i>roars</i>). Oh Lord!</p> + +<p class="hang"><i>Nan</i>. Where will they put it?</p> + +<p class="hang"><i>Mítritch</i>. In the right place! It's no +business of yours! Go to sleep I tell you, else mother will come; +she'll give it you!</p> + +<p class="indent">[<i>Silence.</i></p> + +<p class="hang"><i>Nan</i>. Daddy! Eh, daddy! That girl, you know, +you were telling about-they didn't kill her?</p> + +<p class="hang"><i>Mítritch</i>. That girl? Oh yes. That +girl turned out all right!</p> + +<p class="hang"><i>Nan</i>. How was it? You were saying you found +her?</p> + +<p class="hang"><i>Mítritch</i>. Well, we just found +her!</p> + +<p class="hang"><i>Nan</i>. But where did you find her? Do +tell!</p> + +<p class="hang"><i>Mítritch</i>. Why, in their own house; +that's where! We came to a village, the soldiers began hunting +about in the house, when suddenly there's that same little girl +lying on the floor, flat on her stomach. We were going to give her +a knock on the head, but all at once I felt that sorry, that I took +her up in my arms; but no, she wouldn't let me! Made herself so +heavy, quite a hundredweight, and caught hold where she could with +her hands, so that one couldn't get them off! Well, so I began +stroking her head. It was so bristly,--just like a hedgehog! So I +stroked and stroked, and she quieted down at last. I soaked a bit +of rusk and gave it her. She understood that, and began nibbling. +What were we to do with her? We took her; took her, and began +feeding and feeding her, and she got so used to us that we took her +with us on the march, and so she went about with us. Ah, she was a +fine girl!</p> + +<p class="hang"><i>Nan</i>. Yes, and not baptized?</p> + +<p class="hang"><i>Mítritch</i>. Who can tell! They used to +say, not altogether. 'Cos why, those people weren't our own.</p> + +<p class="hang"><i>Nan</i>. Germans?</p> + +<p class="hang"><i>Mítritch</i>. What an idea! Germans! Not +Germans, but Asiatics. They are just the same as Jews, but still +not Jews. Polish, yet Asiatics. Curls ... or, Curdlys is their +name.... I've forgotten what it <a name="d8-r">is!</a><sup><a href="#d8">8</a></sup> +We called the girl Sáshka. She was a fine girl, +Sáshka was! There now, I've forgotten everything I used to +know! But that girl—the deuce take her—seems to be before my eyes +now! Out of all my time of service, I remember how they flogged me, +and I remember that girl. That's all I remember! She'd hang round +one's neck, and one 'ud carry her so. That was a girl,—if you +wanted a better you'd not find one! We gave her away afterwards. +The captain's wife took her to bring up as her daughter. So—she +was all right! How sorry the soldiers were to let her go!</p> + +<p class="hang"><i>Nan</i>. There now, daddy, and I remember when +father was dying,—you were not living with us then. Well, he +called Nikíta and says, "Forgive me, Nikíta!" he +says, and begins to cry. (<i>Sighs</i>.) That also felt very +sad!</p> + +<p class="hang"><i>Mítritch</i>. Yes; there now, so it +is....</p> + +<p class="hang"><i>Nan</i>. Daddy! Daddy, I say! There they are +again, making a noise in the cellar! Oh gracious heavens! Oh dear! +Oh dear! Oh, daddy! They'll do something to it! They'll make away +with it, and it's so little! Oh, oh!</p> + +<p class="indent">[<i>Covers up her head and cries.</i></p> + +<p class="hang"><i>Mítritch</i> (<i>listening</i>). Really +they're up to some villainy, blow them to shivers! Oh, these women +are vile creatures! One can't say much for men either; but +women!... They are like wild beasts, and stick at nothing!</p> + +<p class="hang"><i>Nan</i> (<i>rising</i>). Daddy; I say, +daddy!</p> + +<p class="hang"><i>Mítritch</i>. Well, what now?</p> + +<p class="hang"><i>Nan</i>. The other day a traveller stayed the +night; he said that when an infant died its soul goes up straight +to heaven. Is that true?</p> + +<p class="hang"><i>Mítritch</i>. Who can tell? I suppose so. +Well?</p> + +<p class="hang"><i>Nan</i>. Oh, it would be best if I died too.</p> + +<p class="indent">[<i>Whimpers.</i></p> + +<p class="hang"><i>Mítritch</i>. Then you'd be off the +list!</p> + +<p class="hang"><i>Nan</i>. Up to ten one's an infant, and maybe +one's soul would go to God. Else one's sure to go to the bad!</p> + +<p class="hang"><i>Mítritch</i>. And how to the bad? How +should the likes of you not go to the bad? Who teaches you? What do +you see? What do you hear? Only vileness! I, though I've not been +taught much, still know a thing or two. I'm not quite like a +peasant woman. A peasant woman, what is she? Just mud! There are +many millions of the likes of you in Russia, and all as blind as +moles—knowing nothing! All sorts of spells: how to stop the +cattle-plague with a plough, and how to cure children by putting +them under the perches in the hen-house! That's what they know!</p> + +<p class="hang"><i>Nan</i>. Yes, mother also did that!</p> + +<p class="hang"><i>Mítritch</i>. 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!</p> + +<p class="hang"><i>Nan</i>. But I, daddy, I do know half the Lord's +Prayer!</p> + +<p class="hang"><i>Mítritch</i>. 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!</p> + +<p class="hang"><i>Nan</i>. Then what's one to do?</p> + +<p class="hang"><i>Mítritch</i>. That's what one has to +do.... You just cover up your head and sleep! Oh Lord!</p> + +<p class="indent">[<i>Silence. The cricket chirps.</i></p> + +<p class="hang"><i>Nan</i> (<i>jumps up</i>). Daddy! Some one's +screaming awfully! Blest if some one isn't screaming! Daddy +darling, it's coming here!</p> + +<p class="hang"><i>Mítritch</i>. Cover up your head, I tell +you!</p> + +<p class="indent">[<i>Enter</i> NIKÍTA, followed by +MATRYÓNA.</p> + +<p class="hang"><i>Nikíta</i>. What have they done with me? +What have they done with me?</p> + +<p class="hang"><i>Matryóna</i>. Have a drop, honey; have a +drop of drink! What's the matter?</p> + +<p class="indent">[<i>Fetches the spirits and sets the bottle +before him.</i></p> + +<p class="hang"><i>Nikíta</i>. Give it here! Perhaps the +drink will help me!</p> + +<p class="hang"><i>Matryóna</i>. Mind! They're not asleep! +Here you are, have a drop!</p> + +<p class="hang"><i>Nikíta</i>. What does it all mean? Why +did you plan it? You might have taken it somewhere!</p> + +<p class="hang"><i>Matryóna</i> (<i>whispers</i>). Sit still +a bit and drink a little more, or have a smoke. It will ease your +thoughts!</p> + +<p class="hang"><i>Nikíta</i>. My own mother! My turn seems +to have come! How it began to whimper, and how the little bones +crunched ... krr.... I'm not a man now!</p> + +<p class="hang"><i>Matryóna</i>. Eh, now, what's the use of +talking so silly! Of course it does seem fearsome at night, but +wait till the daylight comes, and a day or two passes, and you'll +forget to think of it!</p> + +<p class="indent">[<i>Goes up to</i> NIKÍTA <i>and puts her +hand on his shoulder.</i></p> + +<p class="hang"><i>Nikíta</i>. Go away from me! What have +you done with me?</p> + +<p class="hang"><i>Matryóna</i>. Come, come, sonny! Now, +really, what's the matter with you?</p> + +<p class="indent">[<i>Takes his hand.</i></p> + +<p class="hang"><i>Nikíta</i>. Go away from me! I'll kill +you! It's all one to me now! I'll kill you!</p> + +<p class="hang"><i>Matryóna</i>. Oh, oh, how frightened he's +got! You should go and have a sleep now!</p> + +<p class="hang"><i>Nikíta</i>. I have nowhere to go; I'm +lost!</p> + +<p class="hang"><i>Matryóna</i> (<i>shaking her head</i>). +Oh, oh, I'd better go and tidy things up. He'll sit and rest a bit, +and it will pass!</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="indent">[NIKÍTA <i>sits with his face in his +hands.</i> MÍTRITCH <i>and</i> NAN <i>seem stunned.</i></p> + +<p class="hang"><i>Nikíta</i>. It's whining! It's whining! +It is really—there, there, quite plain! She'll bury it, really she +will! (<i>Runs to the door</i>.) Mother, don't bury it, it's +alive....</p> + +<p class="indent">[<i>Enter</i> MATRYÓNA.</p> + +<p class="hang"><i>Matryóna</i> (<i>whispers</i>). Now then, +what is it? Heaven help you! Why won't you get to rest? How can it +be alive? All its bones are crushed!</p> + +<p class="hang"><i>Nikíta</i>. Give me more drink.</p> + +<p class="indent">[<i>Drinks.</i></p> + +<p class="hang"><i>Matryóna</i>. Now go, sonny. You'll fall +asleep now all right.</p> + +<p class="hang"><i>Nikíta</i> (<i>stands listening</i>). +Still alive ... there ... it's whining! Don't you hear?... +There!</p> + +<p class="hang"><i>Matryóna</i> (<i>whispers</i>). No! I +tell you!</p> + +<p class="hang"><i>Nikíta</i>. Mother! My own mother! I've +ruined my life! What have you done with me? Where am I to go?</p> + +<p class="indent">[<i>Runs out of the hut;</i> MATRYÓNA +<i>follows him.</i></p> + +<p class="hang"><i>Nan</i>. Daddy dear, darling, they've smothered +it!</p> + +<p class="hang"><i>Mítritch</i> (<i>angrily</i>). Go to +sleep, I tell you! Oh dear, may the frogs kick you! I'll give it to +you with the broom! Go to sleep, I tell you!</p> + +<p class="hang"><i>Nan</i>. Daddy, my treasure! Something is +catching hold of my shoulders, something is catching hold with its +paws! Daddy dear ... really, really ... I must go! Daddy, darling! +let me get up on the oven with you! Let me, for Heaven's sake! +Catching hold ... catching hold! Oh!</p> + +<p class="indent">[<i>Runs to the stove.</i></p> + +<p class="hang"><i>Mítritch</i>. See how they've frightened +the girl.... What vile creatures they are! May the frogs kick them! +Well then, climb up. <i>Nan</i> (<i>climbs on oven</i>). But don't +you go away! <i>Mítritch</i>. Where should I go to? Climb +up, climb up! Oh Lord! Gracious Nicholas! Holy Mother!... How they +have frightened the girl. (<i>Covers her up</i>.) There's a little +fool—really a little fool! How they've frightened her; really, +they are vile creatures! The deuce take 'em!</p> + +<p class="hang">CURTAIN</p> + +<h4>END OF VARIATION</h4> + +<hr> + +<h3><a name="act5">ACT V</a></h3> + +<h4>SCENE I</h4> + +<p class="hang"><i>In front of scene a stack-stand, to the left a +thrashing ground, to the right a barn. The barn doors are open. +Straw is strewn about in the doorway. The hut with yard and +out-buildings is seen in the background, whence proceed sounds of +singing and of a tambourine. Two</i> GIRLS <i>are walking past the +barn towards the hut.</i></p> + +<p class="hang"><i>First Girl</i>. There, you see we've managed to +pass without so much as getting our boots dirty! But to come by the +street is terribly muddy! (<i>Stop and wipe their boots on the +straw.</i> FIRST GIRL <i>looks at the straw and sees something</i> +.) What's that?</p> + +<p class="hang"><i>Second Girl</i> (<i>looks where the straw lies +and sees some one</i>). It's Mítritch, their laborer. Just +look how drunk he is!</p> + +<p class="hang"><i>First Girl</i>. Why, I thought be didn't +drink.</p> + +<p class="hang"><i>Second Girl</i>. It seems he didn't, until it +was going around. <i>First Girl</i>. Just see! He must have come to +fetch some straw. Look! he's got a rope in his hand, and he's +fallen asleep.</p> + +<p class="hang"><i>Second Girl</i> (<i>listening</i>). They're +still singing the <a name="d9-r">praises.</a><sup><a href="#d9">9</a> +</sup> So I s'pose the bride and bridegroom have not yet +been blessed! They say Akoulína didn't even +<a name="d10-r">lament!</a><sup><a href="#d10">10</a></sup></p> + +<p class="hang"><i>First Girl</i>. Mammie says she is marrying +against her will. Her stepfather threatened her, or else she'd not +have done it for the world! Why, you know what they've been saying +about her?</p> + +<p class="hang"><i>Marína</i> (<i>catching up the</i> +GIRLS). How d'you you do, lassies?</p> + +<p class="hang"><i>Girls</i>. How d'you do?</p> + +<p class="hang"><i>Marína</i>. Going to the wedding, my +dears?</p> + +<p class="hang"><i>First Girl</i>. It's nearly over! We've come +just to have a look.</p> + +<p class="hang"><i>Marína</i>. Would you call my old man for +me? Simon, from Zoúevo; but surely you know him?</p> + +<p class="hang"><i>First Girl</i>. To be sure we do; he's a +relative of the bridegroom's, I think?</p> + +<p class="hang"><i>Marína</i>. Of course; he's my old man's +nephew, the bridegroom is.</p> + +<p class="hang"><i>Second Girl</i>. Why don't you go yourself? +Fancy not going to a wedding!</p> + +<p class="hang"><i>Marína</i>. I have no mind for it, and no +time either. It's time for us to be going home. We didn't mean to +come to the wedding. We were taking oats to town. We only stopped +to feed the horse, and they made my old man go in.</p> + +<p class="hang"><i>First Girl</i>. Where did you put up then? At +Fyódoritch's?</p> + +<p class="hang"><i>Marína</i>. Yes. Well then, I'll stay +here and you go and call him, my dear—my old man. Call him, my +pet, and say "Your missis, Marína, says you must go now!" +His mates are harnessing.</p> + +<p class="hang"><i>First Girl</i>. Well, all right—if you won't go +in yourself.</p> + +<p class="indent">[<i>The</i> GIRLS <i>go away towards the house +along a footpath. Sounds of songs and tambourine.</i></p> + +<p class="hang"><i>Marína</i> (<i>alone, stands +thinking</i>). I might go in, but I don't like to, because I have +not met him since that day he threw me over. It's more than a year +now. But I'd have liked to have a peep and see how he lives with +his Anísya. People say they don't get on. She's a coarse +woman, and with a character of her own. I should think he's +remembered me more than once. He's been caught by the idea of a +comfortable life and has changed me for it. But, God help him, I +don't cherish ill-will! Then it hurt! Oh dear, it was pain! But now +it's worn away and been forgotten. But I'd like to have seen him. +(<i>Looks towards hut and sees</i> NIKÍTA.) Look there! Why, +he is coming here! Have the girls told him? How's it he has left +his guests? I'll go away! (NIKÍTA <i>approaches, hanging his +head down, swinging his arms, and muttering</i>.) And how sullen he +looks!</p> + +<p class="hang"><i>Nikíta</i> (<i>sees and recognises +MARÍNA</i>). Marína, dearest friend, little +Marína, what do you want?</p> + +<p class="hang"><i>Marína</i>. I have come for my old +man.</p> + +<p class="hang"><i>Nikíta</i>. Why didn't you come to the +wedding? You might have had a look round, and a laugh at my +expense!</p> + +<p class="hang"><i>Marína</i>. What have I to laugh at? I've +come for my husband.</p> + +<p class="hang"><i>Nikíta</i>. Ah, Marína dear!</p> + +<p class="indent">[<i>Tries to embrace her.</i></p> + +<p class="hang"><i>Marína</i> (<i>steps angrily aside</i>). +You'd better drop that sort of thing, Nikíta! What has been +is past! I've come for my husband. Is he in your house?</p> + +<p class="hang"><i>Nikíta</i>. So I must not remember the +past? You won't let me?</p> + +<p class="hang"><i>Marína</i>. It's no use recalling the +past! What used to be is over now!</p> + +<p class="hang"><i>Nikíta</i>. And can never come back, you +mean?</p> + +<p class="hang"><i>Marína</i>. And will never come back! But +why have you gone away? You, the master,—and to go away from the +feast!</p> + +<p class="hang"><i>Nikíta</i> (<i>sits down on the +straw</i>). Why have I gone away? Eh, if you knew, if you had any +idea.... I'm dull, Marína, so dull that I wish my eyes would +not see! I rose from the table and left them, to get away from the +people. If I could only avoid seeing any one!</p> + +<p class="hang"><i>Marína</i> (<i>coming nearer to him</i>). +How's that?</p> + +<p class="hang"><i>Nikíta</i>. This is how it is: when I +eat, it's there! When I drink, it's there! When I sleep, it's +there! I'm so sick of it—so sick! But it's chiefly because I'm all +alone that I'm so sick, Marína. I have no one to share my +trouble.</p> + +<p class="hang"><i>Marína</i>. You can't live your life +without trouble, Nikíta. However, I've wept over mine and +wept it away.</p> + +<p class="hang"><i>Nikíta</i>. The former, the old trouble! +Ah, dear friend, you've wept yours away, and I've got mine up to +there!</p> + +<p class="indent">[<i>Puts his hand to his throat.</i></p> + +<p class="hang"><i>Marína</i>. But why?</p> + +<p class="hang"><i>Nikíta</i>. Why, I'm sick of my whole +life! I am sick of myself! Ah, Marína, why did you not know +how to keep me? You've ruined me, and yourself too! Is this +life?</p> + +<p class="hang"><i>Marína</i> (<i>stands by the barn crying, +but restrains herself</i>). I do not complain of my life, +Nikíta! God grant every one a life like mine. I do not +complain. I confessed to my old man at the time, and he forgave me. +And he does not reproach me. I'm not discontented with my life. The +old man is quiet, and is fond of me, and I keep his children +clothed and washed! He is really kind to me. Why should I complain? +It seems God willed it so. And what's the matter with your life? +You are rich....</p> + +<p class="hang"><i>Nikíta</i>. My life!... It's only that I +don't wish to disturb the wedding feast, or I'd take this rope here +(<i>takes hold of the rope on the straw</i>) and throw it across +that rafter there. Then I'd make a noose and stretch it out, and +I'd climb on to that rafter and jump down with my head in the +noose! That's what my life is!</p> + +<p class="hang"><i>Marína</i>. That's enough! Lord help +you!</p> + +<p class="hang"><i>Nikíta</i>. You think I'm joking? You +think I'm drunk? I'm not drunk! To-day even drink takes no hold on +me! I'm devoured by misery! Misery is eating me up completely, so +that I care for nothing! Oh little Marína, it's only with +you I ever lived! Do you remember how we used to while away the +nights together at the railway?</p> + +<p class="hang"><i>Marína</i>. Don't you rub the sores, +Nikíta! I'm bound legally now, and you too. My sin has been +forgiven, don't disturb...</p> + +<p class="hang"><i>Nikíta</i>. What shall I do with my +heart? Where am I to turn to?</p> + +<p class="hang"><i>Marína</i>. What's there to be done? +You've got a wife. Don't go looking at others, but keep to your +own! You loved Anísya, then go on loving her!</p> + +<p class="hang"><i>Nikíta</i>. Oh, that Anísya, she's +gall and wormwood to me, but she's round my feet like rank +weeds!</p> + +<p class="hang"><i>Marína</i>. Whatever she is, still she's +your wife.... But what's the use of talking; you'd better go to +your visitors, and send my husband to me.</p> + +<p class="hang"><i>Nikíta</i>. Oh dear, if you knew the +whole business... but there's no good talking!</p> + +<p class="indent">[<i>Enter</i> MARÍNA'S <i>husband, red and +tipsy, and</i> NAN.</p> + +<p class="hang"><i>Marína's Husband</i>. Marína! +Missis! My old woman! are you here?</p> + +<p class="hang"><i>Nikíta</i>. There's your husband calling +you. Go!</p> + +<p class="hang"><i>Marína</i>. And you?</p> + +<p class="hang"><i>Nikíta</i>. I? I'll lie down here for a +bit!</p> + +<p class="indent">[<i>Lies down on the straw.</i></p> + +<p class="hang"><i>Husband</i>. Where is she then?</p> + +<p class="hang"><i>Nan</i>. There she is, near the barn.</p> + +<p class="hang"><i>Husband</i>. What are you standing there for? +Come to the feast! The hosts want you to come and do them honor! +The wedding party is just going to start, and then we can go +too.</p> + +<p class="hang"><i>Marína</i> (<i>going towards her +husband</i>). I didn't want to go in.</p> + +<p class="hang"><i>Husband</i>. Come on, I tell you! You'll drink a +glass to our nephew Peter's health, the rascal! Else the hosts +might take offense! There's plenty of time for our business.</p> + +<p class="indent">[MARÍNA'S <i>husband puts his arm around +her, and goes reeling out with her.</i></p> + +<p class="hang"><i>Nikíta</i> (<i>rises and sits down on the +straw</i>). Ah, now that I've seen her, life seems more sickening +than ever! It was only with her that I ever really lived! I've +ruined my life for nothing! I've done for myself! (<i>Lies +down</i>.) Where can I go? If mother earth would but open and +swallow me!</p> + +<p class="hang"><i>Nan</i> (<i>sees</i> NIKÍTA, <i>and runs +towards him</i>). Daddy, I say, daddy! They're looking for you! Her +godfather and all of them have already blessed her. Truly they +have, they're getting cross!</p> + +<p class="hang"><i>Nikíta</i> (<i>aside</i>). Where can I go +to?</p> + +<p class="hang"><i>Nan</i>. What? What are you saying?</p> + +<p class="hang"><i>Nikíta</i>. I'm not saying anything! +Don't bother!</p> + +<p class="hang"><i>Nan</i>. Daddy! Come, I say! (NIKÍTA +<i>is silent</i>, NAN <i>pulls him by the hand</i>.) Dad, go and +bless them! My word, they're angry, they're grumbling!</p> + +<p class="hang"><i>Nikíta</i> (<i>drags away his hand</i>). +Leave me alone!</p> + +<p class="hang"><i>Nan</i>. Now then!</p> + +<p class="hang"><i>Nikíta</i> (<i>threatens her with the +rope</i>). Go, I say! I'll give it you!</p> + +<p class="hang"><i>Nan</i>. Then I'll send mother!</p> + +<p class="indent">[<i>Runs away.</i></p> + +<p class="hang"><i>Nikíta</i> (<i>rises</i>). How can I go? +How can I take the holy icón in my hands? How am I to look +her in the face! (<i>Lies down again</i>.) Oh, if there were a hole +in the ground, I'd jump in! No one should see me, and I should see +no one! (<i>Rises again</i>.) No, I shan't go.... May they all go +to the devil, I shan't go! (<i>Takes the rope and makes a noose, +and tries it on his neck</i>.) That's the way!</p> + +<p class="indent">[<i>Enter</i> MATRYÓNA. NIKÍTA +<i>sees his mother, takes the rope off his neck, and again lies +down in the straw.</i></p> + +<p class="hang"><i>Matryóna</i> (<i>comes in hurriedly</i>). +Nikíta! Nikíta, I say! He don't even answer! +Nikíta, what's the matter? Have you had a drop too much? +Come, Nikíta dear; come, honey! The people are tired of +waiting.</p> + +<p class="hang"><i>Nikíta</i>. Oh dear, what have you done +with me? I'm a lost man!</p> + +<p class="hang"><i>Matryóna</i>. But what is the matter +then? Come, my own; come, give them your blessing, as is proper and +honorable, and then it'll all be over! Why, the people are +waiting!</p> + +<p class="hang"><i>Nikíta</i>. How can I give blessings?</p> + +<p class="hang"><i>Matryóna</i>. Why, in the usual way! +Don't you know?</p> + +<p class="hang"><i>Nikíta</i>. I know, I know! But who is it +I am to bless? What have I done to her?</p> + +<p class="hang"><i>Matryóna</i>. What have you done? Eh, now +he's going to remember it! Why, who knows anything about it? Not a +soul! And the girl is going of her own accord.</p> + +<p class="hang"><i>Nikíta</i>. Yes, but how?</p> + +<p class="hang"><i>Matryóna</i>. Because she's afraid, of +course. But still she's going. Besides, what's to be done now? She +should have thought sooner! Now she can't refuse. And his kinsfolks +can't take offense either. They saw the girl twice, and get money +with her too! It's all safe and sound!</p> + +<p class="hang"><i>Nikíta</i>. Yes, but what's in the +cellar?</p> + +<p class="hang"><i>Matryóna</i> (<i>laughs</i>). In the +cellar? Why, cabbages, mushrooms, potatoes, I suppose! Why remember +the past?</p> + +<p class="hang"><i>Nikíta</i>. I'd be only too glad to +forget it; but I can't! When I let my mind go, it's just as if I +heard.... Oh, what have you done with me?</p> + +<p class="hang"><i>Matryóna</i>. Now, what are you +humbugging for?</p> + +<p class="hang"><i>Nikíta</i> (<i>turns face downward</i>). +Mother! Don't torment me! I've got it up to there!</p> + +<p class="indent">[<i>Puts his hand to his throat.</i></p> + +<p class="hang"><i>Matryóna</i>. Still it has to be done! As +it is, people are talking. "The master's gone away and won't come; +he can't make up his mind to give his blessing." They'll be putting +two and two together. As soon as they see you're frightened they'll +begin guessing. "The thief none suspect who walks bold and erect!" +But you'll be getting out of the frying-pan into the fire! Above +all, lad, don't show it; don't lose courage, else they'll find out +all the more!</p> + +<p class="hang"><i>Nikíta</i>. Oh dear! You have snared me +into a trap!</p> + +<p class="hang"><i>Matryóna</i>. 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!</p> + +<p class="hang"><i>Nikíta</i> (<i>lies face down</i>). I +can't!</p> + +<p class="hang"><i>Matryóna</i> (<i>aside</i>). What has +come over him? He seemed all right, and suddenly this comes over +him! It seems he's bewitched! Get up, Nikíta! See! There's +Anísya coming; she's left her guests!</p> + +<p class="indent">[ANÍSYA <i>enters, dressed up, red and +tipsy.</i></p> + +<p class="hang"><i>Anísya</i>. Oh, how nice it is, mother! +So nice, so respectable! And how the people are pleased.... But +where is he?</p> + +<p class="hang"><i>Matryóna</i>. Here, honey, he's here; +he's laid down on the straw and there he lies! He won't come!</p> + +<p class="hang"><i>Nikíta</i> (<i>looking at his wife</i>). +Just see, she's tipsy too! When I look at her my heart seems to +turn! How can one live with her? (<i>Turns on his face</i>.) I'll +kill her some day! It'll be worse then!</p> + +<p class="hang"><i>Anísya</i>. Only look, how he's got all +among the straw! Is it the drink? (<i>Laughs</i>.) I'd not mind +lying down there with you, but I've no time! Come, I'll lead you! +It is so nice in the house! It's a treat to look on! A concertina! +And the women singing so well! All tipsy! Everything so +respectable, so nice!</p> + +<p class="hang"><i>Nikíta</i>. What's nice?</p> + +<p class="hang"><i>Anísya</i>. 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!</p> + +<p class="indent">[<i>Takes his hand.</i></p> + +<p class="hang"><i>Nikíta</i>. (<i>pulls it back with +disgust</i>). Go alone! I'll come!</p> + +<p class="hang"><i>Anísya</i>. What, are you humbugging for? +We've got rid of all the bother, we've got rid of her as came +between us; now we have nothing to do but to live and be merry! And +all so respectable, and quite legal! I'm so pleased! I have no +words for it! It's just as if I were going to marry you over again! +And oh, the people, they <i>are</i> pleased! They're all thanking +us! And the guests are all of the best: Iván +Mosévitch is there, and the Police Officer; they've also +been singing songs of praise!</p> + +<p class="hang"><i>Nikíta</i>. Then you should have stayed +with them! What have you come for?</p> + +<p class="hang"><i>Anísya</i>. True enough, I must go back! +Else what does it look like! The hosts both go and leave the +visitors! And the guests are all of the best!</p> + +<p class="hang"><i>Nikíta</i> (<i>gets up and brushes the +straw off himself</i>). Go, and I'll come at once!</p> + +<p class="hang"><i>Matryóna</i>. Just see! He listens to the +young bird, but wouldn't listen to the old one! He would not hear +me, but he follows his wife at once! (MATRYÓNA <i>and</i> +ANÍSYA <i>turn to go.</i>) Well, are you coming?</p> + +<p class="hang"><i>Nikíta</i>. I'll come directly! You go +and I'll follow! I'll come and give my blessing! (<i>The women +stop</i>.) Go on! I'll follow! Now then, go! (<i>Exit women. Sits +down and takes his boots off</i>.) Yes, I'm going! A likely thing! +No, you'd better look at the rafter for me! I'll fix the noose and +jump with it from the rafter, then you can look for me! And the +rope is here just handy. (<i>Ponders</i>.) I'd have got over it, +over any sorrow—I'd have got over that. But this now—here it is, +deep in my heart, and I can't get over it! (<i>Looks towards the +yard</i>.) Surely she's not coming back? (<i>Imitates</i> +ANÍSYA.) "So nice, so nice. I'd lie down here with you." Oh, +the baggage! Well, then, here I am! Come and cuddle when they've +taken me down from the rafter! There's only one way!</p> + +<p class="indent">[<i>Takes the rope and pulls it.</i></p> + +<p class="indent">[MÍTRITCH, who is tipsy, sits up and won't +let go of the rope.</p> + +<p class="hang"><i>Mítritch</i>. Shan't give it up! Shan't +give it to no one! I'll bring it myself! I said I'd bring the +straw—and so I will! Nikíta, is that you? (<i>Laughs</i>.) +Oh, the devil! Have you come to get the straw?</p> + +<p class="hang"><i>Nikíta</i>. Give me the rope!</p> + +<p class="hang"><i>Mítritch</i>. No, you wait a bit! The +peasants sent me! I'll bring it.... (<i>Rises to his feet and +begins getting the straw together, but reels for a time, then +falls</i>.) It has beaten me. It's stronger....</p> + +<p class="hang"><i>Nikíta</i>. Give me the rope!</p> + +<p class="hang"><i>Mítritch</i>. Didn't I say I won't! Oh, +Nikíta, you're as stupid as a hog! (<i>Laughs</i>.) I love +you, but you're a fool! You see that I'm drunk ... devil take you! +You think I need you?... You just look at me; I'm a Non ... fool, +can't say it—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!</p> + +<p class="hang"><i>Nikíta</i> (<i>crossing himself</i>). +True enough! What was I about?</p> + +<p class="indent">[<i>Throws down the rope.</i></p> + +<p class="hang"><i>Mítritch</i>. What?</p> + +<p class="hang"><i>Nikíta</i> (<i>rises</i>). You tell me +not to fear men?</p> + +<p class="hang"><i>Mítritch</i>. Why fear such muck as they +are? You look at 'em in the bath-house! All made of one paste! One +has a bigger belly, another a smaller; that's all the difference +there is! Fancy being afraid of 'em! Deuce take 'em!</p> + +<p class="hang"><i>Matryóna</i> (<i>from the yard</i>). +Well, are you coming?</p> + +<p class="hang"><i>Nikíta</i>. Ah! Better so! I'm +coming!</p> + +<p class="indent">[<i>Goes towards yard.</i></p> + +<h4>SCENE II</h4> + +<p class="hang"><i>Interior of hut, full of people, some sitting +round tables and others standing. In the front corner</i> +AKOULÍNA <i>and the</i> BRIDEGROOM. On one of the tables an +Icon and a loaf of rye-bread. Among the visitors are MARÍNA, +her husband, and a POLICE OFFICER, also a HIRED DRIVER, <i>the</i> +MATCHMAKER, and the BEST MAN. <i>The women are singing.</i> +ANÍSYA <i>carries round the drink. The singing +stops.</i></p> + +<p class="hang"><i>The Driver</i>. If we are to go, let's go! The +church ain't so near.</p> + +<p class="hang"><i>The Best Man</i>. All right; you wait a bit till +the step-father has given his blessing. But where is he?</p> + +<p class="hang"><i>Anísya</i>. He is coming—coming at once, +dear friends! Have another glass, all of you; don't refuse!</p> + +<p class="hang"><i>The Matchmaker</i>. Why is he so long? We've +been waiting such a time!</p> + +<p class="hang"><i>Anísya</i>. He's coming; coming directly, +coming in no time! He'll be here before one could plait a girl's +hair who's had her hair cropped! Drink, friends! (<i>Offers the +drink</i>.) Coming at once! Sing again, my pets, meanwhile!</p> + +<p class="hang"><i>The Driver</i>. They've sung all their songs, +waiting here!</p> + +<p class="indent">[<i>The women sing.</i> NIKÍTA <i>and</i> +AKÍM <i>enter during the singing.</i></p> + +<p class="hang"><i>Nikíta</i> (<i>holds his father's arm and +pushes him in before him</i>). Go, father; I can't do without +you!</p> + +<p class="hang"><i>Akím</i>. I don't like—I mean what d'ye +call it....</p> + +<p class="hang"><i>Nikíta</i> (<i>to the women</i>). Enough! +Be quiet! (<i>Looks round the hut</i>.) Marína, are you +there?</p> + +<p class="hang"><i>The Matchmaker</i>. Go, take the icón, +and give them your blessing!</p> + +<p class="hang"><i>Nikíta</i>. Wait a while! (<i>Looks +round</i>.) Akoulína, are you there?</p> + +<p class="hang"><i>Matchmaker</i>. What are you calling everybody +for? Where should she be? How queer he seems!</p> + +<p class="hang"><i>Anísya</i>. Gracious goodness! Why, he's +barefoot!</p> + +<p class="hang"><i>Nikíta</i>. Father, you are here! Look at +me! Christian Commune, you are all here, and I am here! I +am....</p> + +<p class="indent">[<i>Falls on his knees.</i></p> + +<p class="hang"><i>Anísya</i>. Nikíta, darling, +what's the matter with you? Oh, my head, my head!</p> + +<p class="hang"><i>Matchmaker</i>. Here's a go!</p> + +<p class="hang"><i>Matryóna</i>. I did say he was taking too +much of that French wine! Come to your senses; what are you +about?</p> + +<p class="indent">[<i>They try to lift him; he takes no heed of +them, but looks in front of him.</i></p> + +<p class="hang"><i>Nikíta</i>. Christian Commune! I have +sinned, and I wish to confess!</p> + +<p class="hang"><i>Matryóna</i> (<i>shakes him by the +shoulder</i>). Are you mad? Dear friends, he's gone crazy! He must +be taken away!</p> + +<p class="hang"><i>Nikíta</i> (<i>shakes her off</i>). Leave +me alone! And you, father, hear me! And first, Marína, look +here! (<i>Bows to the ground to her and rises</i>.) I have sinned +towards you! I promised to marry you, I tempted you, and forsook +you! Forgive me, in Christ's name!</p> + +<p class="indent">[<i>Again bows to the ground before her.</i></p> + +<p class="hang"><i>Anísya</i>. And what are you drivelling +about? It's not becoming! No one wants to know! Get up! It's like +your impudence!</p> + +<p class="hang"><i>Matryóna</i>. Oh, oh, he's bewitched! And +however did it happen? It's a spell! Get up! what nonsense are you +jabbering?</p> + +<p class="indent">[<i>Pulls him.</i></p> + +<p class="hang"><i>Nikíta</i> (<i>shakes his head</i>). +Don't touch me! Forgive me my sin towards you, Marína! +Forgive me, for Christ's sake!</p> + +<p class="indent">[MARÍNA <i>covers her face with her hands +in silence.</i></p> + +<p class="hang">Anísya. Get up, I tell you! Don't be so +impudent! What are you thinking about—to recall it? Enough humbug! +It's shameful! Oh my poor head! He's quite crazy!</p> + +<p class="hang"><i>Nikíta</i> (<i>pushes his wife away and +turns to</i> AKOULÍNA). Akoulína, now I'll speak to +you! Listen, Christian Commune! I'm a fiend, Akoulína! I +have sinned against you! Your father died no natural death! He was +poisoned!</p> + +<p class="hang"><i>Anísya</i> (<i>screams</i>). Oh my head! +What's he about?</p> + +<p class="hang"><i>Matryóna</i>. The man's beside himself! +Lead him away!</p> + +<p class="indent">[<i>The folk come up and try to seize +him.</i></p> + +<p class="hang"><i>Akím</i> (<i>motions them back with his +arms</i>). Wait! You lads, what d'ye call it, wait, I mean!</p> + +<p class="hang"><i>Nikíta</i>. Akoulína, I poisoned +him! Forgive me, in Christ's name!</p> + +<p class="hang"><i>Akoulína</i> (<i>jumps up</i>). He's +telling lies! I know who did it!</p> + +<p class="hang"><i>Matchmaker</i>. What are you about? You sit +still!</p> + +<p class="hang"><i>Akím</i>. Oh Lord, what sins, what +sins!</p> + +<p class="hang"><i>Police Officer</i>. Seize him, and send for the +Elder! We must draw up an indictment and have witnesses to it! Get +up and come here!</p> + +<p class="hang"><i>Akím</i> (<i>to</i> POLICE OFFICER). Now +you—with the bright buttons—I mean, you wait! Let him, what d'ye +call it, speak out, I mean!</p> + +<p class="hang"><i>Police Officer</i>. Mind, old man, and don't +interfere! I have to draw up an indictment!</p> + +<p class="hang"><i>Akím</i>. Eh, what a fellow you are; +wait, I say! Don't talk, I mean, about, what d'ye call it, +'ditements' Here God's work is being done.... A man is confessing, +I mean! And you, what d'ye call it ... 'ditements!</p> + +<p class="hang"><i>Police Officer</i>. The Elder!</p> + +<p class="hang"><i>Akím</i>. Let God's work be done, I mean, +and then you. I mean you, do your business!</p> + +<p class="hang"><i>Nikíta</i>. And, Akoulína, my sin +is great towards you; I seduced you; forgive me in Christ's +name!</p> + +<p class="indent">[<i>Bows to the ground before her.</i></p> + +<p class="hang"><i>Akoulína</i> (<i>leaves the table</i>). +Let me go! I shan't be married! He told me to, but I shan't +now!</p> + +<p class="hang"><i>Police Officer</i>. Repeat what you have +said.</p> + +<p class="hang"><i>Nikíta</i>. Wait, sir, let me finish!</p> + +<p class="hang"><i>Akím</i> (<i>with rapture</i>). Speak, my +son! Tell everything—you'll feel better! Confess to God, don't +fear men! God—God! It is He!</p> + +<p class="hang"><i>Nikíta</i>. I poisoned the father, dog +that I am, and I ruined the daughter! She was in my power, and I +ruined her, and her baby!</p> + +<p class="hang"><i>Akoulína</i>. True, that's true!</p> + +<p class="hang"><i>Nikíta</i>. I smothered the baby in the +cellar with a board! I sat on it and smothered it—and its bones +crunched! (<i>Weeps</i>.) And I buried it! I did it, all alone!</p> + +<p class="hang"><i>Akoulína</i>. He raves! I told him +to!</p> + +<p class="hang"><i>Nikíta</i>. Don't shield me! I fear no +one now! Forgive me, Christian Commune!</p> + +<p class="indent">[<i>Bows to the ground.</i></p> + +<p class="indent">[<i>Silence.</i></p> + +<p class="hang"><i>Police Officer</i>. Bind him! The marriage is +evidently off!</p> + +<p class="indent">[<i>Men come up with their belts.</i></p> + +<p class="hang"><i>Nikíta</i>. Wait, there's plenty of time! +(<i>Bows to the ground before his father</i>.) 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!</p> + +<p class="hang"><i>Akím</i> (<i>rapturously</i>). God will +forgive you, my own son! (<i>Embraces him</i>.) You have had no +mercy on yourself; He will show mercy on you! God—God! It is +He!</p> + +<p class="indent">[<i>Enter</i> ELDER.</p> + +<p class="hang"><i>Elder</i>. There are witnesses enough here.</p> + +<p class="hang"><i>Police Officer</i>. We will have the examination +at once.</p> + +<p class="indent">[NIKÍTA <i>is bound.</i></p> + +<p class="hang"><i>Akoulína</i>. (<i>goes and stands by his +side</i>). I shall tell the truth! Ask me!</p> + +<p class="hang"><i>Nikíta</i> (<i>bound</i>). No need to +ask! I did it all myself. The design was mine, and the deed was +mine. Take me where you like. I will say no more!</p> + +<p class="hang">CURTAIN</p> + +<hr> + +<h4>FOOTNOTES FOR<i> THE POWER OF DARKNESS</i></h4> + +<a name="d1">1.</a> It is +customary to place a dying person under the icón. One or +more icóns hang in the hut of each Orthodox peasant. (<a href="#d1-r">Return</a>) +<p class="hang"> + +<a name="d2">2.</a> +Peasant weddings are usually in autumn. They are forbidden in Lent, +and soon after Easter the peasants become too busy to marry till +harvest is over. (<a href="#d2-r">Return</a>) +(<a href="#f19">Return to <i>FRUITS OF CULTURE</i></a>) +</p> +<p class="hang"> + +<a name="d3">3.</a> A formal request for +forgiveness is customary among Russians, but it is often no mere +formality. Nikíta's first reply is evasive; his second +reply, "God will forgive you," is the correct one sanctioned by +custom. (<a href="#d3-r">Return</a>) </p> +<p class="hang"> + +<a name="d4">4.</a> Loud public +wailing of this kind is customary, and considered indispensable, +among the peasants. (<a href="#d4-r">Return</a>) </p> +<p class="hang"> + +<a name="d5">5.</a> Where not otherwise mentioned +in the stage directions, it is always +the winter half of the hut that is referred to as "the hut." The +summer half is not heated, and not used in winter under ordinary +circumstances. (<a href="#d5-r">Return</a>) </p> +<p class="hang"> + +<a name="d6">6.</a> The Foundlings' Hospital in +Moscow, where 80 to 90 percent of the children die. (<a href="#d6-r">Return</a>) +</p> +<p class="hang"> + +<a name="d7">7.</a> Nan calls Mítritch +"daddy" merely as a term of endearment. (<a href="#d7-r">Return</a>) +</p> +<p class="hang"> + +<a name="d8">8.</a> Probably Kurds (<a href="#d8-r">Return</a>) +</p> +<p class="hang"> + +<a name="d9">9.</a> This refers to the songs +customary at the wedding of Russian peasants, praising the bride +and bridegroom. (<a href="#d9-r">Return</a>) </p> +<p class="hang"> + +<a name="d10">10.</a> It is etiquette for a bride to bewail the +approaching loss of her maidenhood. (<a href="#d10-r">Return</a>)</p> + +<h4>END OF <i>THE POWER OF DARKNESS</i></h4> + +<hr> + +<p> </p> + +<h1><a name="fruits">FRUITS OF CULTURE</a></h1> + +<h3>CHARACTERS</h3> + +<p class="hang">LEONÍD FYÓDORITCH ZVEZDÍNTSEF. <i>A retired +Lieutenant of the Horse Guards. Owner of more than 60,000 acres of +land in various provinces. A fresh-looking, bland, agreeable +gentleman of 60. Believes in Spiritualism, and likes to astonish +people with his wonderful stories.</i></p> + +<p class="hang">ANNA PÁVLOVNA ZVEZDÍNTSEVA. <i>Wife of +Leoníd. Stout; pretends to be young; quite taken up with the +conventionalities of life; despises her husband, and blindly +believes in her doctor. Very irritable.</i></p> + +<p class="hang">BETSY. <i>Their daughter. A young woman of 20, fast, tries to be +mannish, wears a pince-nez, flirts and giggles. Speaks very quickly +and distinctly.</i></p> + +<p class="hang">VASÍLY LEONÍDITCH ZVEZDÍNTSEF. <i>Their +son, aged 25; has studied law, but has no definite occupation. +Member of the Cycling Club, Jockey Club, and of the Society for +Promoting the Breeding of Hounds. Enjoys perfect health, and has +imperturbable self-assurance. Speaks loud and abruptly. Is either +perfectly serious—almost morose, or is noisily gay and laughs +loud. Is nicknamed Vovo.</i></p> + +<p class="hang">ALEXÉY VLADÍMIROVITCH KROUGOSVÉTLOF. <i>A +professor and scientist of about 50, with quiet and pleasantly +self-possessed manners, and quiet, deliberate, harmonious speech. +Likes to talk. Is mildly disdainful of those who do not agree with +him. Smokes much. Is lean and active.</i></p> + +<p class="hang">THE DOCTOR. <i>About 40. Healthy, fat, red-faced, loud-voiced, +and rough; with a self-satisfied smile constantly on his +lips.</i></p> + +<p class="hang">MÁRYA KONSTANTÍNOVNA. <i>A girl of 20, from the +Conservatoire, teacher of music. Wears a fringe, and is +super-fashionably dressed. Obsequious, and gets easily +confused.</i></p> + +<p class="hang">PETRÍSTCHEF. <i>About 28; has taken his degree in +philology, and is looking out for a position. Member of the same +clubs as Vasíly Leoníditch, and also of the Society +for the Organisation of Calico <a name="f1-r">Balls</a>.</i><sup> +<a href="#f1">1</a></sup> <i>Is bald-headed, quick in movement and +speech, and very polite.</i></p> + +<p class="hang">THE BARONESS. <i>A pompous lady of about 50, slow in her +movements, speaks with monotonous intonation.</i></p> + +<p class="hang">THE PRINCESS. <i>A society woman, a visitor.</i></p> + +<p class="hang">HER DAUGHTER. <i>An affected young society woman, a +visitor.</i></p> + +<p class="hang">THE COUNTESS. <i>An ancient dame, with false hair and teeth. +Moves with great difficulty.</i></p> + +<p class="hang">GROSSMAN. <i>A dark, nervous, lively man of Jewish type. Speaks +very loud.</i></p> + +<p class="hang">THE FAT LADY: MÁRYA VASÍLYEVNA TOLBOÚHINA. +<i>A very distinguished, rich, and kindly woman, acquainted with +all the notable people of the last and present generations. Very +stout. Speaks hurriedly, trying to be heard above every one else. +Smokes.</i></p> + +<p class="hang">BARON KLÍNGEN (<i>nicknamed</i> KOKO). <i>A graduate of +Petersburg University. Gentleman of the Bedchamber, Attaché +to an Embassy. Is perfectly correct in his deportment, and +therefore enjoys peace of mind and is quietly gay.</i></p> + +<p class="hang">TWO SILENT LADIES.</p> + +<p class="hang">SERGÉY IVÁNITCH SAHÁTOF. <i>About 50, an +ex-Assistant Minister of State. An elegant gentleman, of wide +European culture, engaged in nothing and interested in everything. +His carriage is dignified and at times even severe.</i></p> + +<p class="hang">THEODORE IVÁNITCH. <i>Personal attendant on Zvezdíntsef, +aged about 60. A man of some education and fond of information. +Uses his pince-nez and pocket-handkerchief too much, unfolding the +latter very slowly. Takes an interest in politics. Is kindly and +sensible.</i></p> + +<p class="hang">GREGORY. <i>A footman, about 28, handsome, profligate, envious, +and insolent.</i> </p> + +<p class="hang">JACOB. <i>Butler, about 40, a bustling, kindly +man, to whom the interests of his family in the village are +all-important.</i></p> + +<p class="hang">SIMON. <i>The butler's assistant, about 20, a healthy, fresh, +peasant lad, fair, beardless as yet; calm and smiling.</i></p> + +<p class="hang">THE COACHMAN. <i>A man of about 35, a dandy. Has moustaches but +no beard. Rude and decided.</i></p> + +<p class="hang">A DISCHARGED MAN-COOK. <i>About 45, dishevelled, unshaved, +bloated, yellow and trembling. Dressed in a ragged, light +summer-overcoat and dirty trousers. Speaks hoarsely, ejecting the +words abruptly.</i></p> + +<p class="hang">THE SERVANTS' COOK. <i>A talkative, dissatisfied woman of +30.</i></p> + +<p class="hang">THE DOORKEEPER. <i>A retired soldier.</i></p> + +<p class="hang">TÁNYA (TATYÁNA MÁRKOVNA). <i>Lady's-maid, +19, energetic, strong, merry, with quickly-changing moods. At +moments, when strongly excited, she shrieks with joy.</i></p> + +<p class="hang">FIRST PEASANT. <i>About 60. Has served as village Elder. +Imagines that he knows how to treat gentlefolk, and likes to hear +himself talk.</i></p> + +<p class="hang">SECOND PEASANT. <i>About 45, head of a family. A man of few +words. Rough and truthful. The father of Simon.</i></p> + +<p class="hang">THIRD PEASANT. <i>About 70. Wears shoes of plaited bast. Is +nervous, restless, hurried, and tries to cover his confusion by +much talking.</i></p> + +<p class="hang">FIRST FOOTMAN (<i>in attendance on the Countess</i>). <i>An old +man, with old-fashioned manners, and proud of his place.</i></p> + +<p class="hang">SECOND FOOTMAN. <i>Of enormous size, strong, and rude.</i></p> + +<p class="hang">A PORTER FROM A FASHIONABLE DRESSMAKER'S SHOP. <i>A fresh-faced +man in dark-blue long coat. Speaks firmly, emphatically, and +clearly.</i></p> + +<p> </p> + +<p class="hang"><i>The action takes place in Moscow, in Zvesdíntsef's +house.</i></p> + +<h3>ACT I</h3> + +<p class="hang"><i>The entrance hall of a wealthy house in Moscow. +There are three doors: the front door, the door of</i> +LEONÍD FYÓDORITCH'S <i>study, and the door of</i> +VASÍLY LEONÍDITCH'S <i>room. A staircase leads up to +the other rooms; behind it is another door leading to the servants' +quarters.</i></p> + +<h4>SCENE I</h4> + +<p class="hang"><i>Gregory</i> (<i>looks at himself in the glass +and arranges his hair, etc</i>.). I am sorry about those moustaches +of mine! "Moustaches are not becoming to a footman," she says! And +why? Why, so that any one might see you're a footman,—else my +looks might put her darling son to shame. He's a likely one! +There's not much fear of his coming anywhere near me, moustaches or +no moustaches! (<i>Smiling into the glass</i>.) And what a lot of +'em swarm round me. And yet I don't care for any of them as much as +for that Tánya. And she only a lady's-maid! Ah well, she's +nicer than any young lady. (<i>Smiles</i>.) She's a duck! +(<i>Listening</i>.) Ah, here she comes. (<i>Smiles</i>.) Yes, +that's her, clattering with her little heels. Oh!</p> + +<p class="indent">[<i>Enter</i> TÁNYA, carrying a cloak and +boots.</p> + +<p class="hang"><i>Gregory</i>. My respects to you, Tatyána +Márkovna.</p> + +<p class="hang"><i>Tánya</i>. What are you always looking in +the glass for? Do you think yourself so good-looking?</p> + +<p class="hang"><i>Gregory</i>. Well, and are my looks not +agreeable?</p> + +<p class="hang"><i>Tánya</i>. So, so; neither agreeable nor +disagreeable, but just betwixt and between! Why are all those +cloaks hanging there?</p> + +<p class="hang"><i>Gregory</i>. I am just going to put them away, +your lady-ship! (<i>Takes down a fur cloak and, wrapping it round +her, embraces her</i>.) I say, Tánya, I'll tell you +something....</p> + +<p class="hang"><i>Tánya</i>. Oh, get away, do! What do you +mean by it? (<i>Pulls herself angrily away</i>.) Leave me alone, I +tell you!</p> + +<p class="hang"><i>Gregory</i> (<i>looks cautiously around</i>). +Then give me a kiss!</p> + +<p class="hang"><i>Tánya</i>. Now, really, what are you +bothering for? I'll give you such a kiss!</p> + +<p class="indent">[<i>Raises her hand to strike.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i> (<i>off the +scene, rings and then shouts</i>). Gregory!</p> + +<p class="hang"><i>Tánya</i>. There now, go! Vasíly +Leoníditch is calling you.</p> + +<p class="hang"><i>Gregory</i>. He'll wait! He's only just opened +his eyes! I say, why don't you love me?</p> + +<p class="hang"><i>Tánya</i>. What sort of loving have you +imagined now? I don't love anybody.</p> + +<p class="hang"><i>Gregory</i>. That's a fib. You love Simon! You +have found a nice one to love—a common, dirty-pawed peasant, +a butler's assistant!</p> + +<p class="hang"><i>Tánya</i>. Never mind; such as he is, you +are jealous of him!</p> + +<p class="hang"><i>Vasíly Leoníditch</i> (<i>off the +scene</i>). Gregory!</p> + +<p class="hang"><i>Gregory</i>. All in good time.... Jealous +indeed! Of what? Why, you have only just begun to get licked into +shape, and who are you tying yourself up with? Now, wouldn't it be +altogether a different matter if you loved me?.... I say, +Tánya....</p> + +<p class="hang"><i>Tánya</i> (<i>angrily and severely</i>). +You'll get nothing from me, I tell you!</p> + +<p class="hang"><i>Vasíly Leoníditch</i> (<i>off the +scene</i>). Gregory!</p> + +<p class="hang"><i>Gregory</i>. You're mighty particular, ain't +you?</p> + +<p class="hang"><i>Vasíly Leoníditch</i> (<i>off the +scene, shouts persistently, monotonously, and with all his +might</i>) Gregory! Greg—ory! Gregory!</p> + +<p class="indent">[TÁNYA <i>and</i> GREGORY +<i>laugh</i>.</p> + +<p class="hang"><i>Gregory</i>. You should have seen the girls that +have been sweet on me.</p> + +<p class="indent">[<i>Bell rings.</i></p> + +<p class="hang"><i>Tánya</i>. Well then, go to them, and +leave me alone!</p> + +<p class="hang"><i>Gregory</i>. You are a silly, now I think of it. +I'm not Simon!</p> + +<p class="hang"><i>Tánya</i>. Simon means marriage, and not +tomfoolery!</p> + +<p class="indent"> [<i>Enter</i> PORTER, c<i>arrying a large +cardboard box.</i></p> + +<p class="hang"><i>Porter</i>. Good morning!</p> + +<p class="hang"><i>Gregory</i>. Good morning! Where are you +from?</p> + +<p class="hang"><i>Porter</i>. From Bourdey's. I've brought a +dress, and here's a note for the lady.</p> + +<p class="hang"><i>Tánya</i> (<i>taking the note</i>). Sit +down, and I'll take it in.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="indent">[VASÍLY LEONÍDITCH <i>looks out of +the door in shirt-sleeves and slippers.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i>. +Gregory!</p> + +<p class="hang"><i>Gregory</i>. Yes, sir.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Gregory! +Don't you hear me call?</p> + +<p class="hang"><i>Gregory</i>. I've only just come, sir.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Hot water, +and a cup of tea.</p> + +<p class="hang"><i>Gregory</i>. Yes, sir; Simon will bring them +directly.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. And who is +this? Ah, from Bourdier?</p> + +<p class="hang"><i>Porter</i>. Yes, sir.</p> + +<p class="hang">[<i>Exeunt</i> VASÍLY LEONÍDITCH <i>and</i> +GREGORY. Bell rings. TÁNYA <i>runs in at the sound of the +bell and opens the front door.</i></p> + +<p class="hang"><i>Tánya</i> (<i>to</i> PORTER). Please wait +a little. <i>Porter</i>. I am waiting.</p> + +<p class="indent">[SAHÁTOF <i>enters at front door.</i></p> + +<p class="hang"><i>Tánya</i>. I beg your pardon, but the +footman has just gone away. This way, sir. Allow me, please.</p> + +<p class="indent">[<i>Takes his fur cloak.</i></p> + +<p class="hang"><i>Sahátof</i> (<i>adjusting his +clothes</i>). Is Leoníd Fyódoritch at home? Is he +up?</p> + +<p class="indent">[<i>Bell rings.</i></p> + +<p class="hang"><i>Tánya</i>. Oh yes, sir. He's been up a +long time.</p> + +<p class="indent">[DOCTOR <i>enters and looks around for the +footman. Sees</i> SAHÁTOF <i>and addresses him in an offhand +manner.</i></p> + +<p class="hang"><i>Doctor</i>. Ah, my respects to you!</p> + +<p class="hang"><i>Sahátof</i> (<i>looks fixedly at +him</i>). The Doctor, I believe?</p> + +<p class="hang"><i>Doctor</i>. And I thought you were abroad! +Dropped in to see Leoníd Fyódoritch?</p> + +<p class="hang"><i>Sahátof</i>. Yes. And you? Is any one +ill?</p> + +<p class="hang"><i>Doctor</i> (<i>laughing</i>). Not exactly ill +but, you know.... It's awful with these ladies! Sits up at cards +till three every morning, and pulls her waist into the shape of a +wine-glass. And the lady is flabby and fat, and carries the weight +of a good many years on her back.</p> + +<p class="hang"><i>Sahátof</i>. Is this the way you state +your diagnosis to Anna Pávlovna? I should hardly think it +quite pleases her!</p> + +<p class="hang"><i>Doctor</i> (<i>laughing</i>). Well, it's the +truth. They do all these tricks—and then come derangements of +the digestive organs, pressure on the liver, nerves, and all sorts +of things, and one has to come and patch them up. It's just awful! +(<i>Laughs</i>.) And you? You are also a spiritualist, it +seems?</p> + +<p class="hang"><i>Sahátof</i>. I? No, I am not also a +spiritualist.... Good morning!</p> + +<p class="indent">[<i>Is about to go, but is stopped by the</i> +DOCTOR.</p> + +<p class="hang"><i>Doctor</i>. No! But I can't myself, you know, +positively deny the possibility of it, when a man like +Krougosvétlof is connected with it all. How can one? Is he +not a professor,—a European celebrity? There must be +something in it. I should like to see for myself, but I never have +the time. I have other things to do.</p> + +<p class="hang"><i>Sahátof</i>. Yes, yes! Good morning.</p> + +<p class="indent">[<i>Exit, bowing slightly.</i></p> + +<p class="hang"><i>Doctor</i> (<i>to</i> Tánya). Is Anna +Pávlovna up?</p> + +<p class="hang"><i>Tánya</i>. She's in her bedroom, but +please come up.</p> + +<p class="indent">[DOCTOR <i>goes upstairs.</i></p> + +<p class="indent">[THEODORE IVÁNITCH <i>enters with a +newspaper In his hand.</i></p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>to</i> PORTER). What is it you +want?</p> + +<p class="hang"><i>Porter</i>. I'm from Bourdey's. I brought a +dress and a note, and was told to wait.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Ah, from +Bourdey's! (<i>To</i> Tánya.) Who came in just now?</p> + +<p class="hang"><i>Tánya</i>. It was Sergéy +Ivánitch Sahátof and the Doctor. They stood talking +here a bit. It was all about spiritalism.</p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>correcting +her</i>). Spirit<i>u</i>alism.</p> + +<p class="hang"><i>Tánya</i>. Yes, that's just what I +said—spiritalism. Have you heard how well it went off last +time, Theodore Ivánitch? (<i>Laughs</i>). There was knocks, +and things flew about!</p> + +<p class="hang"><i>Theodore Ivánitch</i>. And how do +<i>you</i> know?</p> + +<p class="hang"><i>Tánya</i>. Miss Elizabeth told me.</p> + +<p class="indent">[JACOB <i>runs in with a tumbler of tea on a +tray.</i></p> + +<p class="hang"><i>Jacob</i> (<i>to the</i> PORTER). Good +morning!</p> + +<p class="hang"><i>Porter</i> (<i>disconsolately</i>). Good +morning!</p> + +<p class="indent">[JACOB <i>knocks at</i> VASÍLY +LEONÍDITCH'S <i>door.</i></p> + +<p class="indent">[GREGORY <i>enters.</i></p> + +<p class="hang"><i>Gregory</i>. Give it here.</p> + +<p class="hang"><i>Jacob</i>. You didn't bring back all yesterday's +tumblers, nor the tray Vasíly Leoníditch had. And +it's me that have to answer for them!</p> + +<p class="hang"><i>Gregory</i>. The tray is full of cigars.</p> + +<p class="hang"><i>Jacob</i>. Well, put them somewhere else. It's +me who's answerable for it.</p> + +<p class="hang"><i>Gregory</i>. I'll bring it back! I'll bring it +back!</p> + +<p class="hang"><i>Jacob</i>. Yes, so you say, but it is not where +it ought to be. The other day, just as the tea had to be served, it +was not to be found.</p> + +<p class="hang"><i>Gregory</i>. I'll bring it back, I tell you. +What a fuss!</p> + +<p class="hang"><i>Jacob</i>. It's easy for you to talk. Here am I +serving tea for the third time, and now there's the lunch to get +ready. One does nothing but rush about the livelong day. Is there +any one in the house who has more to do than me? Yet they are never +satisfied with me.</p> + +<p class="hang"><i>Gregory</i>. Dear me! Who could wish for any one +more satisfactory? You're such a fine fellow!</p> + +<p class="hang"><i>Tánya</i>. Nobody is good enough for you! +You alone....</p> + +<p class="hang"><i>Gregory</i> (<i>to</i> TÁNYA). No one +asked your opinion!</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Jacob</i>. Ah, well, I don't mind. +Tatyána Márkovna, did the mistress say anything about +yesterday?</p> + +<p class="hang"><i>Tánya</i>. About the lamp, you mean?</p> + +<p class="hang"><i>Jacob</i>. And how it managed to drop out of my +hands, the Lord only knows! Just as I began rubbing it, and was +going to take hold of it in another place, out it slips and goes +all to pieces. It's just my luck! It's easy for that Gregory +Miháylitch to talk—a single man like him! But when one +has a family, one has to consider things: they have to be fed. I +don't mind work.... So she didn't say anything? The Lord be +thanked!... Oh, Theodore Ivánitch, have you one spoon or +two?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. One. Only one!</p> + +<p class="indent">[<i>Reads newspaper.</i></p> + +<p class="indent">[<i>Exit</i> JACOB.</p> + +<p class="indent">[<i>Bell rings. Enter</i> GREGORY <i>carrying a +tray and the</i> DOORKEEPER.</p> + +<p class="hang"><i>Doorkeeper</i> (<i>to</i> GREGORY). Tell the +master some peasants have come from the village.</p> + +<p class="hang"><i>Gregory</i> (<i>pointing to</i> THEODORE +IVÁNITCH). Tell the major-domo here, it's his business. I +have no time.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Tánya</i>. Where are these peasants +from?</p> + +<p class="hang"><i>Doorkeeper</i>. From Koursk, I think.</p> + +<p class="hang"><i>Tánya</i>. (<i>shrieks with delight</i>). +It's them.... It's Simon's father come about the land! I'll go and +meet them!</p> + +<p class="indent">[<i>Runs off.</i></p> + +<p class="hang"><i>Doorkeeper</i>. Well, then what shall I say to +them? Shall they come in here? They say they've come about the +land—the master knows, they say.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Yes, they want to +purchase some land. All right! But he has a visitor now, so you had +better tell them to wait.</p> + +<p class="hang"><i>Doorkeeper</i>. Where shall they wait?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Let them wait +outside. I'll send for them when the time comes.</p> + +<p class="indent">[<i>Exit</i> DOORKEEPER.</p> + +<p class="indent">[<i>Enter</i> TÁNYA, followed by three +PEASANTS.</p> + +<p class="hang"><i>Tánya</i>. To the right. In here! In +here!</p> + +<p class="hang"><i>Theodore Ivánitch</i>. I did not want +them brought in here!</p> + +<p class="hang"><i>Gregory</i>. Forward minx!</p> + +<p class="hang"><i>Tánya</i>. Oh, Theodore Ivánitch, +it won't matter, they'll stand in this corner.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. They'll dirty the +floor.</p> + +<p class="hang"><i>Tánya</i>. They've scraped their shoes, +and I'll wipe the floor up afterwards. (<i>To</i> PEASANTS.) Here, +stand just here.</p> + +<p class="indent">[PEASANTS <i>come forward, carrying presents tied +in cotton handkerchiefs: cake, eggs and embroidered towels. They +look around for an icón before which to cross themselves; +not finding one, they cross themselves, looking at the +staircase.</i></p> + +<p class="hang"><i>Gregory</i> (<i>to</i> THEODORE +IVÁNITCH). There now, Theodore Ivánitch, they say +Pironnet's boots are an elegant shape. But those there are ever so +much better.</p> + +<p class="indent">[<i>Pointing to the third</i> PEASANT'S <i>bast +shoes.</i></p> + +<p class="hang"><i>Theodore Ivánitch</i>. Why will you +always be ridiculing people?</p> + +<p class="indent">[<i>Exit</i> GREGORY.</p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>rises and goes +up to the</i> PEASANTS). So you are from Koursk? And have come to +arrange about buying some land?</p> + +<p class="hang"><i>First Peasant</i>. Just so. We might say, it is +for the completion of the purchase of the land we have come. How +could we announce ourselves to the master?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Yes, yes, I know. +You wait a bit and I'll go and inform him.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="indent">[<i>The</i> PEASANTS <i>look around; they are +embarrassed where to put their presents.</i></p> + +<p class="hang"><i>First Peasant</i>. There now, couldn't we have +what d'you call it? Something to present these here things on? To +do it in a genteel way, like,—a little dish or something.</p> + +<p class="hang"><i>Tánya</i>. All right, directly; put them +down here for the present.</p> + +<p class="indent">[<i>Puts bundles on settle.</i></p> + +<p class="hang"><i>First Peasant</i>. There now,—that +respectable gentleman that was here just now,—what might be +his station?</p> + +<p class="hang"><i>Tánya</i>. He's the master's valet.</p> + +<p class="hang"><i>First Peasant</i>. I see. So he's also in +service. And you, now, are you a servant too?</p> + +<p class="hang"><i>Tánya</i>. I am lady's-maid. Do you know, +I also come from Démen! I know you, and you, but I don't +know him.</p> + +<p class="indent">[<i>Pointing to third</i> PEASANT.</p> + +<p class="hang"><i>Third Peasant</i>. Them two you know, but me you +don't know?</p> + +<p class="hang"><i>Tánya</i>. You are Efím +Antónitch.</p> + +<p class="hang"><i>First Peasant</i>. That's just it!</p> + +<p class="hang"><i>Tánya</i>. And you are Simon's father, +Zachary Trifánitch.</p> + +<p class="hang"><i>Second Peasant</i>. Right!</p> + +<p class="hang"><i>Third Peasant</i>. And let me tell you, I'm +Mitry Vlásitch Tchilikin. Now do you know?</p> + +<p class="hang"><i>Tánya</i>. Now I shall know you too!</p> + +<p class="hang"><i>Second Peasant</i>. And who may you be?</p> + +<p class="hang"><i>Tánya</i>. I am Aksínya's, the +soldier's wife's, orphan.</p> + +<p class="hang"><i>First and Third Peasants</i> (<i>with +surprise</i>). Never!</p> + +<p class="hang"><i>Second Peasant</i>. The proverb says true: "Buy +a penny pig, put it in the rye, And you'll have a wonderful fat +porker by-and-by."</p> + +<p class="hang"><i>First Peasant</i>. That's just it! She's got the +resemblance of a duchess!</p> + +<p class="hang"><i>Third Peasant</i>. That be so truly. Oh +Lord!</p> + +<p class="hang"><i>Vasíly Leoníditch</i> (<i>off the +scene, rings, and then shouts</i>). Gregory! Gregory!</p> + +<p class="hang"><i>First Peasant</i>. Now who's that, for example, +disturbing himself in such a way, if I may say so?</p> + +<p class="hang"><i>Tánya</i>. That's the young master.</p> + +<p class="hang"><i>Third Peasant</i>. Oh Lord! Didn't I say we'd +better wait outside until the time comes?</p> + +<p class="indent">[<i>Silence.</i></p> + +<p class="hang"><i>Second Peasant</i>. Is it you, Simon wants to +marry?</p> + +<p class="hang"><i>Tánya</i>. Why, has he been writing?</p> + +<p class="indent">[<i>Hides her face in her apron.</i></p> + +<p class="hang"><i>Second Peasant</i>. It's evident he's written! +But it's a bad business he's imagined here. I see the lad's got +spoilt!</p> + +<p class="hang"><i>Tánya</i> (<i>quickly</i>). No, he's not +at all spoilt! Shall I send him to you?</p> + +<p class="hang"><i>Second Peasant</i>. Why send him? All in good +time. Where's the hurry?</p> + +<p class="hang"><i>Vasíly Leoníditch</i> +(<i>desperately, behind scene</i>). Gregory! Where the devil are +you?...</p> + +<p class="indent">[<i>Enters from his room in shirt-sleeves, +adjusting his pince-nez.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Is every +one dead?</p> + +<p class="hang"><i>Tánya</i>. He's not here, sir.... I'll +send him to you at once.</p> + +<p class="indent">[<i>Moves towards the back door.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i>. I could +hear you talking, you know. How have these scarecrows sprung up +here? Eh? What?</p> + +<p class="hang"><i>Tánya</i>. They're peasants from the +Koursk village, sir.</p> + +<p class="indent">[PEASANTS <i>bow.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i>. And who is +this? Oh yes, from Bourdier.</p> + +<p class="indent">[VASÍLY LEONÍDITCH <i>pays no +attention to the</i> PEASANTS' <i>bow.</i> TÁNYA +<i>meets</i> GREGORY <i>at the doorway and remains on the +scene.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i> (<i>to</i> +GREGORY). I told you the other boots.... I can't wear these!</p> + +<p class="hang"><i>Gregory</i>. Well, the others are also +there.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. But where +is <i>there</i>?</p> + +<p class="hang"><i>Gregory</i>. Just in the same place!</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. They're +not!</p> + +<p class="hang"><i>Gregory</i>. Well, come and see.</p> + +<p class="indent">[<i>Exeunt</i> GREGORY <i>and</i> VASÍLY +LEONÍDITCH.</p> + +<p class="hang"><i>Third Peasant</i>. Say, now, might we not in the +meantime just go and wait, say, in some lodging-house or +somewhere?</p> + +<p class="hang"><i>Tánya</i>. No, no, wait a little. I'll go +and bring you some plates to put the presents on.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="indent">[<i>Enter</i> SAHÁTOF <i>and</i> +LEONÍD FYÓDORITCH, followed by THEODORE +IVÁNITCH.</p> + +<p class="indent">[<i>The</i> PEASANTS <i>take up the presents, and +pose themselves.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i> (<i>to</i> +PEASANTS). Presently, presently! Wait a bit! (<i>Points to</i> +PORTER.) Who is this?</p> + +<p class="hang"><i>Porter</i>. From Bourdey's.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Ah, from +Bourdier.</p> + +<p class="hang"><i>Sahátof</i> (<i>smiling</i>). Well, I +don't deny it: still you understand that, never having seen it, we, +the uninitiated, have some difficulty in believing.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. You say you +find it difficult to believe! We do not ask for faith; all we +demand of you is to investigate! How can I help believing in this +ring? Yet this ring came from there!</p> + +<p class="hang"><i>Sahátof</i>. From <i>there?</i> What do +you mean? From where?</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. From the +other world. Yes!</p> + +<p class="hang"><i>Sahátof</i> (<i>smiling</i>). That's very +interesting—very interesting!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Well, +supposing we admit that I'm a man carried away by an idea, as you +think, and that I am deluding myself. Well, but what of +Alexéy Vladímiritch Krougosvétlof—he is +not just an ordinary man, but a distinguished professor, and yet he +admits it to be a fact. And not he alone. What of Crookes? What of +Wallace?</p> + +<p class="hang"><i>Sahátof</i>. But I don't deny anything. I +only say it is very interesting. It would be interesting to know +how Krougosvétlof explains it!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. 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?</p> + +<p class="hang"><i>Sahátof</i>. Yes, I have heard of him but +have never happened to meet him.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Then you +must come! We shall first have Grossman, then Kaptchítch, +and our mediumistic séance.... (<i>To</i> THEODORE +IVÁNITCH.) Has the man returned from Kaptchítch?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Not yet, sir.</p> + +<p class="hang"><i>Sahátof</i>. Then how am I to know?</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Never mind, +come in any case! If Kaptchitch can't come we shall find our own +medium. Márya Ignátievna is a medium—not such a +good one as Kaptchítch, but still....</p> + +<p class="indent">[TÁNYA <i>enters with plates for the +presents, and stands listening.</i></p> + +<p class="hang"><i>Sahátof</i> (<i>smiling</i>). Oh, yes, +yes. But here is one puzzling point:—how is it that the +mediums are always of the, so-called, educated class, such as +Kaptchítch and Márya Ignátievna? If there were +such a special force, would it not be met with also among the +common people—the peasants?</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Oh yes, and +it is! That is very common. Even here in our own house we have a +peasant whom we discovered to be a medium. A few days ago we called +him in—a sofa had to be moved, during a +séance—and we forgot all about him. In all probability +he fell asleep. And, fancy, after our séance was over and +Kaptchítch had come to again, we suddenly noticed +mediumistic phenomena in another part of the room, near the +peasant: the table gave a jerk and moved!</p> + +<p class="hang"><i>Tánya</i> (<i>aside</i>). That was when I +was getting out from under it!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. It is quite +evident he also is a medium. Especially as he is very like Home in +appearance. You remember Home—a fair-haired naïf sort of +fellow?</p> + +<p class="hang"><i>Sahátof</i> (<i>shrugging his +shoulders</i>). Dear me, this is very interesting, you know. I +think you should try him.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. So we will! +And he is not alone; there are thousands of mediums, only we do not +know them. Why, only a short time ago a bedridden old woman moved a +brick wall!</p> + +<p class="hang"><i>Sahátof</i>. Moved a brick ... a brick +wall?</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Yes, yes. +She was lying in bed, and did not even know she was a medium. She +just leant her arm against the wall, and the wall moved!</p> + +<p class="hang"><i>Sahátof</i>. And did not cave in?</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. And did not +cave in.</p> + +<p class="hang"><i>Sahátof</i>. Very strange! Well, then, +I'll come this evening.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Pray, do. +We shall have a séance in any case.</p> + +<p class="indent">[SAHATOF <i>puts on his outdoor things;</i> +LEONÍD FYÓDORITCH <i>sees him to the door.</i></p> + +<p class="hang"><i>Porter</i> (<i>to</i> TÁNYA). Do tell +your mistress! Am I to spend the night here?</p> + +<p class="hang"><i>Tánya</i>. Wait a little; she's going to +drive out with the young lady, so she'll soon be coming +downstairs.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i> (<i>comes up +to the</i> PEASANTS, who bow and offer him their presents). That's +not necessary!</p> + +<p class="hang"><i>First Peasant</i> (<i>smiling</i>). Oh, but +this-here is our first duty, it is! It's also the Commune's orders +that we should do it!</p> + +<p class="hang"><i>Second Peasant</i>. That's always been the +proper way.</p> + +<p class="hang"><i>Third Peasant</i>. Say no more about it! 'Cause +as we are much satisfied.... As our parents, let's say, served, +let's say, your parents, so we would like the same with all our +hearts ... and not just anyhow!</p> + +<p class="indent">[<i>Bows.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. But what is +it about? What do you want?</p> + +<p class="hang"><i>First Peasant</i>. It's to your honor we've +come....</p> + +<p class="indent">[<i>Enter</i> PETRÍSTCHEF <i>briskly, in +fur-lined overcoat.</i></p> + +<p class="hang"><i>Petrístchef</i>. Is Vasíly +Leoníditch awake yet?</p> + +<p class="indent">[<i>Seeing</i> LEONÍD FYÓDORITCH, +<i>bows, moving only his head.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. You have +come to see my son?</p> + +<p class="hang"><i>Petrístchef</i>. I? Yes, just to see Vovo +for a moment.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Step in, +step in.</p> + +<p class="indent">[PETRÍSTCHEF <i>takes off his overcoat and +walks in briskly. Exit.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i> (<i>to</i> +PEASANTS). Well, what is it you want?</p> + +<p class="hang"><i>Second Peasant</i>. Please accept our +presents!</p> + +<p class="hang"><i>First Peasant</i> (<i>smiling</i>). That's to +say, the peasants' offerings.</p> + +<p class="hang"><i>Third Peasant</i>. Say no more about it; what's +the good? We wish you the same as if you were our own father! Say +no more about it!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. All right. +Here, Theodore, take these.</p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>to</i> +PEASANTS). Give them here.</p> + +<p class="indent">[<i>Takes the presents.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Well, what +is the business?</p> + +<p class="hang"><i>First Peasant</i>. We've come to your +honor....</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. I see you +have; but what do you want?</p> + +<p class="hang"><i>First Peasant</i>. It's about making a move +towards completing the sale of the land. It comes to this....</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Do you mean +to buy the land?</p> + +<p class="hang"><i>First Peasant</i>. That's just it. It comes to +this.... I mean the buying of the property of the land. The Commune +has given us, let's say, the power of atturning, to enter, let's +say, as is lawful, through the Government bank, with a stamp for +the lawful amount.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. You mean +that you want to buy the land through the land-bank.</p> + +<p class="hang"><i>First Peasant</i>. That's just it. Just as you +offered it to us last year. It comes to this, then, the whole sum +in full for the buying of the property of the land is 32,864 +roubles.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. That's all +right, but how about paying up?</p> + +<p class="hang"><i>First Peasant</i>. As to the payment, the +Commune offers just as it was said last year—to pay in +'stalments, and your receipt of the ready money by lawful +regulations, 4000 roubles in <a name="f2-r">full.</a> +<sup><a href="#f2">2</a></sup></p> + +<p class="hang"><i>Second Peasant</i>. Take 4000 now, and wait for +the rest of the money.</p> + +<p class="hang"><i>Third Peasant</i> (<i>unwrapping a parcel of +money</i>). And about this be quite easy. We should pawn our own +selves rather than do such a thing just anyhow say, but in this +way, let's say, as it ought to be done.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. But did I +not write and tell you that I should not agree to it unless you +brought the whole sum?</p> + +<p class="hang"><i>First Peasant</i>. That's just it. It would be +more agreeable, but it is not in our possibilities, I mean.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Well then, +the thing can't be done!</p> + +<p class="hang"><i>First Peasant</i>. The Commune, for example, +relied its hopes on that, that you made the offer last year to sell +it in easy 'stalments....</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. That was +last year. I would have agreed to it then, but now I can't.</p> + +<p class="hang"><i>Second Peasant</i>. But how's that? We've been +depending on your promise—we've got the papers ready and have +collected the money!</p> + +<p class="hang"><i>Third Peasant</i>. Be merciful, master! We're +short of land; we'll say nothing about cattle, but even a hen, +let's say, we've no room to keep. (<i>Bows</i>.) Don't wrong us, +master!</p> + +<p class="indent">[<i>Bows.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Of course +it's quite true, that I agreed last year to let you have the land +for payment by instalments, but now circumstances are such that it +would be inconvenient.</p> + +<p class="hang"><i>Second Peasant</i>. Without this land we cannot +live!</p> + +<p class="hang"><i>First Peasant</i>. That's just it. Without land +our lives must grow weaker and come to a decline.</p> + +<p class="hang"><i>Third Peasant</i> (<i>bowing</i>). Master, we +have so little land, let's not talk about the cattle, but even a +chicken, let's say, we've no room for. Master, be merciful, accept +the money, master!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i> +(<i>examining the document</i>). I quite understand, and should +like to help you. Wait a little; I will give you an answer in +half-an-hour.... Theodore, say I am engaged and am not to be +disturbed.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Yes, sir.</p> + +<p class="indent">[<i>Exit</i> LEONÍD FYODORITCH.</p> + +<p class="indent">[<i>The</i> PEASANTS <i>look dejected.</i></p> + +<p class="hang"><i>Second Peasant</i>. Here's a go! "Give me the +whole sum," he says. And where are we to get it from?</p> + +<p class="hang"><i>First Peasant</i>. If he had not given us hopes, +for example. As it is we felt quite insured it would be as was said +last year.</p> + +<p class="hang"><i>Third Peasant</i>. Oh, Lord! and I had begun +unwrapping the money. (<i>Begins wrapping up the bundle of +bank-notes again</i>.) What are we to do now?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. What is your +business, then?</p> + +<p class="hang"><i>First Peasant</i>. Our business, respected sir, +depends in this. Last year he made us the offer of our buying the +land in 'stalments. The Commune entered upon these terms and gave +us the powers of atturning, and now d'you see he makes the offering +that we should pay the whole in full! And as it turns out, the +business is no ways convenient for us.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. What is the whole +sum?</p> + +<p class="hang"><i>First Peasant</i>. The whole sum in readiness is +4000 roubles, you see.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Well, what of +that? Make an effort and collect more.</p> + +<p class="hang"><i>First Peasant</i>. Such as it is, it was +collected with much effort. We have, so to say, in this sense, not +got ammunition enough.</p> + +<p class="hang"><i>Second Peasant</i>. You can't get blood out of a +stone.</p> + +<p class="hang"><i>Third Peasant</i>. We'd be glad with all our +hearts, but we have swept even this together, as you might say, +with a broom.</p> + +<p class="indent">[VASÍLY LEONÍDITCH <i>and</i> +PETRÍSTCHEF <i>appear in the doorway both smoking +cigarettes.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i>. I have told +you already I'll do my best, so, of course, I will do all that is +possible! Eh, what?</p> + +<p class="hang"><i>Petrístchef</i>. You must just understand +that if you do not get it, the devil only knows what a mess we +shall be in!</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. But I've +already said I'll do my best, and so I will. Eh, what?</p> + +<p class="hang"><i>Petrístchef</i>. Nothing. I only say, get +some at any cost; I will wait.</p> + +<p class="indent">[<i>Exit into</i> VASÍLY +LEONÍDITCH'S <i>room, closing door.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i> (<i>waving +his arm</i>). It's a deuce of a go!</p> + +<p class="indent">[<i>The</i> PEASANTS <i>bow.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i> (<i>looking +at</i> PORTER, <i>to</i> THEODORE IVÁNITCH). Why don't you +attend to this fellow from Bourdier? He hasn't come to take +lodgings with us, has he? Just look, he is asleep! Eh, what?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. The note he +brought has been sent in, and he has been told to wait until Anna +Pávlovna comes down.</p> + +<p class="hang"><i>Vasíly Leoníditch</i> (<i>looks +at</i> PEASANTS <i>and notices the money</i>). And what is this? +Money? For whom? Is it for us? (<i>To</i> THEODORE +IVÁNITCH.) Who are they?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. They are peasants +from Koursk. They are buying land.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Has it been sold +them?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. No, they have not +yet come to any agreement. They are too stingy?</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Eh? Well, +we must try and persuade them. (<i>To the</i> PEASANTS.) Here, I +say, are you buying land? Eh?</p> + +<p class="hang"><i>First Peasant</i>. That's just it. We have made +an offering as how we should like to acquire the possession of the +land.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Then you +should not be so stingy, you know. Just let me tell you how +necessary land is to peasants! Eh, what? It's very necessary, isn't +it?</p> + +<p class="hang"><i>First Peasant</i>. That's just it. The land +appears as the very first and foremost necessity to a peasant. +That's just it.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Then why be +so stingy? Just you think what land is! Why, one can sow wheat on +it in rows! I tell you, you could get eighty bushels of wheat, at a +rouble and a half a bushel—that would be 120 roubles. Eh, +what? Or else mint! I tell you, you could collar 400 roubles off an +acre by sowing mint!</p> + +<p class="hang"><i>First Peasant</i>. That's just it. All sorts of +products one could put into action if one had the right +understanding.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Mint! +Decidedly mint! I have learnt about it, you know. It's all printed +in books. I can show them you. Eh, what?</p> + +<p class="hang"><i>First Peasant</i>. That's just it, all concerns +are clearer to you through your books. That's learnedness, of +course.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Then pay up +and don't be stingy! (<i>To</i> THEODORE IVÁNITCH.) Where's +papa?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. He gave orders not +to be disturbed just now.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Oh, I +suppose he's consulting a spirit whether to sell the land or not? +Eh, what?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. I can't say. All I +know is that be went away undecided about it.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. What d'you +think, Theodore Ivánitch, is he flush of cash? Eh, what?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. I don't know. I +hardly think so. But what does it matter to you? You drew a good +sum not more than a week ago.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. But didn't +I pay for those dogs? And now, you know, there's our new Society, +and Petrístchef has been chosen, and I had borrowed money +from Petrístchef and must pay the subscription both for him +and for myself. Eh, what?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. And what is this +new Society? A Cycling Club?</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. No. Just +let me tell you. It is quite a new Society. It is a very serious +Society, you know. And who do you think is President? Eh, what?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. What's the object +of this new Society?</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. It is a +"Society to Promote the Breeding of Pure-Bred Russian Hounds." Eh, +what? And I'll tell you, they're having the first meeting and a +lunch, to-day. And I've no money. I'll go to him and have a +try!</p> + +<p class="indent">[<i>Exit through study door.</i></p> + +<p class="hang"><i>First Peasant</i> (<i>to</i> THEODORE +IVÁNITCH). And who might he be, respected sir?</p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>smiles</i>). +The young master.</p> + +<p class="hang"><i>Third Peasant</i>. The heir, so to say. Oh, +Lord! (<i>Puts away the money</i>.) I'd better hide it +meanwhile.</p> + +<p class="hang"><i>First Peasant</i>. And we were told he was in +military service, in the cav'rely, for example.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. No, as an only son +he is exempt from military service.</p> + +<p class="hang"><i>Third Peasant</i>. Left for to keep his parents, +so to say! That's right!</p> + +<p class="hang"><i>Second Peasant</i> (<i>shaking his head</i>). +He's the right sort. He'll feed them finely!</p> + +<p class="hang"><i>Third Peasant</i>. Oh, Lord!</p> + +<p class="indent">[<i>Enter</i> VASÍLY LEONÍDITCH, +followed by LEONÍD FYÓDORITCH.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. That's +always the way. It's really surprising! First I'm asked why I have +no occupation, and now when I have found a field and am occupied, +when a Society with serious and noble aims has been founded, I +can't even have 300 roubles to go on with!...</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. I tell you +I can't do it, and I can't! I haven't got it.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Why, you +have just sold some land.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. In the +first place I have not sold it! And above all, do leave me in +peace! Weren't you told I was engaged?</p> + +<p class="indent">[<i>Exit, slamming door.</i></p> + +<p class="hang"><i>Theodore Ivánitch</i>. I told you this +was not the right moment.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. 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.</p> + +<p class="indent">[<i>Goes upstairs.</i></p> + +<p class="indent">[THEODORE IVÁNITCH <i>takes newspaper and +is just going to sit down, when</i> BETSY <i>and</i> MÁRYA +KONSTANTÍNOVNA, followed by GREGORY, <i>come down the +stairs.</i></p> + +<p class="hang"><i>Betsy</i>. Is the carriage ready?</p> + +<p class="hang"><i>Gregory</i>. Just coming to the door.</p> + +<p class="hang"><i>Betsy</i> (<i>to</i> MÁRYA +KONSTANTÍNOVNA). Come along, come along, I know it is +he.</p> + +<p class="hang"><i>Márya Konstantínovna</i>. Which +he?</p> + +<p class="hang"><i>Betsy</i>. You know very well whom I +mean—Petrístchef, of course.</p> + +<p class="hang"><i>Márya Konstantínovna</i>. But +where is he?</p> + +<p class="hang"><i>Betsy</i>. Sitting in Vovo's room. You'll +see!</p> + +<p class="hang"><i>Márya Konstantínovna</i>. And +suppose it is not he?</p> + +<p class="indent">[<i>The</i> PEASANTS <i>and</i> PORTER +<i>bow.</i></p> + +<p class="hang"><i>Betsy</i> (<i>to</i> PORTER). You brought a +dress from Bourdier's?</p> + +<p class="hang"><i>Porter</i>. Yes, Miss. May I go?</p> + +<p class="hang"><i>Betsy</i>. Well, I don't know. Ask my +mother.</p> + +<p class="hang"><i>Porter</i>. I don't know whose it is, Miss; I +was ordered to bring it here and receive the money.</p> + +<p class="hang"><i>Betsy</i>. Well, then, wait.</p> + +<p class="hang"><i>Márya Konstantínovna</i>. Is it +still that costume for the charade?</p> + +<p class="hang"><i>Betsy</i>. Yes, a charming costume. But mamma +won't take it or pay for it.</p> + +<p class="hang"><i>Márya Konstantínovna</i>. But why +not?</p> + +<p class="hang"><i>Betsy</i>. You'd better ask mamma. She doesn't +grudge Vovo 500 roubles for his dogs, but 100 is too much for a +dress. I can't act dressed like a scarecrow. (<i>Pointing to</i> +PEASANTS.) And who are these?</p> + +<p class="hang"><i>Gregory</i>. Peasants who have come to buy some +land or other.</p> + +<p class="hang"><i>Betsy</i>. And I thought they were the beaters. +Are you not beaters?</p> + +<p class="hang"><i>First Peasant</i>. No, no, lady. We have come to +see Leoníd Fyódoritch about the signing into our +possession of the title-deeds to some land.</p> + +<p class="hang"><i>Betsy</i>. Then how is it? Vovo was expecting +some beaters who were to come to-day. Are you sure you are not the +beaters? (<i>The</i> PEASANTS <i>are silent</i>.) How stupid they +are! (<i>Goes to</i> VASÍLY LEONÍDITCH'S +<i>door</i>.) Vovo?</p> + +<p class="indent">[<i>Laughs.</i></p> + +<p class="hang"><i>Márya Konstantínovna</i>. But we +met him just now upstairs!</p> + +<p class="hang"><i>Betsy</i>. Why need you remember that? Vovo, are +you there?</p> + +<p class="indent">[PETRÍSTCHEF <i>enters.</i></p> + +<p class="hang"><i>Petrístchef</i>. Vovo is not here, but I +am prepared to fulfil on his behalf anything that may be required. +How do you do? How do you do, Márya +Konstantínovna?</p> + +<p class="indent">[<i>Shakes hands long and violently with</i> +BETSY, <i>and then with</i> MÁRYA KONSTANTÍNOVNA.</p> + +<p class="hang"><i>Second Peasant</i>. See, it's as if he were +pumping water!</p> + +<p class="hang"><i>Betsy</i>. You can't replace him,—still +you're better than nobody. (<i>Laughs</i>.) What are these affairs +of yours with Vovo?</p> + +<p class="hang"><i>Petrístchef</i>. What affairs? Our +affairs are fie-nancial that is, our business is fie! It's also +nancial, and besides it is financial.</p> + +<p class="hang"><i>Betsy</i>. What does nancial mean?</p> + +<p class="hang"><i>Petrístchef</i>. What a question! It +means nothing, that's just the point.</p> + +<p class="hang"><i>Betsy</i>. No, no, you have missed fire.</p> + +<p class="indent">[<i>Laughs.</i></p> + +<p class="hang"><i>Petrístchef</i>. One can't always hit the +mark, you know. It's something like a lottery. Blanks and blanks +again, and at last you win!</p> + +<p class="indent">[THEODORE IVÁNITCH <i>goes into the +study.</i></p> + +<p class="hang"><i>Betsy</i>. Well, this was blank then; but tell +me, were you at the Mergásofs' last night?</p> + +<p class="hang"><i>Petrístchef</i>. Not exactly at the +<i>Mère</i> Gásof's, but rather at the +<i>Père</i> Gásof's, or better still, at the +<i>Fils</i> Gásof's.</p> + +<p class="hang"><i>Betsy</i>. You can't do without puns. It's an +illness. And were the <a name="f3-r">Gypsies there?</a> +<sup><a href="#f3">3</a></sup></p> + +<p class="indent">[<i>Laughs.</i></p> + +<p class="hang"><i>Petrístchef</i> (<i>sings</i>). "On their +aprons silken threads, little birds with golden heads!"....</p> + +<p class="hang"><i>Betsy</i>. Happy mortals! And we were yawning at +Fofo's.</p> + +<p class="hang"><i>Petrístchef</i> (<i>continues to +sing</i>). "And she promised and she swore, she would ope' her ... +her ... her...." how does it go on, Márya +Konstantínovna?</p> + +<p class="hang"><i>Márya Konstantínovna</i>. "Closet +door."</p> + +<p class="hang"><i>Petrístchef</i>. How? What? How, +Márya Konstantínovna?</p> + +<p class="hang"><i>Betsy</i>. <i>Cessez, vous devenez +<a name="f4-r">impossible!</a></i> +<sup><a href="#f4">4</a></sup></p> + +<p class="hang"><i>Petrístchef</i>. <i>J'ai cessé, +j'ai bébé, <a name="f5-r">j'ai +dédé....</a></i><sup><a href="#f5">5</a></sup></p> + +<p class="hang"><i>Betsy</i>. I see the only way to rid ourselves +of your wit is to make you sing! Let us go into Vovo's room, his +guitar is there. Come, Márya Konstantínovna, +come!</p> + +<p class="indent">[<i>Exeunt</i> BETSY, MÁRYA +KONSTANTÍNOVNA, <i>and</i> PETRÍSTCHEF.</p> + +<p class="hang"><i>First Peasant</i>. Who be they?</p> + +<p class="hang"><i>Gregory</i>. One is our young lady, the other is +a girl who teaches her music.</p> + +<p class="hang"><i>First Peasant</i>. Administrates learning, so to +say. And ain't she smart? A reg'lar picture!</p> + +<p class="hang"><i>Second Peasant</i>. Why don't they marry her? +She is old enough, I should say.</p> + +<p class="hang"><i>Gregory</i>. Do you think it's the same as among +you peasants,—marry at fifteen?</p> + +<p class="hang"><i>First Peasant</i>. And that man, for example, is +he also in the musitional line?</p> + +<p class="hang"><i>Gregory</i> (<i>mimicking him</i>). +"Musitional," indeed! You don't understand anything!</p> + +<p class="hang"><i>First Peasant.</i> That's just so. And +stupidity, one might say, is our ignorance.</p> + +<p class="hang"><i>Third Peasant.</i> Oh, Lord!</p> + +<p class="indent">[<i>Gypsy songs and guitar accompaniment are +heard from</i> VASÍLY LEONÍDITCH'S <i>room.</i></p> + +<p class="indent">[<i>Enter</i> SIMON, <i>followed by</i> +TÁNYA, <i>who watches the meeting between father and +son.</i></p> + +<p class="hang"><i>Gregory</i> (<i>to</i> SIMON). What do you +want?</p> + +<p class="hang"><i>Simon</i>. I have been to Mr. +Kaptchítch.</p> + +<p class="hang"><i>Gregory</i>. Well, and what's the answer?</p> + +<p class="hang"><i>Simon</i>. He sent word he couldn't possibly +come to-night.</p> + +<p class="hang"><i>Gregory</i>. All right, I'll let them know.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Simon</i> (<i>to his father</i>). How d'you do, +father! My respects to Daddy Efím and Daddy Mítry! +How are all at home?</p> + +<p class="hang"><i>Second Peasant</i>. Very well, Simon.</p> + +<p class="hang"><i>First Peasant</i>. How d'you do, lad?</p> + +<p class="hang"><i>Third Peasant</i>. How d'you do, sonny?</p> + +<p class="hang"><i>Simon</i> (<i>smiles</i>). Well, come along, +father, and have some tea.</p> + +<p class="hang"><i>Second Peasant</i>. Wait till we've finished our +business. Don't you see we are not ready yet?</p> + +<p class="hang"><i>Simon</i>. Well, I'll wait for you by the +porch.</p> + +<p class="indent">[<i>Wishes to go away.</i></p> + +<p class="hang"><i>Tánya</i> (<i>running after him</i>). I +say, why didn't you tell him anything?</p> + +<p class="hang"><i>Simon</i>. How could I before all those people? +Give me time, I'll tell him over our tea.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="indent">[THEODORE IVÁNITCH <i>enters and sits down +by the window.</i></p> + +<p class="hang"><i>First Peasant</i>. Respected sir, how's our +business proceeding?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Wait a bit, he'll +be out presently, he's just finishing.</p> + +<p class="hang"><i>Tánya</i> (<i>to</i> THEODORE +IVÁNITCH). And how do you know, Theodore Ivánitch, he +is finishing?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. I know that when +he has finished questioning, he reads the question and answer +aloud.</p> + +<p class="hang"><i>Tánya</i>. Can one really talk with +spirits by means of a saucer?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. It seems so.</p> + +<p class="hang"><i>Tánya</i>. But supposing they tell him to +sign, will he sign?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Of course he +will.</p> + +<p class="hang"><i>Tánya</i>. But they do not speak with +words?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Oh, yes. By means +of the alphabet. He notices at which letter the saucer stops.</p> + +<p class="hang"><i>Tánya</i>. Yes, but at a si-ance?....</p> + +<p class="indent">[<i>Enter</i> LEONÍD +FYÓDORITCH.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Well, +friends, I can't do it! I should be very glad to, but it is quite +impossible. If it were for ready money it would be a different +matter.</p> + +<p class="hang"><i>First Peasant</i>. That's just so. What more +could any one desire? But the people are so inpennycuous—it +is quite impossible!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Well, I +can't do it, I really can't. Here is your document; I can't sign +it.</p> + +<p class="hang"><i>Third Peasant</i>. Show some pity, master; be +merciful!</p> + +<p class="hang"><i>Second Peasant</i>. How can you act so? It is +doing us a wrong.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Nothing +wrong about it, friends. I offered it you in summer, but then you +did not agree; and now I can't agree to it.</p> + +<p class="hang"><i>Third Peasant</i>. Master, be merciful! How are +we to get along? We have so little land. We'll say nothing about +the cattle; a hen, let's say, there's no room to let a hen run +about.</p> + +<p class="indent">[LEONÍD FYÓDORITCH <i>goes up to +the door and stops. Enter, descending the staircase,</i> ANNA +PÁVLOVNA <i>and</i> DOCTOR, <i>followed by</i> VASÍLY +LEONÍDITCH, <i>who is in a merry and playful mood and is +putting some bank-notes into his purse.</i></p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>tightly laced, and +wearing a bonnet</i>). Then I am to take it?</p> + +<p class="hang"><i>Doctor</i>. If the symptoms recur you must +certainly take it, but above all, you must behave better. How can +you expect thick syrup to pass through a thin little hair tube, +especially when we squeeze the tube? It's impossible; and so it is +with the biliary duct. It's simple enough.</p> + +<p class="hang"><i>Anna Pávlovna</i>. All right, all +right!</p> + +<p class="hang"><i>Doctor</i>. Yes. "All right, all right," and you +go on in the same old way. It won't do, madam—it won't do. +Well, good-bye!</p> + +<p class="hang"><i>Anna Pávlovna</i>. No, not good-bye, only +<i>au revoir!</i> For I still expect you to-night. I shall not be +able to make up my mind without you.</p> + +<p class="hang"><i>Doctor</i>. All right, if I have time I'll pop +in.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>noticing the</i> +PEASANTS). What's this? What? What people are these?</p> + +<p class="indent">[PEASANTS <i>bow.</i></p> + +<p class="hang"><i>Theodore Ivánitch</i>. These are peasants +from Koursk, come to see Leoníd Fyódoritch about the +sale of some land.</p> + +<p class="hang"><i>Anna Pávlovna</i>. I see they are +peasants, but who let them in?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. +Leoníd Fyódoritch gave the order. He has just been +speaking to them about the sale of the land.</p> + +<p class="hang"><i>Anna Pávlovna</i>. What sale? There is no +need to sell any. But above all, how can one let in people from the +street into the house? One can't let people in from the street! One +can't let people into the house who have spent the night heaven +knows where!... (<i>Getting more and more excited</i>.) I daresay +every fold of their clothes is full of microbes—of +scarlet-fever microbes, of smallpox microbes, of diphtheria +microbes! Why, they are from Koursk Government, where there is an +epidemic of diphtheria ... Doctor! Doctor! Call the doctor +back!</p> + +<p class="indent">[LEONÍD FYÓDORITCH <i>goes into his +room and shuts the door.</i> GREGORY <i>goes to recall the</i> +DOCTOR.</p> + +<p class="hang"><i>Vasíly Leoníditch</i> (<i>smokes +at the</i> PEASANTS). Never mind, mamma; if you like I'll fumigate +them so that all the microbes will go to pot! Eh, what?</p> + +<p class="indent">[ANNA PÁVLOVNA <i>remains severely silent, +awaiting the</i> DOCTOR'S <i>return.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i> (<i>to</i> +PEASANTS). And do you fatten pigs? There's a first-rate +business!</p> + +<p class="hang"><i>First Peasant</i>. That's just so. We do go in +for the pig-fattening line now and then.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. This +kind?...</p> + +<p class="indent">[<i>Grunts like a pig.</i></p> + +<p class="hang"><i>Anna Pávlovna</i>. Vovo, Vovo, leave +off!</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Isn't it +like? Eh, what?</p> + +<p class="hang"><i>First Peasant</i>. That's just so. It's very +resemblant.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Vovo, leave off, I +tell you!</p> + +<p class="hang"><i>Second Peasant</i>. What's it all about?</p> + +<p class="hang"><i>Third Peasant</i>. I said, we'd better go to +some lodging meanwhile!</p> + +<p class="indent">[<i>Enter</i> DOCTOR <i>and</i> GREGORY.</p> + +<p class="hang"><i>Doctor</i>. What's the matter? What's +happened?</p> + +<p class="hang"><i>Anna Pávlovna</i>. Why, you're always +saying I must not get excited. Now, how is it possible to keep +calm? I do not see my own sister for two months, and am careful +about any doubtful visitor—and here are people from Koursk, +straight from Koursk, where there is an epidemic of diphtheria, +right in my house!</p> + +<p class="hang"><i>Doctor</i>. These good fellows you mean, I +suppose?</p> + +<p class="hang"><i>Anna Pávlovna</i>. Of course. Straight +from a diphtheric place!</p> + +<p class="hang"><i>Doctor</i>. Well, of course, if they come from +an infected place it is rash; but still there is no reason to +excite yourself so much about it.</p> + +<p class="hang"><i>Anna Pávlovna</i>. But don't you yourself +advise carefulness?</p> + +<p class="hang"><i>Doctor</i>. Of course, of course. Still, why +excite yourself?</p> + +<p class="hang"><i>Anna Pávlovna</i>. How can I help it? Now +we shall have to have the house completely disinfected.</p> + +<p class="hang"><i>Doctor</i>. Oh, no! Why completely? That would +cost 300 roubles or more. I'll arrange it cheaply and well for you. +Take, to a large bottle of water....</p> + +<p class="hang"><i>Anna Pávlovna</i>. Boiled?</p> + +<p class="hang"><i>Doctor</i>. It's all the same. Boiled would be +better. To one bottle of water take a tablespoon of salicylic acid, +and have everything they have come in contact with washed with the +solution. As to the fellows themselves, they must be off, of +course. That's all. Then you're quite safe. And it would do no harm +to sprinkle some of the same solution through a spray—two or +three tumblers—you'll see how well it will act. No danger +whatever.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Tánya! Where is +Tánya?</p> + +<p class="indent">[<i>Enter</i> TÁNYA.</p> + +<p class="hang"><i>Tánya</i>. Did you call, M'm?</p> + +<p class="hang"><i>Anna Pávlovna</i>. You know that big +bottle in my dressing-room?</p> + +<p class="hang"><i>Tánya</i>. Out of which we sprinkled the +laundress yesterday?</p> + +<p class="hang"><i>Anna Pávlovna</i>. Well, of course! What +other bottle could I mean? Well, then, take that bottle and first +wash with soap the place where they have been standing, and then +with....</p> + +<p class="hang"><i>Tánya</i>. Yes, M'm; I know how.</p> + +<p class="hang"><i>Anna Pávlovna</i>. And then take the +spray.... However, I had better do that myself when I get back.</p> + +<p class="hang"><i>Doctor</i>. Well, then, do so, and don't be +afraid! Well, <i>au revoir</i> till this evening.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Anna Pávlovna</i>. And they must be off! +Not a trace of them must remain! Get out, get out! Go—what +are you looking at?</p> + +<p class="hang"><i>First Peasant</i>. That's just so. It's because +of our stupidity, as we were instructed....</p> + +<p class="hang"><i>Gregory</i> (<i>pushes the</i> PEASANTS +<i>out</i>). There, there; be off!</p> + +<p class="hang"><i>Second Peasant</i>. Let me have my handkerchief +back!</p> + +<p class="indent">[<i>The handkerchief in which the presents were +wrapped.</i></p> + +<p class="hang"><i>Third Peasant</i>. Oh, Lord, oh, Lord! didn't I +say—some lodging-house meanwhile!</p> + +<p class="indent">[GREGORY <i>pushes him out. Exeunt</i> +PEASANTS.</p> + +<p class="hang"><i>Porter</i> (<i>who has repeatedly tried to say +something</i>).—Will there be any answer?</p> + +<p class="hang"><i>Anna Pávlovna</i>. Ah, from Bourdier? +(<i>Excitedly</i>.) None! None! You can take it back. I told her I +never ordered such a costume, and I will not allow my daughter to +wear it!</p> + +<p class="hang"><i>Porter</i>. I know nothing about it. I was +sent....</p> + +<p class="hang"><i>Anna Pávlovna</i>. Go, go, take it back! +I will call myself about it!</p> + +<p class="hang"><i>Vasíly Leoníditch</i> +(<i>solemnly</i>). Sir Messenger from Bourdier, depart!</p> + +<p class="hang"><i>Porter</i>. I might have been told that long +ago. I have sat here nearly five hours!</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Ambassador +from Bourdier, begone!</p> + +<p class="hang"><i>Anna Pávlovna</i>. Cease, please!</p> + +<p class="indent">[<i>Exit</i> PORTER.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Betsy! Where is she? I +always have to wait for her.</p> + +<p class="hang"><i>Vasíly Leoníditch</i> (<i>shouting +at the top of his voice</i>). Betsy! Petrístchef! Come +quick, quick, quick! Eh? What?</p> + +<p class="indent">[<i>Enter</i> PETRÍSTCHEF, BETSY, +<i>and</i> MÁRYA KONSTANTÍNOVNA.</p> + +<p class="hang"><i>Anna Pávlovna</i>. You always keep one +waiting!</p> + +<p class="hang"><i>Betsy</i>. On the contrary, I was waiting for +you!</p> + +<p class="indent">[PETRÍSTCHEF <i>bows with his head only, +then kisses</i> ANNA PÁVLOVNA'S <i>hand.</i></p> + +<p class="hang"><i>Anna Pávlovna</i>. How d'you do! +(<i>To</i> BETSY.) You always have an answer ready!</p> + +<p class="hang"><i>Betsy</i>. If you are upset, mamma, I had better +not go.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Are we going or +not?</p> + +<p class="hang"><i>Betsy</i>. Well, let us go; it can't be +helped.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Did you see the man +from Bourdier?</p> + +<p class="hang"><i>Betsy</i>. Yes, and I was very glad. I ordered +the costume, and am going to wear it when it is paid for.</p> + +<p class="hang"><i>Anna Pávlovna</i>. I am not going to pay +for a costume that is indecent!</p> + +<p class="hang"><i>Betsy</i>. Why has it become indecent? First it +was decent, and now you have a fit of prudery.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Not prudery at all! If +the bodice were completely altered, then it would do.</p> + +<p class="hang"><i>Betsy</i>. Mamma, that is quite impossible.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Well, get dressed.</p> + +<p class="indent">[<i>They sit down.</i> GREGORY <i>puts on their +over-shoes for them.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i>. +Márya Konstantínovna, do you notice a vacuum in the +hall?</p> + +<p class="hang"><i>Márya Konstantínovna</i>. What is +it?</p> + +<p class="indent">[<i>Laughs in anticipation.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Bourdier's +man has gone! Eh, what? Good, eh?</p> + +<p class="indent">[<i>Laughs loudly.</i></p> + +<p class="hang"><i>Anna Pávlovna</i>. Well, let us go. +(<i>Goes out of the door, but returns at once</i>.) +Tánya!</p> + +<p class="hang"><i>Tánya</i>. Yes, M'm?</p> + +<p class="hang"><i>Anna Pávlovna</i>. Don't let Frisk catch +cold while I am away. If she wants to be let out, put on her little +yellow cloak. She is not quite well to-day.</p> + +<p class="hang"><i>Tánya</i>. Yes, M'm.</p> + +<p class="indent">[<i>Exeunt</i> ANNA PÁVLOVNA, BETSY, +<i>and</i> GREGORY.</p> + +<p class="hang"><i>Petrístchef</i>. Well, have you got +it?</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Not without +trouble, I can tell you! First I rushed at the gov'nor; he began to +bellow and turned me out. Off to the mater—I got it out of +her. It's here! (<i>Slaps his breast pocket</i>.) If once I make up +my mind, there's no getting away from me. I have a deadly grip! Eh, +what? And d'you know, my wolf-hounds are coming to-day.</p> + +<p class="indent">[PETRÍSTCHEF <i>and</i> VASÍLY +LEONÍDITCH <i>put on their outdoor things and go out.</i> +TÁNYA <i>follows.</i></p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>alone</i>). +Yes, nothing but unpleasantness. How is it they can't live in +peace? But one must say the new generation are not—the thing. +And as to the women's dominion!... Why, Leoníd +Fyódoritch just now was going to put in a word, but seeing +what a frenzy she was in—slammed the door behind him. He is a +wonderfully kind-hearted man. Yes, wonderfully kind. What's this? +Here's Tánya bringing them back again!</p> + +<p class="hang"><i>Tánya</i>. Come in, come in, grand-dads, +never mind!</p> + +<p class="indent">[<i>Enter</i> TÁNYA <i>and the</i> +PEASANTS.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Why have you +brought them back?</p> + +<p class="hang"><i>Tánya</i>. Well, Theodore +Ivánitch, we must do something about their business. I shall +have to wash the place anyhow.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. But the business +will not come off, I see that already.</p> + +<p class="hang"><i>First Peasant</i>. How could we best put our +affair into action, respected sir? Your reverence might take a +little trouble over it, and we should give you full thankings from +the Commune for your trouble.</p> + +<p class="hang"><i>Third Peasant</i>. Do try, honey! We can't live! +We have so little land. Talk of cattle—why, we have no room +to keep a hen!</p> + +<p class="indent">[<i>They bow.</i></p> + +<p class="hang"><i>Theodore Ivánitch</i>. I am sorry for +you, friends, but I can't think of any way to help you. I +understand your case very well, but he has refused. So what can one +do? Besides, the lady is also against it. Well, give me your +papers—I'll try and see what I can do, but I hardly hope to +succeed.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="indent">[TÁNYA <i>and the three</i> PEASANTS +<i>sigh.</i></p> + +<p class="hang"><i>Tánya</i>. But tell me, grand-dads, what +is it that is wanted?</p> + +<p class="hang"><i>First Peasant</i>. Why, only that he should put +his signature to our document.</p> + +<p class="hang"><i>Tánya</i>. That the master should sign? +Is that all?</p> + +<p class="hang"><i>First Peasant</i>. Yes, only lay his signature +on the deed and take the money, and there would be an end of the +matter.</p> + +<p class="hang"><i>Third Peasant</i>. He only has to write and +sign, as the peasants, let's say, desire, so, let's say, I also +desire. That's the whole affair—if he'd only take it and sign +it, it's all done.</p> + +<p class="hang"><i>Tánya</i> (<i>considering</i>). He need +only sign the paper and it's done?</p> + +<p class="hang"><i>First Peasant</i>. That's just so. The whole +matter is in dependence on that, and nothing else. Let him sign, +and we ask no more.</p> + +<p class="hang"><i>Tánya</i>. Just wait and see what +Theodore Ivánitch will say. If he cannot persuade the +master, I'll try something.</p> + +<p class="hang"><i>First Peasant</i>. Get round him, will you?</p> + +<p class="hang"><i>Tánya</i>. I'll try.</p> + +<p class="hang"><i>Third Peasant</i>. Ay, the lass is going to +bestir herself. Only get the thing settled, and the Commune will +bind itself to keep you all your life. See there, now!</p> + +<p class="hang"><i>First Peasant</i>. If the affair can be put into +action, truly we might put her in a gold frame.</p> + +<p class="hang"><i>Second Peasant</i>. That goes without +saying!</p> + +<p class="hang"><i>Tánya</i>. I can't promise for certain, +but as the saying is: "An attempt is no sin, if you try...."</p> + +<p class="hang"><i>First Peasant</i>. "You may win." That's just +so.</p> + +<p class="indent">[<i>Enter</i> THEODORE IVÁNITCH.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. No, friends, it's +no go! He has not done it, and he won't do it. Here, take your +document. You may go.</p> + +<p class="hang"><i>First Peasant</i> (<i>gives</i> TÁNYA +<i>the paper</i>). Then it's on you we pin all our reliance, for +example.</p> + +<p class="hang"><i>Tánya</i>. Yes, yes! You go into the +street, and I'll run out to you in a minute and have a word with +you.</p> + +<p class="indent">[<i>Exeunt</i> PEASANTS.</p> + +<p class="hang"><i>Tánya</i>. Theodore Ivánitch, dear +Theodore Ivánitch, ask the master to come out and speak to +me for a moment. I have something to say to him.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. What next?</p> + +<p class="hang"><i>Tánya</i>. I must, Theodore +Ivánitch. Ask him, do; there's nothing wrong about it, on my +sacred word.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. But what do you +want with him?</p> + +<p class="hang"><i>Tánya</i>. That's a little secret. I will +tell you later on, only ask him.</p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>smiling</i>). I +can't think what you are up to! All right, I'll go and ask him.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Tánya</i>. I'll do it! Didn't he say +himself that there is that power in Simon? And I know how to +manage. No one found me out that time, and now I'll teach Simon +what to do. If it doesn't succeed it's no great matter. After all +it's not a sin.</p> + +<p class="indent">[<i>Enter</i> LEONÍD FYÓDORITCH, +<i>followed by</i> THEODORE IVÁNITCH.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i> +(<i>smiling</i>). Is this the petitioner? Well, what is your +business?</p> + +<p class="hang"><i>Tánya</i>. It's a little secret, +Leoníd Fyódoritch; let me tell it you alone.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. What is it? +Theodore, leave us for a minute.</p> + +<p class="indent">[<i>Exit</i> THEODORE IVÁNITCH.</p> + +<p class="hang"><i>Tánya</i>. As I have grown up and lived +in your house, Leoníd Fyódoritch, and as I am very +grateful to you for everything, I shall open my heart to you as to +a father. Simon, who is living in your house, wants to marry +me.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. So that's +it!</p> + +<p class="hang"><i>Tánya</i>. I open my heart to you as to a +father! I have no one to advise me, being an orphan.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Well, and +why not? He seems a nice lad.</p> + +<p class="hang"><i>Tánya</i>. Yes, that's true. He would be +all right; there is only one thing I have my doubts about. It's +something about him that I have noticed and can't make out ... +perhaps it is something bad.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. What is it? +Does he drink?</p> + +<p class="hang"><i>Tánya</i>. God forbid! But since I know +that there is such a thing as spiritalism....</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Ah, you +know that?</p> + +<p class="hang"><i>Tánya.</i> Of course! I understand it very well. +Some, of course, through ignorance, don't understand it.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Well, what +then?</p> + +<p class="hang"><i>Tánya</i>. I am very much afraid for +Simon. It does happen to him.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. What +happens to him?</p> + +<p class="hang"><i>Tánya</i>. Something of a kind like +spiritalism. You ask any of the servants. As soon as he gets drowsy +at the table, the table begins to tremble, and creak like that: +<i>tuke,</i> ... <i>tuke!</i> All the servants have heard it.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Why, it's +the very thing I was saying to Sergéy Ivánitch this +morning! Yes?...</p> + +<p class="hang"><i>Tánya</i>. Or else ... when was it?... +Oh, yes, last Wednesday. We sat down to dinner, and the spoon just +jumps into his hand of itself!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Ah, that is +interesting! Jumps into his hand? When he was drowsing?</p> + +<p class="hang"><i>Tánya</i>. That I didn't notice. I think +he was, though.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Yes?...</p> + +<p class="hang"><i>Tánya</i>. And that's what I'm afraid of, +and what I wanted to ask you about. May not some harm come of it? +To live one's life together, and him having such a thing in +him!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i> +(<i>smiling</i>). No, you need not be afraid, there is nothing bad +in that. It only proves him to be a <i>medium</i>—simply a +medium. I knew him to be a medium before this.</p> + +<p class="hang"><i>Tánya</i>. So that's what it is! And I +was afraid!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. No, there's +nothing to be afraid of. (<i>Aside</i>.) That's capital! +Kaptchítch can't come, so we will test him to-night.... +(<i>To</i> TÁNYA.) No, my dear, don't be afraid, he will be +a good husband and ... that is only a kind of special power, and +every one has it, only in some it is weaker and in others +stronger.</p> + +<p class="hang"><i>Tánya</i>. Thank you, sir. Now I shan't +think any more about it; but I was so frightened.... What a thing +it is, our want of education!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. No, no, +don't be frightened.... Theodore!</p> + +<p class="indent">[<i>Enter</i> THEODORE IVÁNITCH.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. I am going +out now. Get everything ready for to-night's séance.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. But Mr. +Kaptchítch is not coming.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. That does +not matter. (<i>Puts on overcoat</i>.) We shall have a trial +séance with our own medium.</p> + +<p class="indent">[<i>Exit.</i> THEODORE IVÁNITCH <i>goes +out with him.</i></p> + +<p class="hang"><i>Tánya</i> (<i>alone</i>). He believes it! +He believes it! (<i>Shrieks and jumps with joy</i>.) He really +believes it! Isn't it wonderful! (<i>Shrieks</i>.) Now I'll do it, +if only Simon has pluck for it!</p> + +<p class="indent">[THEODORE IVÁNITCH <i>returns.</i></p> + +<p class="hang"><i>Theodore Ivánitch</i>. Well, have you +told him your secret?</p> + +<p class="hang"><i>Tánya</i>. I'll tell you, too, only later +on.... But I have a favor to ask of you, too, Theodore +Ivánitch.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Yes? What is +it?</p> + +<p class="hang"><i>Tánya</i> (<i>shyly</i>). You have been a +second father to me, and I will open my heart before you as before +God.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Don't beat about +the bush, but come straight to the point.</p> + +<p class="hang"><i>Tánya</i>. The point is ... well, the +point is, that Simon wants to marry me.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Is that it? I +thought I noticed....</p> + +<p class="hang"><i>Tánya</i>. Well, why should I hide it? I +am an orphan, and you know yourself how matters are in these town +establishments. Every one comes bothering; there's that Gregory +Miháylitch, for instance, he gives me no peace. And also +that other one ... you know. They think I have no soul, and am only +here for their amusement.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Good girl, that's +right! Well, what then?</p> + +<p class="hang"><i>Tánya</i>. Well, Simon wrote to his +father; and he, his father, sees me to-day, and says: "He's +spoilt"—he means his son. Theodore Ivánitch +(<i>bows</i>), 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!</p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>smiling</i>). +Then I am to turn match-maker—am I? Well, I can do that.</p> + +<p class="hang"><i>Tánya</i>. Theodore Ivánitch, +dearest, be a father to me, and I'll pray for you all my life +long.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. All right, all +right, I'll come later on. Haven't I promised?</p> + +<p class="indent">[<i>Takes up newspaper.</i></p> + +<p class="hang"><i>Tánya</i>. You are a second father to +me!</p> + +<p class="hang"><i>Theodore Ivánitch</i>. All right, all +right.</p> + +<p class="hang"><i>Tánya</i>. Then I'll rely on you.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>alone, shaking +his head</i>). A good affectionate girl. To think that so many like +her perish! Get but once into trouble and she'll go from hand to +hand until she sinks into the mire, and can never be found again! +There was that dear little Nataly. She, too, was a good girl, +reared and cared for by a mother. (<i>Takes up paper</i>.) Well, +let's see what tricks Ferdinand is up to in Bulgaria.</p> + +<p class="hang">CURTAIN</p> + +<h3>ACT II</h3> + +<p class="hang"><i>Evening of the same day. The scene represents +the interior of the servants' kitchen. The</i> PEASANTS <i>have +taken off their outer garments and sit drinking tea at the table, +and perspiring.</i> THEODORE IVÁNITCH <i>is smoking a cigar +at the other side of the stage. The discharged</i> COOK <i>is lying +on the brick oven, and is unseen during the early part of the +scene.</i></p> + +<p class="hang"><i>Theodore Ivánitch</i>. My advice is, +don't hinder him! If it's his wish and hers, in Heaven's name, let +him do it. She is a good, honest girl. Never mind her being a bit +dressy; she can't help that, living in town: she is a good girl all +the same.</p> + +<p class="hang"><i>Second Peasant</i>. Well, of course, if it is +his wish, let him! <i>He'll</i> have to live with her, not me. But +she's certainly uncommon spruce. How's one to take her into one's +hut? Why, she'll not let her mother-in-law so much as pat her on +the head.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. That does not +depend on the spruceness, but on character. If her nature is good, +she's sure to be docile and respectful.</p> + +<p class="hang"><i>Second Peasant</i>. Ah, well, we'll have her if +the lad's bent on having her. After all, it's a bad job to live +with one as one don't care for. I'll consult my missus, and then +may Heaven bless them!</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Then let's shake +hands on it!</p> + +<p class="hang"><i>Second Peasant</i>. Well, it seems it will have +to come off.</p> + +<p class="hang"><i>First Peasant</i>. Eh, Zachary! fortune's +a-smiling on you! You've come to accomplish a piece of business, +and just see what a duchess of a daughter-in-law you've obtained. +All that's left to be done is to have a drink on it, and then it +will be all in order.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. That's not at all +necessary.</p> + +<p class="indent">[<i>An awkward silence.</i></p> + +<p class="hang"><i>Theodore Ivánitch</i>. I know something +of your way of life, too, you know. I am even thinking of +purchasing a bit of land, building a cottage, and working on the +land myself somewhere; maybe in your neighborhood.</p> + +<p class="hang"><i>Second Peasant</i>. A very good thing, too.</p> + +<p class="hang"><i>First Peasant</i>. That's just it. When one has +got the money one can get all kinds of pleasure in the country.</p> + +<p class="hang"><i>Third Peasant</i>. Say no more about it! Country +life let's say, is freer in every way, not like the town!</p> + +<p class="hang"><i>Theodore Ivánitch</i>. There now, would +you let me join your Commune if I settled among you?</p> + +<p class="hang"><i>Second Peasant</i>. Why not? If you stand drink +for the Elders, they'll accept you soon enough!</p> + +<p class="hang"><i>First Peasant</i>. And if you open a +public-house, for example, or an inn, why, you'd have such a life +you'd never need to die! You might live like a king, and no +mistake.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Well, we'll see. I +should certainly like to have a few quiet years in my old age. +Though my life here is good enough, and I should be sorry to leave. +Leoníd Fyódoritch is an exceedingly kind-hearted +man.</p> + +<p class="hang"><i>First Peasant</i>. That's just it. But how about +our business? Is it possible that he is going to leave it without +any termination?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. He'd do it +willingly.</p> + +<p class="hang"><i>Second Peasant</i>. It seems he's afraid of his +wife.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. It's not that he's +afraid, but they don't hit things off together.</p> + +<p class="hang"><i>Third Peasant</i>. But you should try, father! +How are we to live else? We've so little land....</p> + +<p class="hang"><i>Theodore Ivánitch</i>. We'll see what +comes of Tánya's attempt. She's taken the business into her +hands now!</p> + +<p class="hang"><i>Third Peasant</i> (<i>takes a sip of tea</i>). +Father, be merciful. We've so little land. A hen, let's say, we've +no room for a hen, let alone the cattle.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. If the business +depended on me.... (<i>To</i> SECOND PEASANT.) Well, friend, so +we've done our bit of match-making! It's agreed then about +Tánya?</p> + +<p class="hang"><i>Second Peasant</i>. I've given my word, and I'll +not go back on it without a good reason. If only our business +succeeds!</p> + +<p class="indent">[<i>Enter</i> SERVANTS' COOK, <i>who looks up at +the oven, makes a sign, and then begins to speak animatedly to</i> +THEODORE IVÁNITCH.</p> + +<p class="hang"><i>Servants' Cook</i>. Just now Simon was called +upstairs from the front kitchen! The master and that other +bald-headed one who calls up spirits with him, ordered him to sit +down and take the place of Kaptchítch!</p> + +<p class="hang"><i>Theodore Ivánitch</i>. You don't say +so!</p> + +<p class="hang"><i>Servants' Cook</i>. Yes, Jacob told +Tánya.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Extraordinary!</p> + +<p class="indent">[<i>Enter</i> COACHMAN.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. What do you +want?</p> + +<p class="hang"><i>Coachman</i> (<i>to</i> THEODORE +IVÁNITCH). You may just tell them I never agreed to live +with a lot of dogs! Let any one who likes do it, but I will never +agree to live among dogs!</p> + +<p class="hang"><i>Theodore Ivánitch</i>. What dogs?</p> + +<p class="hang"><i>Coachman</i>. Three dogs have been sent into our +room by Vasíly Leoníditch! They've messed it all +over. They're whining, and if one comes near them they +bite—the devils! They'd tear you to pieces if you didn't +mind. I've a good mind to take a club and smash their legs for +them!</p> + +<p class="hang"><i>Theodore Ivánitch</i>. But when did they +come?</p> + +<p class="hang"><i>Coachman</i>. Why, to-day, from the Dog Show; +the devil knows what kind they are, but they're an expensive sort. +Are we or the dogs to live in the coachmen's quarters? You just go +and ask!</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Yes, that will +never do. I'll go and ask about it.</p> + +<p class="hang"><i>Coachman</i>. They'd better be brought here to +Loukérya.</p> + +<p class="hang"><i>Servants' Cook</i> (<i>angrily</i>). People have +to eat here, and you'd like to lock dogs in here! As it is....</p> + +<p class="hang"><i>Coachman</i>. And I've got the liveries, and the +sledge-covers and the harness there, and they expect things kept +clean! Perhaps the porter's lodge might do.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. I must ask +Vasíly Leoníditch.</p> + +<p class="hang"><i>Coachman</i> (<i>angrily</i>). He'd better hang +the brutes round his neck and lug them about with him! But no fear: +he'd rather ride on horseback himself. It's he as spoilt. Beauty +without rhyme or reason. That was a horse!... Oh, dear! what a +life!</p> + +<p class="indent">[<i>Exit, slamming door.</i></p> + +<p class="hang"><i>Theodore Ivánitch</i>. That's not right! +Certainly not right! (<i>To</i> PEASANTS.) Well, then, it's time we +were saying good-bye, friends.</p> + +<p class="hang"><i>Peasants</i>. Good-bye!</p> + +<p class="indent">[<i>Exit</i> THEODORE IVÁNITCH.</p> + +<p class="indent">[<i>As soon as he is gone a sound of groaning is +heard from the top of the oven.</i></p> + +<p class="hang"><i>Second Peasant</i>. He's sleek, that one; looks +like a general.</p> + +<p class="hang"><i>Servants' Cook</i>. Rather! Why he has a room +all to himself; he gets his washing, his tea and sugar, and food +from the master's table.</p> + +<p class="hang"><i>Discharged Cook</i> (<i>on the oven</i>). Why +shouldn't the old beggar live well? He's lined his pockets all +right!</p> + +<p class="hang"><i>Second Peasant</i>. Who's that up there, on the +oven?</p> + +<p class="hang"><i>Servants' Cook</i>. Oh, it's only a man.</p> + +<p class="indent">[<i>Silence.</i></p> + +<p class="hang"><i>First Peasant</i>. Well, and you, too, as I +noticed a while since when you were supping, have capital food to +eat.</p> + +<p class="hang"><i>Servants' Cook</i>. We can't complain. She's not +mean about the food. We have wheat bread every Sunday, and fish +when a holiday happens to be a fast-day, too, and those who like +may eat meat.</p> + +<p class="hang"><i>Second Peasant</i>. And does any one tuck into +flesh on fast-days?</p> + +<p class="hang"><i>Servants' Cook</i>. Oh, they nearly all do! Only +the old coachman—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.</p> + +<p class="hang"><i>Second Peasant</i>. And the master himself?</p> + +<p class="hang"><i>Servants' Cook</i>. Catch him! Why, I bet he's +forgotten there is such a thing as fasting!</p> + +<p class="hang"><i>Third Peasant</i>. Oh, Lord!</p> + +<p class="hang"><i>First Peasant</i>. That's the gentlefolks' way: +they have got it all out of their books. 'Cos of their intelex!</p> + +<p class="hang"><i>Third Peasant</i>. Shouldn't wonder if they feed +on wheat bread every day!</p> + +<p class="hang"><i>Servants' Cook</i>. Wheat bread, indeed! Much +they think of wheat bread! You should see what food they eat. No +end of different things!</p> + +<p class="hang"><i>First Peasant</i>. In course gentlefolks' food +is of an airial kind.</p> + +<p class="hang"><i>Servants' Cook</i>. Airial, of course, but all +the same they're good at stuffing themselves, they are!</p> + +<p class="hang"><i>First Peasant</i>. Have healthy appekites, so to +say.</p> + +<p class="hang"><i>Servants' Cook</i>. 'Cos they always rinse it +down! All with sweet wines, and spirits, and fizzy liquors. They +have a different one to suit every kind of food. They eat and rinse +it down, and eat and rinse it down, they do.</p> + +<p class="hang"><i>First Peasant</i>. And so the food's floated +down in proportion, so to say.</p> + +<p class="hang"><i>Servants' Cook</i>. Ah, yes, they are good at +stuffing! It's awful! You see, it's not just sitting down, eating, +then saying grace and going away—they're always at it!</p> + +<p class="hang"><i>Second Peasant</i>. Like pigs with their feet in +the trough!</p> + +<p class="indent">[<i>Peasants laugh.</i></p> + +<p class="hang"><i>Servants' Cook</i>. As soon as, by God's grace, +they have opened their eyes, the samovár is brought +in—tea, coffee, chocolate. Hardly is the second +samovár emptied, a third has to be set. Then lunch, then +dinner, then again coffee. They've hardly left off, then comes tea, +and all sorts of tit-bits and sweetmeats—there's never an end +to it! They even lie in bed and eat!</p> + +<p class="hang"><i>Third Peasant</i>. There now; that's good.</p> + +<p class="indent">[<i>Laughs.</i></p> + +<p class="hang"><i>First and Second Peasants</i>. What are you +about?</p> + +<p class="hang"><i>Third Peasant</i>. If I could only live a single +day like that!</p> + +<p class="hang"><i>Second Peasant</i>. But when do they do their +work?</p> + +<p class="hang"><i>Servants' Cook</i>. Work indeed! What is their +work? Cards and piano—that's all their work. The young lady +used to sit down to the piano as soon as she opened her eyes, and +off she'd go! And that other one who lives here, the teacher, +stands and waits. "When will the piano be free?" When one has +finished, off rattles the other, and sometimes they'd put two +pianos near one another and four of 'em would bust out at once. +Bust out in such a manner, you could hear 'em down here!</p> + +<p class="hang"><i>Third Peasant</i>. Oh, Lord!</p> + +<p class="hang"><i>Servants' Cook</i>. Well, and that's all the +work they do! Piano or cards! As soon as they have met +together—cards, wine, smoking, and so on, all night long. And +as soon as they are up: eating again!</p> + +<p class="indent">[<i>Enter</i> SIMON.</p> + +<p class="hang"><i>Simon</i>. Hope you're enjoying your tea!</p> + +<p class="hang"><i>First Peasant</i>. Come and join us.</p> + +<p class="hang"><i>Simon</i>. (<i>comes up to the table</i>). Thank +you kindly.</p> + +<p class="indent">[<i>First</i> PEASANT <i>pours out a cup of tea +for him.</i></p> + +<p class="hang"><i>Second Peasant</i>. Where have you been?</p> + +<p class="hang"><i>Simon</i>. Upstairs.</p> + +<p class="hang"><i>Second Peasant</i>. Well, and what was being +done there?</p> + +<p class="hang"><i>Simon</i>. Why, I couldn't make it out at all! I +don't know how to explain it.</p> + +<p class="hang"><i>Second Peasant</i>. But what was it?</p> + +<p class="hang"><i>Simon</i>. I can't explain it. They have been +trying some kind of strength in me. I can't make it out. +Tánya says, "Do it, and we'll get the land for our peasants; +he'll sell it them."</p> + +<p class="hang"><i>Second Peasant</i>. But how is she going to +manage it?</p> + +<p class="hang"><i>Simon</i>. I can't make it out, and she won't +say. She says, "Do as I tell you," and that's all.</p> + +<p class="hang"><i>Second Peasant</i>. But what is it you have to +do?</p> + +<p class="hang"><i>Simon</i>. Nothing just now. They made me sit +down, put out the lights and told me to sleep. And Tánya had +hidden herself there. They didn't see her, but I did.</p> + +<p class="hang"><i>Second Peasant</i>. Why? What for?</p> + +<p class="hang"><i>Simon</i>. The Lord only knows—I can't +make it out.</p> + +<p class="hang"><i>First Peasant</i>. Naturally, it is for the +distraction of time.</p> + +<p class="hang"><i>Second Peasant</i>. Well, it's clear you and I +can make nothing of it. You had better tell me whether you have +taken all your wages yet.</p> + +<p class="hang"><i>Simon</i>. No, I've not drawn any. I have +twenty-eight roubles to the good, I think.</p> + +<p class="hang"><i>Second Peasant</i>. That's all right! Well, if +God grants that we get the land, I'll take you home, Simon.</p> + +<p class="hang"><i>Simon</i>. With all my heart!</p> + +<p class="hang"><i>Second Peasant</i>. You've got spoilt, I should +say. You'll not want to plough?</p> + +<p class="hang"><i>Simon</i>. Plough? Only give me the chance! +Plough or mow,—I'm game. Those are things one doesn't +forget.</p> + +<p class="hang"><i>First Peasant</i>. But it don't seem very +desirous after town life, for example? Eh!</p> + +<p class="hang"><i>Simon</i>. It's good enough for me. One can live +in the country, too.</p> + +<p class="hang"><i>First Peasant</i>. And Daddy Mítry here +is already on the look-out for your place; he's hankering after a +life of luckshury!</p> + +<p class="hang"><i>Simon</i>. Eh, Daddy Mítry, you'd soon +get sick of it. It seems easy enough when one looks at it, but +there's a lot of running about that takes it out of one.</p> + +<p class="hang"><i>Servants' Cook</i>. You should see one of their +balls, Daddy Mítry, then you would be surprised!</p> + +<p class="hang"><i>Third Peasant</i>. Why, do they eat all the +time?</p> + +<p class="hang"><i>Servants' Cook</i>. My eye! You should have seen +what we had here awhile ago. Theodore Ivánitch took me +upstairs and I peeped in. The ladies—awful! Dressed up! +Dressed up, bless my heart, and all bare down to here, and their +arms bare.</p> + +<p class="hang"><i>Third Peasant</i>. Oh, Lord!</p> + +<p class="hang"><i>Second Peasant</i>. Faugh! How beastly!</p> + +<p class="hang"><i>First Peasant</i>. I take it the climate allows +of that sort of thing!</p> + +<p class="hang"><i>Servants' Cook</i>. Well, daddy, so I peeped in. +Dear me, what it was like! All of 'em in their natural skins! Would +you believe it: old women—our mistress, only think, she's a +grandmother, and even she'd gone and bared her shoulders.</p> + +<p class="hang"><i>Third Peasant</i>. Oh, Lord!</p> + +<p class="hang"><i>Servants' Cook</i>. And what next? The music +strikes up, and each man of 'em went up to his own, catches hold of +her, and off they go twirling round and round!</p> + +<p class="hang"><i>Second Peasant</i>. The old women, too?</p> + +<p class="hang"><i>Servants' Cook</i>. Yes, the old ones, too.</p> + +<p class="hang"><i>Simon</i>. No, the old ones sit still.</p> + +<p class="hang"><i>Servants' Cook</i>. Get along,—I've seen +it myself!</p> + +<p class="hang"><i>Simon</i>. No, they don't.</p> + +<p class="hang"><i>Discharged Cook</i> (<i>in a hoarse voice, +looking down from the oven</i>). That's the Polka-Mazurka. You +fools don't understand what dancing is. The way they dance....</p> + +<p class="hang"><i>Servants' Cook</i>. Shut up, you dancer! And +keep quiet—there's some one coming.</p> + +<p class="indent">[<i>Enter</i> GREGORY<i>; old</i> COOK <i>hides +hurriedly.</i></p> + +<p class="hang"><i>Gregory</i> (<i>to</i> SERVANTS' COOK). Bring +some sour cabbage.</p> + +<p class="hang"><i>Servants' Cook</i>. I am only just up from the +cellar, and now I must go down again! Who is it for?</p> + +<p class="hang"><i>Gregory</i>. For the young ladies. Be quick, and +send it up with Simon. I can't wait!</p> + +<p class="hang"><i>Servants' Cook</i>. There now, they tuck into +sweetmeats till they are full up, and then they crave for sour +cabbage!</p> + +<p class="hang"><i>First Peasant</i>. That's to make a +clearance.</p> + +<p class="hang"><i>Servants' Cook</i>. Of course, and as soon as +there is room inside, they begin again!</p> + +<p class="indent">[<i>Takes basin, and exit.</i></p> + +<p class="hang"><i>Gregory</i> (<i>at</i> PEASANTS). Look at them, +how they've established themselves down here! Mind, if the mistress +finds it out she'll give it you hot, like she did this morning!</p> + +<p class="indent">[<i>Exit, laughing.</i></p> + +<p class="hang"><i>First Peasant</i>. That's just it, she did raise +a storm that time—awful!</p> + +<p class="hang"><i>Second Peasant</i>. That time it looked as if +the master was going to step in, but seeing that the missus was +about to blow the very roof off the house, he slams the door. Have +your own way, thinks he.</p> + +<p class="hang"><i>Third Peasant</i> (<i>waving his arm</i>). It's +the same everywhere. My old woman, let's say, she kicks up such a +rumpus sometimes—it's just awful! Then I just get out of the +hut. Let her go to Jericho! She'll give you one with the poker if +you don't mind. Oh, Lord!</p> + +<p class="indent">[JACOB <i>enters hurriedly with a +prescription.</i></p> + +<p class="hang"><i>Jacob</i>. Here, Simon, you run to the chemist's +and get these powders for the mistress!</p> + +<p class="hang"><i>Simon</i>. But master told me not to go out.</p> + +<p class="hang"><i>Jacob</i>. You've plenty of time; your business +won't begin till after their tea. Hope you are enjoying your +tea!</p> + +<p class="hang"><i>First Peasant</i>. Thanks, come and join us.</p> + +<p class="indent">[<i>Exit</i> SIMON.</p> + +<p class="hang"><i>Jacob</i>. I haven't time. However, I'll just +have one cup for company's sake.</p> + +<p class="hang"><i>First Peasant</i>. And we've just been having a +conversation as to how your mistress carried on so haughty this +morning.</p> + +<p class="hang"><i>Jacob</i>. Oh, she's a reg'lar fury! So +hot-tempered, that she gets quite beside herself. Sometimes she +even bursts out crying.</p> + +<p class="hang"><i>First Peasant</i>. Now, there's a thing I wanted +to ask you about. What, for example, be these mikerots she was +illuding to erewhile? "They've infested the house with mikerots, +with mikerots," she says. What is one to make of these same +mikerots?</p> + +<p class="hang"><i>Jacob</i>. Mikerogues, you mean! Well, it seems +there is such a kind of bugs; all illnesses come from them, they +say. So she says there are some of 'em on you. After you were gone, +they washed and washed and sprinkled the place where you had stood. +There's a kind of physic as kills these same bugs, they say. +<i>Second Peasant</i>. Then where have we got these bugs on us?</p> + +<p class="hang"><i>Jacob</i> (<i>drinking his tea</i>). Why, they +say they're so small that one can't see 'em even through a +glass.</p> + +<p class="hang"><i>Second Peasant</i>. Then how does she know I've +got 'em on me? Perhaps there's more of that muck on her than on +me!</p> + +<p class="hang"><i>Jacob</i>. There now, you go and ask her!</p> + +<p class="hang"><i>Second Peasant</i>. I believe it's humbug.</p> + +<p class="hang"><i>Jacob</i>. Of course it's bosh. The doctors must +invent something, or else what are they paid for? There's one comes +to us every day. Comes,—talks a bit,—and pockets ten +roubles!</p> + +<p class="hang"><i>Second Peasant</i>. Nonsense!</p> + +<p class="hang"><i>Jacob</i>. Why, there's one as takes a +hundred!</p> + +<p class="hang"><i>First Peasant</i>. A hundred? Humbug!</p> + +<p class="hang"><i>Jacob</i>. A hundred. Humbug, you say? Why, if +he has to go out of town, he'll not do it for less than a thousand! +"Give a thousand," he says, "or else you may kick the bucket for +what I care!"</p> + +<p class="hang"><i>Third Peasant</i>. Oh, Lord!</p> + +<p class="hang"><i>Second Peasant</i>. Then does he know some +charm?</p> + +<p class="hang"><i>Jacob</i>. I suppose he must. I served at a +General's outside Moscow once: a cross, terrible proud old fellow +he was—just awful. Well, this General's daughter fell ill. +They send for that doctor at once. "A thousand roubles, then I'll +come." Well, they agreed, and he came. Then they did something or +other he didn't like, and he bawled out at the General and says, +"Is this the way you show your respect for me? Then I'll not attend +her!" And, oh, my! The old General forgot all his pride, and starts +wheedling him in every way not to chuck up the job!</p> + +<p class="hang"><i>First Peasant</i>. And he got the thousand?</p> + +<p class="hang"><i>Jacob</i>. Of course!</p> + +<p class="hang"><i>Second Peasant</i>. That's easy got money. What +wouldn't a peasant do with such a sum!</p> + +<p class="hang"><i>Third Peasant</i>. And I think it's all bosh. +That time my foot was festering I had it doctored ever so long. I +spent nigh on five roubles on it,—then I gave up doctoring, +and it got all right!</p> + +<p class="indent">[DISCHARGED COOK <i>on the oven coughs.</i></p> + +<p class="hang"><i>Jacob</i>. Ah, the old crony is here again!</p> + +<p class="hang"><i>First Peasant</i>. Who might that man be?</p> + +<p class="hang"><i>Jacob</i>. He used to be our master's cook. He +comes to see Loukérya.</p> + +<p class="hang"><i>First Peasant</i>. Kitchen-master, as one might +say. Then, does he live here?</p> + +<p class="hang"><i>Jacob</i>. No, they won't allow that. He's here +one day, there another. If he's got a copper he goes to a +dosshouse; but when he has drunk all, he comes here.</p> + +<p class="hang"><i>Second Peasant</i>. How did he come to this?</p> + +<p class="hang"><i>Jacob</i>. Simply grew weak. And what a man he +used to be—like a gentleman! Went about with a gold watch; +got forty roubles a month wages. And now look at him! He'd have +starved to death long ago if it hadn't been for +Loukérya.</p> + +<p class="indent">[<i>Enter</i> SERVANTS' COOK <i>with the sour +cabbage.</i></p> + +<p class="hang"><i>Jacob</i> (<i>to</i> SERVANTS' COOK). I see +you've got Paul Petróvitch here again?</p> + +<p class="hang"><i>Servants' Cook</i>. And where's he to go to? Is +he to go and freeze?</p> + +<p class="hang"><i>Third Peasant</i>. What liquor does.... Liquor, +let's say....</p> + +<p class="indent">[<i>Clicks his tongue sympathetically.</i></p> + +<p class="hang"><i>Second Peasant</i>. Of course. A firm man's firm +as a rock; a weak man's weaker than water.</p> + +<p class="hang"><i>Discharged Cook</i> (<i>gets off the oven with +trembling hands and legs</i>). Loukérya, I say, give us a +drop!</p> + +<p class="hang"><i>Servants' Cook</i>. What are you up to? I'll +give you such a drop!...</p> + +<p class="hang"><i>Discharged Cook</i>. Have you no conscience? I'm +dying! Brothers, a copper....</p> + +<p class="hang"><i>Servants' Cook</i>. Get back on the oven, I tell +you!</p> + +<p class="hang"><i>Discharged Cook</i>. Half a glass only, cook, +for Heaven's sake! I say, do you understand? I ask you in the name +of Heaven, now!</p> + +<p class="hang"><i>Servants' Cook</i>. Come along, here's some tea +for you.</p> + +<p class="hang"><i>Discharged Cook</i>. Tea; what is tea? Weak, +sloppy stuff. A little vódka—just one little drop.... +Loukérya!</p> + +<p class="hang"><i>Third Peasant</i>. Poor old soul, what agony it +is!</p> + +<p class="hang"><i>Second Peasant</i>. You'd better give him +some.</p> + +<p class="hang"><i>Servants' Cook</i> (<i>gets out a bottle and +fills a wine-glass</i>). Here you are; you'll get no more.</p> + +<p class="hang"><i>Discharged Cook</i> (<i>clutches hold of it and +drinks, trembling all over</i>). Loukérya, Cook! I am +drinking, and you must understand....</p> + +<p class="hang"><i>Servants' Cook</i>. Now, then, stop your +chatter! Get on to the oven, and let not a breath of you be +heard!</p> + +<p class="indent">[<i>The old</i> COOK <i>meekly begins to climb +up, muttering something to himself.</i></p> + +<p class="hang"><i>Second Peasant</i>. What it is, when a man gives +way to his weakness!</p> + +<p class="hang"><i>First Peasant</i>. That's just it—human +weakness.</p> + +<p class="hang"><i>Third Peasant</i>. That goes without saying.</p> + +<p class="indent">[<i>The</i> DISCHARGED COOK <i>settles down, +muttering all the time.</i></p> + +<p class="indent">[<i>Silence.</i></p> + +<p class="hang"><i>Second Peasant</i>. I want to ask you something: +that girl of Aksínya's as comes from our village and is +living here. How is she? What is she like? How is she +living—I mean, does she live honest?</p> + +<p class="hang"><i>Jacob</i>. She's a nice girl; one can say +nothing but good of her.</p> + +<p class="hang"><i>Servants' Cook</i>. I'll tell you straight, +daddy; I know this here establishment out and out, and if you mean +to have Tánya for your son's wife—be quick about it, +before she comes to grief, or else she'll not escape!</p> + +<p class="hang"><i>Jacob</i>. Yes, that's true. A while ago we had +a girl here, Nataly. She was a good girl too. And she was lost +without rhyme or reason. No better than that chap!</p> + +<p class="indent">[<i>Pointing to the old</i> COOK.</p> + +<p class="hang"><i>Servants' Cook</i>. There's enough to dam a +mill-pool, with the likes of us, as perish! 'Cos why, every one is +tempted by the easy life and the good food. And see there,—as +soon as one has tasted the good food she goes and slips. And once +she's slipped, they don't want her, but get a fresh one in her +place. So it was with dear little Nataly; she also slipped, and +they turned her out. She had a child and fell ill, and died in the +hospital last spring. And what a girl she used to be!</p> + +<p class="hang"><i>Third Peasant</i>. Oh, Lord! People are weak; +they ought to be pitied.</p> + +<p class="hang"><i>Discharged Cook</i>. Those devils pity? No fear! +(<i>He hangs his legs down from the oven</i>.) I have stood +roasting myself by the kitchen range for thirty years, and now that +I am not wanted, I may go and die like a dog.... Pity +indeed!...</p> + +<p class="hang"><i>First Peasant</i>. That's just it. It's the old +circumstances.</p> + +<p class="hang"><i>Second Peasant</i>.</p> + +<p class="follow">While they drank and they fed, you were "curly +head."<br> + When they'd finished the prog, 'twas "Get out, mangy dog!"</p> + +<p class="hang"><i>Third Peasant</i>. Oh Lord!</p> + +<p class="hang"><i>Discharged Cook</i>. Much you know. What is +"Sautey a la Bongmont"? What is "Bavassary"? Oh, the things I could +make! Think of it! The Emperor tasted my work, and now the devils +want me no longer. But I am not going to stand it!</p> + +<p class="hang"><i>Servants' Cook</i>. Now, then, stop that noise, +mind.... Get up right into the corner, so that no one can see you, +or else Theodore Ivánitch or some one may come in, and both +you and me'll be turned out!</p> + +<p class="indent">[<i>Silence.</i></p> + +<p class="hang"><i>Jacob</i>. And do you know my part of the +country? I'm from Voznesénsky.</p> + +<p class="hang"><i>Second Peasant</i>. Not know it? Why, it's no +more'n ten miles from our village; not <i>that</i> across the ford! +Do you cultivate any land there?</p> + +<p class="hang"><i>Jacob</i>. My brother does, and I send my wages. +Though I live here, I am dying for a sight of home.</p> + +<p class="hang"><i>First Peasant</i>. That's just it.</p> + +<p class="hang"><i>Second Peasant</i>. Then Anísim is your +brother?</p> + +<p class="hang"><i>Jacob</i>. Own brother. He lives at the farther +end of the village.</p> + +<p class="hang"><i>Second Peasant</i>. Of course, I know; his is +the third house.</p> + +<p class="indent">[<i>Enter</i> TÁNYA, running.</p> + +<p class="hang"><i>Tánya</i>. Jacob, what are you doing, +amusing yourself here? She is calling you!</p> + +<p class="hang"><i>Jacob</i>. I'm coming; but what's up?</p> + +<p class="hang"><i>Tánya</i>. Frisk is barking; it's hungry. +And she's scolding you. "How cruel he is," she says. "He's no +feeling," she says. "It's long past Frisk's dinner-time, and he has +not brought her food!"</p> + +<p class="indent">[<i>Laughs.</i></p> + +<p class="hang"><i>Jacob</i> (<i>rises to go</i>). Oh, she's cross? +What's going to happen now, I wonder?</p> + +<p class="hang"><i>Servants' Cook</i>. Here, take the cabbage with +you.</p> + +<p class="hang"><i>Jacob</i>. All right, give it here.</p> + +<p class="indent">[<i>Takes basin, and exit.</i></p> + +<p class="hang"><i>First Peasant</i>. Who is going to dine now?</p> + +<p class="hang"><i>Tánya</i>. Why, the dog! It's her dog. +(<i>Sits down and takes up the tea-pot</i>.) Is there any more tea? +I've brought some.</p> + +<p class="indent">[<i>Puts fresh tea into the tea-pot.</i></p> + +<p class="hang"><i>First Peasant</i>. Dinner for a dog?</p> + +<p class="hang"><i>Tánya</i>. 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.</p> + +<p class="hang"><i>Third Peasant</i>. Oh Lord!</p> + +<p class="hang"><i>Tánya</i>. It's like that gentleman who +had a funeral for his dog.</p> + +<p class="hang"><i>Second Peasant</i>. What's that?</p> + +<p class="hang"><i>Tánya</i>. 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! +(<i>Fills it</i>.) So he keeps wiping his nose, and the gentleman +sees it, and says, "What are you crying about?" And the coachman, +he says, "Why, sir, how can I help it; is there another dog like +him?"</p> + +<p class="indent">[<i>Laughs.</i></p> + +<p class="hang"><i>Second Peasant</i>. And I daresay he thinks to +himself, "If your own self was to kick the bucket I'd not cry."</p> + +<p class="indent">[<i>Laughs.</i></p> + +<p class="hang"><i>Discharged Cook</i> (<i>from up on the +oven</i>). That is true; that's right!</p> + +<p class="hang"><i>Tánya</i>. Well, the gentleman, he gets +home and goes straight to his lady: "What a good-hearted man our +coachman is; he was crying all the way home about poor Dash. Have +him called.... Here, drink this glass of vódka," he says, +"and here's a rouble as a reward for you." That's just like her +saying Jacob has no feelings for her dog!</p> + +<p class="indent">[<i>The</i> PEASANTS <i>laugh.</i></p> + +<p class="hang"><i>First Peasant</i>. That's the style!</p> + +<p class="hang"><i>Second Peasant</i>. That was a go!</p> + +<p class="hang"><i>Third Peasant</i>. Aye, lassie, but you've set +us a-laughing!</p> + +<p class="hang"><i>Tánya</i> (<i>pouring out more tea</i>). +Have some more! Yes, it only seems that our life is pleasant; but +sometimes it is very disgusting,—clearing up all their +messes! Faugh! It's better in the country. (PEASANTS <i>turn their +cups upside-down, as a polite sign that they have had enough.</i> +TÁNYA <i>pours out more tea</i>.) Have some more, +Efím Antónitch. I'll fill your cup, Mítry +Vlásitch.</p> + +<p class="hang"><i>Third Peasant</i>. All right, fill it, fill +it.</p> + +<p class="hang"><i>First Peasant</i>. Well, dear, and what +progression is our business making?</p> + +<p class="hang"><i>Tánya</i>. It's getting on....</p> + +<p class="hang"><i>First Peasant</i>. Simon told us....</p> + +<p class="hang"><i>Tánya.</i> (<i>quickly</i>). Did he?</p> + +<p class="hang"><i>Second Peasant</i>. But he could not make us +understand.</p> + +<p class="hang"><i>Tánya</i>. I can't tell you now, but I'm +doing my best—all I can! And I've got your paper here! +(<i>Shows the paper hidden under the bib of her apron</i>.) If only +one thing succeeds ... (<i>Shrieks</i>.) Oh, how nice it would +be!</p> + +<p class="hang"><i>Second Peasant</i>. Don't lose that paper, mind. +It has cost money.</p> + +<p class="hang"><i>Tánya</i>. Never fear. You only want him +to sign it? Is that all?</p> + +<p class="hang"><i>Third Peasant</i>. Why, what else? Let's say +he's signed it, and it's done! (<i>Turns his cup upside-down</i>.) +I've had enough.</p> + +<p class="hang"><i>Tánya</i> (<i>aside</i>). He'll sign it; +you'll see he will.... Have some more.</p> + +<p class="indent">[<i>Pours out tea.</i></p> + +<p class="hang"><i>First Peasant</i>. If only you get this business +about the sale of the land settled, the Commune would pay your +marriage expenses.</p> + +<p class="indent">[<i>Refuses the tea.</i></p> + +<p class="hang"><i>Tánya</i> (<i>pouring out tea</i>). Do +have another cup.</p> + +<p class="hang"><i>Third Peasant.</i> You get it done, and we'll +arrange your marriage, and I myself, let's say, will dance at the +wedding. Though I've never danced in all my born days, I'll dance +then!</p> + +<p class="hang"><i>Tánya</i> (<i>laughing</i>). All right, +I'll be in hopes of it.</p> + +<p class="indent">[<i>Silence.</i></p> + +<p class="hang"><i>Second Peasant</i> (<i>examines</i> +TÁNYA). That's all very well, but you're not fit for peasant +work.</p> + +<p class="hang"><i>Tánya</i>. Who? I? Why, don't you think +me strong enough? You should see me lacing up my mistress. There's +many a peasant couldn't tug as hard.</p> + +<p class="hang"><i>Second Peasant</i>. Where do you tug her to?</p> + +<p class="hang"><i>Tánya</i>. 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!</p> + +<p class="hang"><i>Second Peasant</i>. Tighten the girths, you +mean.</p> + +<p class="hang"><i>Tánya</i>. Yes, yes, that's it. And you +know I mustn't shove against her with my knee.</p> + +<p class="indent">[<i>Laughs.</i></p> + +<p class="hang"><i>Second Peasant</i>. Why do you pull her in?</p> + +<p class="hang"><i>Tánya</i>. For a reason!</p> + +<p class="hang"><i>Second Peasant</i>. Why, is she doing +penance?</p> + +<p class="hang"><i>Tánya</i>. No, it's for beauty's +sake!</p> + +<p class="hang"><i>First Peasant</i>. That's to say, you pull in +her paunch for appearance' sake.</p> + +<p class="hang"><i>Tánya</i>. Sometimes I lace her up so +that her eyes are ready to start from her head, and she says, +"Tighter," till my hands tingle. And you say I'm not strong!</p> + +<p class="indent">[PEASANTS <i>laugh and shake their heads.</i></p> + +<p class="hang"><i>Tánya</i>. But here, I've been +jabbering.</p> + +<p class="indent">[<i>Runs away, laughing.</i></p> + +<p class="hang"><i>Third Peasant</i>. Ah, the lassie has made us +laugh!</p> + +<p class="hang"><i>First Peasant</i>. She's a tidy one!</p> + +<p class="hang"><i>Second Peasant</i>. She's not bad.</p> + +<p class="indent">[<i>Enter</i> SAHÁTOF <i>and</i> +VASÍLY LEONÍDITCH. SAHÁTOF <i>holds a teaspoon +in his hand.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Not exactly +a dinner, but a <i>déjeuner dinatoire</i>. And first-rate it +was, I tell you. Ham of sucking-pig, delicious! Roulier feeds one +splendidly! I've only just returned. (<i>Sees</i> PEASANTS.) Ah, +the peasants are here again!</p> + +<p class="hang"><i>Sahátof</i>. Yes, yes, that's all very +well, but we came here to hide this article. Where shall we hide +it?</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Excuse me a +moment. (<i>To</i> SERVANTS' COOK.) Where are the dogs?</p> + +<p class="hang"><i>Servants' Cook</i>. In the coachman's quarters. +You can't keep dogs in the servants' kitchen!</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Ah, in the +coachman's quarters? All right.</p> + +<p class="hang"><i>Sahátof</i>. I am waiting.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Excuse me, +please. Eh, what? Hide it? I'll tell you what. Let's put it into +one of the peasants' pockets. That one. I say, where's your pocket? +Eh, what?</p> + +<p class="hang"><i>Third Peasant</i>. What for d'ye want my pocket? +You're a good 'un! My pocket! There's money in my pocket!</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Where's +your bag, then?</p> + +<p class="hang"><i>Third Peasant</i>. What for?</p> + +<p class="hang"><i>Servants' Cook</i>. What d'you mean? That's the +young master!</p> + +<p class="hang"><i>Vasíly Leoníditch</i> (<i>laughs. +To</i> SAHÁTOF). D'you know why he's so frightened? Shall I +tell you? He's got a heap of money. Eh, what?</p> + +<p class="hang"><i>Sahátof</i>. Yes, yes, I see. Well, you +talk to them a bit, and I'll put it into that bag without being +observed, so that they should not notice and could not point it out +to him. Talk to them.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. All right! +(<i>To</i> PEASANTS.) Well then, old fellows, how about the land? +Are you buying it? Eh, what?</p> + +<p class="hang"><i>First Peasant</i>. We have made an offering, so +to say, with our whole heart. But there,—the business don't +come into action nohow.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. You should +not be so stingy! Land is an important matter! I told you about +planting mint. Or else tobacco would also do.</p> + +<p class="hang"><i>First Peasant</i>. That's just it. Every kind of +producks.</p> + +<p class="hang"><i>Third Peasant</i>. And you help us, master. Ask +your father. Or else how are we to live? There's so little land. A +fowl, let's say, there's not enough room for a fowl to run +about.</p> + +<p class="hang"><i>Sahátof</i> (<i>having put the spoon into +a bag belonging to the</i> THIRD PEASANT). <i>C'est fait</i>. +Ready. Come along.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i>. So don't be +stingy! Eh? Well, good-bye.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Third Peasant</i>. Didn't I say, come to some +lodging-house? Well, supposing we'd had to give three-pence each, +then at least we'd have been in peace. As to here, the Lord be +merciful! "Give us the money," he says. What's that for?</p> + +<p class="hang"><i>Second Peasant</i>. He's drunk, I daresay.</p> + +<p class="indent">[PEASANTS <i>turn their cups upside-down, rise, +and cross themselves.</i></p> + +<p class="hang"><i>First Peasant</i>. And d'you mind what a saying +he threw out? Sowing mint! One must know how to understand them, +that one must!</p> + +<p class="hang"><i>Second Peasant</i>. Sow mint indeed! He'd better +bend his own back at that work, and then it's not mint he'll hanker +after, no fear! Well, many thanks!... And now, good woman, would +you tell us where we could lie down to sleep?</p> + +<p class="hang"><i>Servants' Cook</i>. One of you can lie on the +oven, and the others on these benches.</p> + +<p class="hang"><i>Third Peasant</i>. Christ save you!</p> + +<p class="indent">[<i>Prays, crossing himself.</i></p> + +<p class="hang"><i>First Peasant</i>. If only by God's help we get +our business settled! (<i>Lies down</i>.) Then to-morrow, after +dinner, we'd be off by the train, and on Tuesday we'd be home +again.</p> + +<p class="hang"><i>Second Peasant</i>. Are you going to put out the +light?</p> + +<p class="hang"><i>Servants' Cook</i>. Put it out? Oh, no! They'll +keep running down here, first for one thing then another.... You +lie down, I'll lower it.</p> + +<p class="hang"><i>Second Peasant</i>. How is one to live, having +so little land? Why, this year, I have had to buy corn since +Christmas. And the oat-straw is all used up. I'd like to get hold +of ten acres, and then I could take Simon back.</p> + +<p class="hang"><i>Third Peasant</i>. You're a man with a family. +You'd get the land cultivated without trouble. If only the business +comes off.</p> + +<p class="hang"><i>Second Peasant</i>. We must pray to the Holy +Virgin, maybe she'll help us out. (<i>Silence, broken by sighs. +Then footsteps and voices are heard outside. The door opens. +Enter</i> GROSSMAN <i>hurriedly, with his eyes bandaged, +holding</i> SAHÁTOF'S <i>hand, and followed by the</i> +PROFESSOR <i>and the</i> DOCTOR, <i>the</i> FAT LADY <i>and</i> +LEONÍD FYÓDORITCH, BETSY <i>and</i> PETRÍSTCHEF, +VASÍLY LEONÍDITCH <i>and</i> MÁRYA +KONSTANTÍNOVNA, ANNA PÁVLOVNA <i>and the</i> +BARONESS, THEODORE IVÁNITCH <i>and</i> TÁNYA.)</p> + +<p class="indent">[PEASANTS <i>jump up.</i> GROSSMAN <i>comes +forward stepping quickly, then stops.</i></p> + +<p class="hang"><i>Fat Lady</i>. You need not trouble yourselves; I +have undertaken the task of observing, and am strictly fulfilling +my duty! Mr. Sahátof, are you not leading him?</p> + +<p class="hang"><i>Sahátof</i>. Of course not!</p> + +<p class="hang"><i>Fat Lady</i>. You must not lead him, but neither +must you resist! (<i>To</i> LEONÍD FYÓDORITCH.) I +know these experiments. I have tried them myself. Sometimes I used +to feel a certain effluence, and as soon as I felt it....</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. May I beg +of you to keep perfect silence?</p> + +<p class="hang"><i>Fat Lady</i>. Oh, I understand so well! I have +experienced it myself. As soon as my attention was diverted I could +no longer....</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Sh...!</p> + +<p class="indent">[GROSSMAN <i>goes about, searches near the</i> +FIRST <i>and</i> SECOND PEASANTS, then approaches the THIRD, and +stumbles over a bench.</p> + +<p class="hang"><i>Baroness</i>. <i>Mais dites-moi, on le +<a name="f6-r">paye?</a></i> <sup><a href="#f6">6</a></sup></p> + +<p class="hang"><i>Anna Pávlovna</i>. <i>Je ne saurais vous +dire.</i></p> + +<p class="hang"><i>Baroness</i>. <i>Mais c'est un monsieur?</i></p> + +<p class="hang"><i>Anna Pávlovna</i>. <i>Oh, oui!</i></p> + +<p class="hang"><i>Baroness</i>. <i>Ça tient du miraculeux. +N'est ce pas? Comment est-ce qu'il trouve?</i></p> + +<p class="hang"><i>Anna Pávlovna</i>. <i>Je ne saurais vous +dire. Mon mari vous l'expliquera.</i> (<i>Noticing</i> PEASANTS, +<i>turns round, and sees the</i> SERVANTS' COOK.) <i>Pardon</i> ... +what is this?</p> + +<p class="indent">[BARONESS <i>goes up to the group.</i></p> + +<p class="hang"><i>Anna Pávlovna</i>. (<i>to</i> SERVANTS' +COOK). Who let the peasants in?</p> + +<p class="hang"><i>Servants' Cook</i>. Jacob brought them in.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Who gave Jacob the +order?</p> + +<p class="hang"><i>Servants' Cook.</i> I can't say. Theodore +Ivánitch has seen them.</p> + +<p class="hang"><i>Anna Pávlovna.</i> Leoníd!</p> + +<p class="indent">[LEONÍD FYÓDORITCH <i>does not +hear, being absorbed in the search, and says, Sh....</i></p> + +<p class="hang"><i>Anna Pávlovna.</i> Theodore +Ivánitch! What is the meaning of this? Did you not see me +disinfecting the whole hall, and now the whole kitchen is infected, +all the rye bread, the milk....</p> + +<p class="hang"><i>Theodore Ivánitch.</i> I thought there +would not be any danger if they came here. The men have come on +business. They have far to go, and are from our village.</p> + +<p class="hang"><i>Anna Pávlovna.</i> That's the worst of +it! They are from the Koursk village, where people are dying of +diphtheria like flies! But the chief thing is, I ordered them out +of the house!... Did I, or did I not? (<i>Approaches the others +that have gathered round the</i> PEASANTS.) Be careful! Don't touch +them—they are all infected with diphtheria!</p> + +<p class="indent">[<i>No one heeds her, and she steps aside in a +dignified manner and stands quietly waiting.</i></p> + +<p class="hang"><i>Petrístchef</i> (<i>sniffs loudly</i>). I don't +know if it is diphtheria, but there is some kind of infection in +the air. Don't you notice it?</p> + +<p class="hang"><i>Betsy.</i> Stop your nonsense! Vovo, which bag +is it in?</p> + +<p class="hang"><i>Vasíly Leoníditch.</i> That one, +that one. He is getting near, very near!</p> + +<p class="hang"><i>Petrístchef.</i> Is it spirits divine, or +spirits of wine?</p> + +<p class="hang"><i>Betsy.</i> Now your cigarette comes in handy for +once. Smoke closer, closer to me.</p> + +<p class="indent">[PETRÍSTCHEF <i>leans over her and smokes at +her.</i></p> + +<p class="hang"><i>Vasíly Leoníditch.</i> He's +getting near, I tell you. Eh, what?</p> + +<p class="hang"><i>Grossman</i> (<i>searches excitedly round the +T</i>HIRD PEASANT). It is here; I feel it is!</p> + +<p class="hang"><i>Fat Lady.</i> Do you feel an effluence?</p> + +<p class="indent">[GROSSMAN <i>stoops and finds the spoon in the +bag.</i></p> + +<p class="hang"><i>All.</i> Bravo!</p> + +<p class="indent">[<i>General enthusiasm.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Ah! So +that's where our spoon was. (<i>To</i> PEASANTS.) Then that's the +sort you are!</p> + +<p class="hang"><i>Third Peasant</i>. What sort? I didn't take your +spoon! What are you making out? I didn't take it, and my soul knows +nothing about it. I didn't take it—there! Let him do what he +likes. I knew he came here for no good. "Where's your bag?" says +he. I didn't take it, the Lord is my witness! (<i>Crosses +himself</i>.) I didn't take it!</p> + +<p class="indent">[<i>The young people group round the</i> PEASANT, +laughing.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i> (<i>angrily +to his son</i>). Always playing the fool! (<i>To the</i> THIRD +PEASANT.) Never mind, friend! We know you did not take it; it was +only an experiment.</p> + +<p class="hang"><i>Grossman</i> (<i>removes bandage from his eyes, +and pretends to be coming to</i>). Can I have a little water?</p> + +<p class="indent">[<i>All fuss round him.</i></p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Let's go +straight from here into the coachman's room. I've got a bitch +<a name="f7-r">there—<i>épâtante!</i></a> +<sup><a href="#f7">7</a></sup></p> + +<p class="hang"><i>Betsy</i>. What a horrid word! Couldn't you say +dog?</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. No. I can't +say—Betsy is a man, <i>épâtante</i>. I should +have to say young woman; it's a parallel case. Eh, what? +Márya Konstantínovna, isn't it true? Good, eh?</p> + +<p class="indent">[<i>Laughs loudly.</i></p> + +<p class="hang"><i>Márya Konstantínovna</i>. Well, +let us go.</p> + +<p class="indent">[<i>Exeunt</i> MÁRYA +KONSTANTÍNOVNA, BETSY, PETRÍSTCHEF, <i>and</i> +VASÍLY LEONÍDITCH.</p> + +<p class="hang"><i>Fat Lady</i> (<i>to</i> GROSSMAN). Well? how are +you? Have you rested? (GROSSMAN <i>does not answer. To</i> +SAHÁTOF.) And you, Mr. Sahátof, did you feel the +effluence?</p> + +<p class="hang"><i>Sahátof</i>. I felt nothing. Yes, it was +very fine—very fine. Quite a success!</p> + +<p class="hang"><i>Baroness</i>.—<i>Admirable! Ça ne +le fait pas <a name="f8-r">souffrir?</a></i> +<sup><a href="#f8">8</a></sup></p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. <i>Pas le +moins du monde.</i></p> + +<p class="hang"><i>Professor</i> (<i>to</i> GROSSMAN). May I +trouble you? (<i>Hands him a thermometer</i>.) At the beginning of +the experiment it was 37 decimal 2 <a name="f9-r">degrees.</a> +<sup><a href="#f9">9</a></sup> (<i>To</i> +DOCTOR.) That's right, I think? Would you mind feeling his pulse? +Some loss is inevitable.</p> + +<p class="hang"><i>Doctor</i> (<i>to</i> GROSSMAN). Now then, sir, +let's have your hand; we'll see, we'll see.</p> + +<p class="indent">[<i>Takes out his watch and feels</i> GROSSMAN'S +<i>pulse.</i></p> + +<p class="hang"><i>Fat Lady</i> (<i>to</i> GROSSMAN). One moment! +The condition you were in could not be called sleep?</p> + +<p class="hang"><i>Grossman</i> (<i>wearily</i>). It was +hypnosis.</p> + +<p class="hang"><i>Sahátof</i>. In that case, are we to +understand that you hypnotised yourself?</p> + +<p class="hang"><i>Grossman</i>. And why not? An hypnotic state may +ensue not only in consequence of association—the sound of the +tom-tom, for instance, in Charcot's method—but by merely +entering an hypnogenetic zone.</p> + +<p class="hang"><i>Sahátof</i>. Granting that, it would +still be desirable to define what hypnotism is, more exactly?</p> + +<p class="hang"><i>Professor</i>. Hypnotism is a phenomenon +resulting from the transmutation of one energy into another.</p> + +<p class="hang"><i>Grossman</i>. Charcot does not so define it.</p> + +<p class="hang"><i>Sahátof</i>. A moment, just a moment! +That is your definition, but Liébault told me +himself....</p> + +<p class="hang"><i>Doctor</i> (<i>lets go of</i> GROSSMAN'S +<i>pulse</i>). Ah, that's all right; well, now, the +temperature?</p> + +<p class="hang"><i>Fat Lady</i> (<i>interrupting</i>). No, allow +me! I agree with the Professor. And here's the very best proof. +After my illness, when I lay insensible, a desire to speak came +over me. In general I am of a silent disposition, but then I was +overcome by this desire to speak, and I spoke and spoke, and I was +told that I spoke in such a way that every one was astonished! +(<i>To</i> SAHÁTOF.) But I think I interrupted you?</p> + +<p class="hang"><i>Sahátof</i> (<i>with dignity</i>). Not at +all. Pray continue.</p> + +<p class="hang"><i>Doctor</i>. Pulse 82, and the temperature has +risen three-tenths of a degree.</p> + +<p class="hang"><i>Professor</i>. There you are! That's a proof! +That's just as it should be. (<i>Takes out pocket-book and +writes</i>.) 82, yes? And 37 and 5. When the hypnotic state is +induced, it invariably produces a heightened action of the +heart.</p> + +<p class="hang"><i>Doctor</i>. I can, as a medical man, bear +witness that your prognosis was justified by the event.</p> + +<p class="hang"><i>Professor</i> (<i>to SAHÁTOF</i>). You +were saying?...</p> + +<p class="hang"><i>Sahátof</i>. I wished to say that +Liébault told me himself that the hypnotic is only one +particular psychical state, increasing susceptibility to +suggestion.</p> + +<p class="hang"><i>Professor</i>. That is so, but still the law of +equivalents is the chief thing.</p> + +<p class="hang"><i>Grossman</i>. Moreover, Liébault is far +from being an authority, while Charcot has studied the subject from +all sides, and has proved that hypnotism produced by a blow, a +trauma....</p> + +<p class="hang"><i>All talking together—</i></p> + +<p class="deep_hang"><i>Sahátof</i>. Yes, but I don't reject +Charcot's labor. I know him also, I am only repeating what +Liébault told me...</p> + +<p class="deep_hang"><i>Grossman</i> (<i>excitedly</i>). There are +3000 patients <i>together</i> in the Salpêtrière, +and I have gone through the whole course.</p> + +<p class="deep_hang"><i>Professor.</i> Excuse me, gentlemen, but +that is not the point.</p> + +<p class="hang"><i>Fat Lady</i> (<i>interrupting</i>). One moment, +I will explain it to you in two words. When my husband was ill, all +the doctors gave him up....</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. However, we +had better go upstairs again. Baroness, this way!</p> + +<p class="indent">[<i>Exeunt</i> GROSSMAN, SAHÁTOF, +PROFESSOR, DOCTOR, <i>the</i> FAT LADY, <i>and</i> BARONESS, +<i>talking loudly and interrupting each other.</i></p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>catching hold +of</i> LEONÍD FYÓDORITCH'S <i>arm</i>). How often +have I asked you not to interfere in household matters! You think +of nothing but your nonsense, and the whole house is on my +shoulders. You will infect us all!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. What? How? +I don't understand what you mean.</p> + +<p class="hang"><i>Anna Pávlovna</i>. How? Why, people ill +of diphtheria sleep in the kitchen, which is in constant +communication with the whole house.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Yes, but +I....</p> + +<p class="hang"><i>Anna Pávlovna</i>. What, I?</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. I know +nothing about it.</p> + +<p class="hang"><i>Anna Pávlovna</i>. It's your duty to +know, if you are the head of the family. Such things must not be +done.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. But I never +thought.... I thought....</p> + +<p class="hang"><i>Anna Pávlovna</i>. It is sickening to +listen to you!</p> + +<p class="indent">[LEONÍD FYÓDORITCH <i>remains +silent.</i></p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>to</i> THEODORE +IVÁNITCH). Turn them out at once! They are to leave my +kitchen immediately! It is terrible! No one listens to me; they do +it out of spite.... I turn them out from there, and they bring them +in here! And with my illness.... (<i>Gets more and more excited, +and at last begins to cry</i>.) Doctor! Doctor! Peter +Petróvitch!... He's gone too!...</p> + +<p class="indent">[<i>Exit, sobbing, followed by</i> LEONÍD +FYÓDORITCH.</p> + +<p class="indent">[<i>All stand silent for a long time.</i></p> + +<p class="hang"><i>Third Peasant</i>. Botheration take them all! If +one don't mind, the police will be after one here. And I have never +been to law in all my born days. Let's go to some lodging-house, +lads!</p> + +<p class="hang"><i>Theodore Ivánitch</i>. (<i>to</i> +TÁNYA). What are we to do?</p> + +<p class="hang"><i>Tánya</i>. Never mind, Theodore +Ivánitch, let them sleep with the coachman.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. How can we do +that? The coachman was complaining as it is, that his place is full +of dogs.</p> + +<p class="hang"><i>Tánya</i>. Well, then, the porter's +lodge.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. And supposing it's +found out?</p> + +<p class="hang"><i>Tánya</i>. It won't be found out! Don't +trouble about that, Theodore Ivánitch. How can one turn them +out now, at night? They'll not find anywhere to go to.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Well, do as you +please. Only they must go away from here.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="indent">[PEASANTS <i>take their bags.</i></p> + +<p class="hang"><i>Discharged Cook</i>. Oh those damned fiends! +It's all their fat! Fiends!</p> + +<p class="hang"><i>Servants' Cook</i>. You be quiet there. Thank +goodness they didn't see you!</p> + +<p class="hang"><i>Tánya.</i> Well then, daddy, come along +to the porter's lodge.</p> + +<p class="hang"><i>First Peasant.</i> Well, but how about our +business? How, for example, about the applience of his hand to the +signature? May we be in hopes?</p> + +<p class="hang"><i>Tánya.</i> We'll see in an hour's +time.</p> + +<p class="hang"><i>Second Peasant.</i> You'll do the trick?</p> + +<p class="hang"><i>Tánya</i> (<i>laughs</i>). Yes, God +willing!</p> + +<p class="hang">CURTAIN</p> + +<h3>ACT III</h3> + +<p class="hang"><i>Evening of the same day. The small drawing-room +in</i> LEONÍD FYÓDORITCH'S <i>house, where the +séances are always held.</i> LEONÍD FYÓDORITCH +<i>and the</i> PROFESSOR.</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Well then, +shall we risk a séance with our new medium?</p> + +<p class="hang"><i>Professor.</i> Yes, certainly. He is a powerful +medium, there is no doubt about it. And it is especially desirable +that the séance should take place to-day with the same +people. Grossman will certainly respond to the influence of the +mediumistic energy, and then the connection and identity of the +different phenomena will be still more evident. You will see then +that, if the medium is as strong as he was just now, Grossman will +vibrate.</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Then I will +send for Simon and ask those who wish to attend to come in.</p> + +<p class="hang"><i>Professor.</i> Yes, all right! I will just jot +down a few notes.</p> + +<p class="indent">[<i>Takes out his note-book and writes.</i></p> + +<p class="indent">[<i>Enter</i> SAHÁTOF.</p> + +<p class="hang"><i>Sahátof.</i> They have just settled down +to whist in Anna Pávlovna's drawing-room, and as I am not +wanted there—and as I am interested in your +séance—I have put in an appearance here. But will +there be a séance?</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Yes, +certainly!</p> + +<p class="hang"><i>Sahátof.</i> In spite of the absence of +Mr. Kaptchítch's mediumistic powers?</p> + +<p class="hang"><i>Leoníd Fyódoritch. Vous avez la +main <a name="f10-r">heureuse.</a></i> +<sup><a href="#f10">10</a></sup> Fancy, that very peasant whom I mentioned to +you this morning turns out to be an undoubted medium.</p> + +<p class="hang"><i>Sahátof.</i> Dear me! Yes, that is +peculiarly interesting!</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Yes, we +tried a few preliminary experiments with him just after dinner.</p> + +<p class="hang"><i>Sahátof</i>. So you've had time already +to experiment, and to convince yourself....</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Yes, +perfectly! And he turns out to be an exceptionally powerful +medium.</p> + +<p class="hang"><i>Sahátof</i> (<i>incredulously</i>). Dear +me!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. It turns +out that it has long been noticed in the servants' hall. When he +sits down to table, the spoon springs into his hand of its own +accord! (<i>To the</i> PROFESSOR.) Had you heard about it?</p> + +<p class="hang"><i>Professor</i>. No, I had not heard that +detail.</p> + +<p class="hang"><i>Sahátof</i> (<i>to the</i> PROFESSOR). +But still, you admit the possibility of such phenomena?</p> + +<p class="hang"><i>Professor</i>. What phenomena?</p> + +<p class="hang"><i>Sahátof</i>. Well, spiritualistic, +mediumistic, and supernatural phenomena in general.</p> + +<p class="hang"><i>Professor</i>. The question is, what do we +consider supernatural? When, not a living man but a piece of stone +attracted a nail to itself, how did the phenomena strike the first +observers? As something natural? Or supernatural?</p> + +<p class="hang"><i>Sahátof</i>. Well, of course; but +phenomena such as the magnet attracting iron always repeat +themselves.</p> + +<p class="hang"><i>Professor</i>. It is just the same in this case. +The phenomenon repeats itself and we experiment with it. And not +only that, but we apply to the phenomena we are investigating the +laws common to other phenomena. These phenomena seem supernatural +only because their causes are attributed to the medium himself. But +that is where the mistake lies. The phenomena are not caused by the +medium, but by psychic energy acting through a medium, and that is +a very different thing. The whole matter lies in the law of +equivalents.</p> + +<p class="hang"><i>Sahátof</i>. Yes, certainly, but....</p> + +<p class="indent">[<i>Enter</i> TÁNYA, <i>who hides behind +the hangings.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Only +remember that we cannot reckon on any results with certainty, with +this medium any more than with Home or Kaptchítch. We may +not succeed, but on the other hand we may even have perfect +materialisation.</p> + +<p class="hang"><i>Sahátof</i>. Materialisation even? What +do you mean by materialisation?</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Why, I mean +that some one who is dead—say, your father or your +grandfather—may appear, take you by the hand, or give you +something; or else some one may suddenly rise into the air, as +happened to Alexéy Vladímiritch last time.</p> + +<p class="hang"><i>Professor.</i> Of course, of course. But the +chief thing is the explanation of the phenomena, and the +application to them of general laws.</p> + +<p class="indent">[<i>Enter the</i> FAT LADY.</p> + +<p class="hang"><i>Fat Lady.</i> Anna Pávlovna has allowed +me to join you.</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Very +pleased.</p> + +<p class="hang"><i>Fat Lady.</i> Oh, how tired Grossman seems! He +could scarcely hold his cup. Did you notice (<i>to the +PROFESSOR</i>) how pale he turned at the moment he approached the +hiding-place? I noticed it at once, and was the first to mention it +to Anna Pávlovna.</p> + +<p class="hang"><i>Professor.</i> Undoubtedly,—loss of vital +energy.</p> + +<p class="hang"><i>Fat Lady.</i> Yes, it's just as I say, one +should not abuse that sort of thing. You know, a hypnotist once +suggested to a friend of mine, Véra Kónshin (oh, you +know her, of course)—well, he suggested that she should leave +off smoking,—and her back began to ache!</p> + +<p class="hang"><i>Professor</i> (<i>trying to have his say</i>). +The temperature and the pulse clearly indicate....</p> + +<p class="hang"><i>Fat Lady.</i> One moment! Allow me! Well, I said +to her: it's better to smoke than to suffer so with one's nerves. +Of course, smoking is injurious; I should like to give it up +myself, but, do what I will, I can't! Once I managed not to smoke +for a fortnight, but could hold out no longer.</p> + +<p class="hang"><i>Professor</i> (<i>again trying to speak</i>). +Clearly proves....</p> + +<p class="hang"><i>Fat Lady.</i> Yes, no! Allow me, just one word! +You say, "loss of strength." And I was also going to say that, when +I travelled with post-horses ... the roads used to be dreadful in +those days—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!</p> + +<p class="hang"><i>Professor</i> (<i>makes another attempt, which +the FAT LADY baffles</i>). The loss of strength....</p> + +<p class="hang"><i>Sahátof</i> (<i>smiling</i>). Yes; oh +yes!</p> + +<p class="indent">[LEONÍD FYÓDORITCH +<i>rings.</i></p> + +<p class="hang"><i>Fat Lady</i>. I am awake one night, and another, +and a third, and still I can't sleep!</p> + +<p class="indent">[<i>Enter</i> GREGORY.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Please tell +Theodore to get everything ready for the séance, and send +Simon here—Simon, the butler's assistant,—do you +hear?</p> + +<p class="hang"><i>Gregory</i>. Yes, sir.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Professor</i> (<i>to SAHÁTOF</i>). The +observation of the temperature and the pulse have shown loss of +vital energy. The same will happen in consequence of the +mediumistic phenomena. The law of the conservation of +energy....</p> + +<p class="hang"><i>Fat Lady</i>. Oh yes, yes; I was just going to +say that I am very glad that a simple peasant turns out to be a +medium. That's very good. I always did say that the +Slavophils....</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Let's go +into the drawing-room in the meantime.</p> + +<p class="hang"><i>Fat Lady</i>. Allow me, just one word! The +Slavophils are right; but I always told my husband that one ought +never to exaggerate anything! "The golden mean," you know. What is +the use of maintaining that the common people are all perfect, when +I have myself seen....</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Won't you +come into the drawing-room?</p> + +<p class="hang"><i>Fat Lady</i>. 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!</p> + +<p class="indent">[<i>Exeunt all, all talking together.</i></p> + +<p class="indent">[TÁNYA <i>enters from behind the +hangings.</i></p> + +<p class="hang"><i>Tánya</i>. Oh, if it would only +succeed!</p> + +<p class="indent">[<i>Begins fastening some threads.</i></p> + +<p class="indent">[<i>Enter</i> BETSY <i>hurriedly.</i></p> + +<p class="hang"><i>Betsy</i>. Isn't papa here? (<i>Looks +inquiringly at TÁNYA</i>.) What are you doing here?</p> + +<p class="hang"><i>Tánya</i>. Oh, Miss Elizabeth, I have +only just come; I only wished ... only came in....</p> + +<p class="indent">[<i>Embarrassed.</i></p> + +<p class="hang"><i>Betsy</i>. But they are going to have a +séance here directly (<i>Notices</i> TÁNYA <i>drawing +in the threads, looks at her, and suddenly bursts out +laughing</i>.) Tánya! Why, it's you who do it all? Now don't +deny it. And last time it was you too? Yes, it was, it was!</p> + +<p class="hang"><i>Tánya</i>. Miss Elizabeth, dearest!</p> + +<p class="hang"><i>Betsy</i> (<i>delighted</i>). Oh, that is a +joke! Well, I never. But why do you do it?</p> + +<p class="hang"><i>Tánya</i>. Oh miss, dear miss, don't +betray me!</p> + +<p class="hang"><i>Betsy</i>. Not for the world! I'm awfully glad. +Only tell me how you manage it?</p> + +<p class="hang"><i>Tánya</i>. Well, I just hide, and then, +when it's all dark, I come out and do it. That's how.</p> + +<p class="hang"><i>Betsy</i> (<i>pointing to threads</i>). And what +is this for? You needn't tell me. I see; you draw....</p> + +<p class="hang"><i>Tánya</i>. Miss Elizabeth, darling! I +will confess it, but only to you. I used to do it just for fun, but +now I mean business.</p> + +<p class="hang"><i>Betsy</i>. What? How? What business?</p> + +<p class="hang"><i>Tánya</i>. Well, you see, those peasants +that came this morning, you saw them. They want to buy some land, +and your father won't sell it; well, and Theodore Ivánitch, +he says it's the spirits as forbid him. So I have had a thought +as....</p> + +<p class="hang"><i>Betsy</i>. Oh, I see! Well, you are a clever +girl! Do it, do it.... But how will you manage it?</p> + +<p class="hang"><i>Tánya</i>. Well, I thought, when they put +out the lights, I'll at once begin knocking and shying things +about, touching their heads with the threads, and at last I'll take +the paper about the land and throw it on the table. I've got it +here.</p> + +<p class="hang"><i>Betsy</i>. Well, and then?</p> + +<p class="hang"><i>Tánya</i>. Why, don't you see? They will +be astonished. The peasants had the paper, and now it's here. I +will teach....</p> + +<p class="hang"><i>Betsy</i>. Why, of course! Simon is the medium +to-day!</p> + +<p class="hang"><i>Tánya</i>. Well, I'll teach him.... +(<i>Laughs so that she can't continue</i>.) I'll tell him to +squeeze with his hands any one he can get hold of! Of course, not +your father—he'd never dare do that—but any one else; +he'll squeeze till it's signed.</p> + +<p class="hang"><i>Betsy</i> (<i>laughing</i>). But that's not the +way it is done. Mediums never do anything themselves.</p> + +<p class="hang"><i>Tánya</i>. Oh, never mind. It's all one; +I daresay it'll turn out all right.</p> + +<p class="indent">[<i>Enter</i> THEODORE IVÁNITCH.</p> + +<p class="indent">[<i>Exit</i> BETSY, making signs to +TÁNYA.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Why are you +here?</p> + +<p class="hang"><i>Tánya</i>. It's you I want, Theodore +Ivánitch, dear....</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Well, what is +it?</p> + +<p class="hang"><i>Tánya</i>. About that affair of mine as I +spoke of.</p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>laughs</i>). +I've made the match; yes, I've made the match. The matter is +settled; we have shaken hands on it, only not had a drink on +it.</p> + +<p class="hang"><i>Tánya</i> (<i>with a shriek</i>). Never! +So it's all right?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Don't I tell you +so? He says, "I shall consult the missus, and then, God +willing...."</p> + +<p class="hang"><i>Tánya</i>. Is that what he said? +(<i>Shrieks</i>.) Dear Theodore Ivánitch, I'll pray for you +all the days of my life!</p> + +<p class="hang"><i>Theodore Ivánitch</i>. All right! All +right! Now is not the time. I've been ordered to arrange the room +for the séance.</p> + +<p class="hang"><i>Tánya</i>. Let me help you. How's it to +be arranged?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. How? Why, the +table in the middle of the room—chairs—the +guitar—the accordion. The lamp is not wanted, only +candles.</p> + +<p class="hang"><i>Tánya</i> (<i>helps</i> THEODORE +IVÁNITCH <i>to place the things</i>). Is that right? The +guitar here, and here the inkstand. (<i>Places it</i>.) So?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Can it be true +that they'll make Simon sit here?</p> + +<p class="hang"><i>Tánya</i>. I suppose so; they've done it +once.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Wonderful! +(<i>Puts on his pince-nez</i>.) But is he clean?</p> + +<p class="hang"><i>Tánya</i>. How should I know?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Then, I'll tell +you what....</p> + +<p class="hang"><i>Tánya</i>. Yes, Theodore +Ivánitch?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Go and take a +nail-brush and some Pears' soap; you may take mine ... and go and +cut his claws and scrub his hands as clean as possible.</p> + +<p class="hang"><i>Tánya.</i> He can do it himself.</p> + +<p class="hang"><i>Theodore Ivánitch.</i> Well then, tell +him to. And tell him to put on a clean shirt as well.</p> + +<p class="hang"><i>Tánya.</i> All right, Theodore +Ivánitch.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>sits down in an +easy-chair</i>). They're educated and learned—Alexéy +Vladímiritch now, he's a professor—and yet sometimes +one can't help doubting very much. The people's rude superstitions +are being abolished: hobgoblins, sorcerers, witches.... But if one +considers it, is not this equally superstitious? How is it possible +that the souls of the dead should come and talk, and play the +guitar? No! Some one is fooling them, or they are fooling +themselves. And as to this business with Simon—it's simply +incomprehensible. (<i>Looks at an album</i>.) Here's their +spiritualistic album. How is it possible to photograph a spirit? +But here is the likeness of a Turk and Leoníd +Fyódoritch sitting by.... Extraordinary human weakness!</p> + +<p class="indent">[<i>Enter</i> LEONÍD +FYÓDORITCH.</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Is it all +ready?</p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>rising +leisurely</i>). Quite ready. (<i>Smiles</i>.) Only I don't know +about your new medium. I hope he won't disgrace you, Leoníd +Fyódoritch.</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> No, I and +Alexéy Vladímiritch have tested him. He is a +wonderfully powerful medium!</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Well, I don't +know. But is he clean enough? I don't suppose you have thought of +ordering him to wash his hands? It might be rather +inconvenient.</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> His hands? +Oh yes! They're not clean, you think?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. What can you +expect? He's a peasant, and there will be ladies present, and +Márya Vasílevna.</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> It will be +all right.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. And then I have +something to report to you. Timothy, the coachman, complains that +he can't keep things clean because of the dogs.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i> +(<i>arranging the things on the table absentmindedly</i>). What +dogs?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. The three hounds +that came for Vasíly Leoníditch to-day.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i> +(<i>vexed</i>). Tell Anna Pávlovna! She can do as she likes +about it. I have no time.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. But you know her +weakness....</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. '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.</p> + +<p class="indent">[<i>Enter</i> SIMON, <i>smiling; he has a +sleeveless peasant's coat on.</i></p> + +<p class="hang"><i>Simon</i>. I was ordered to come.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Yes, it's +all right. Let me see your hands. That will do, that will do very +well! Well, then, my good fellow, you must do just as you did +before,—sit down, and give way to your mood. But don't think +at all.</p> + +<p class="hang"><i>Simon</i>. Why should I think? The more one +thinks, the worse it is.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Just so, +just so, exactly! The less conscious one is, the greater is the +power. Don't think, but give in to your mood. If you wish to sleep, +sleep; if you wish to walk, walk. Do you understand?</p> + +<p class="hang"><i>Simon</i>. How could one help understanding? +It's simple enough.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. But above +all, don't be frightened. Because you might be surprised yourself. +You must understand that just as we live here, so a whole world of +invisible spirits live here also.</p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>improving on +what</i> LEONÍD FYÓDORITCH <i>has said</i>). +Invisible feelings, do you understand?</p> + +<p class="hang"><i>Simon</i> (<i>laughs</i>). How can one help +understanding! It's very plain as you put it.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. You may +rise up in the air, or something of the kind, but don't be +frightened.</p> + +<p class="hang"><i>Simon</i>. Why should I be frightened? That +won't matter at all.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Well then, +I'll go and call them all.... Is everything ready?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. I think so.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. But the +slates?</p> + +<p class="hang"><i>Theodore Ivánitch.</i> They are +downstairs. I'll bring them.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. All right +then. So don't be afraid, but be at your ease.</p> + +<p class="hang"><i>Simon</i>. Had I not better take off my coat? +One would be more easy like.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Your coat? +Oh no. Don't take that off.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Simon</i>. She tells me to do the same again, +and she will again shy things about. How isn't she afraid?</p> + +<p class="indent">[<i>Enter</i> TÁNYA <i>in her stockings and +in a dress of the color of the wall-paper.</i> SIMON +<i>laughs.</i></p> + +<p class="hang"><i>Tánya</i>. Shsh!... They'll hear! There, +stick these matches on your fingers as before. (<i>Sticks them +on</i>.) Well, do you remember everything?</p> + +<p class="hang"><i>Simon</i> (<i>bending his fingers in, one by +one</i>). First of all, wet the matches and wave my hands about, +that's one. Then make my teeth chatter, like this ... that's two. +But I've forgotten the third thing.</p> + +<p class="hang"><i>Tánya</i>. 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! (<i>Laughs</i>.) Whether it's a gentleman or a lady, it's +all one, you just squeeze 'em, and don't let 'em go,—as if it +were in your sleep, and chatter with your teeth, or else howl like +this. (<i>Howls sotto-voce</i>.) And when I begin to play on the +guitar, then stretch yourself as if you were waking up, you +know.... Will you remember everything?</p> + +<p class="hang"><i>Simon</i>. Yes, I'll remember, but it is too +funny.</p> + +<p class="hang"><i>Tánya</i>. But mind you don't laugh. +Still, it won't matter much if you do laugh; they'd think it was in +your sleep. Only take care you don't really fall asleep when they +put out the lights.</p> + +<p class="hang"><i>Simon</i>. No fear, I'll pinch my ears.</p> + +<p class="hang"><i>Tánya</i>. Well, then, Sim, darling, only +mind do as I tell you, and don't get frightened. He'll sign the +paper, see if he don't! They're coming!</p> + +<p class="hang">[<i>Gets under the sofa.</i></p> + +<p class="indent">[<i>Enter</i> GROSSMAN <i>and the</i> PROFESSOR, +LEONÍD FYÓDORITCH <i>and the</i> FAT LADY, <i>the</i> +DOCTOR, SAHÁTOF <i>and</i> ANNA PÁVLOVNA. SIMON +<i>stands near the door.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Please come +in, all you doubters! Though we have a new and accidentally +discovered medium, I expect very important phenomena to-night.</p> + +<p class="hang"><i>Sahátof</i>. That's very, very +interesting.</p> + +<p class="hang"><i>Fat Lady</i> (<i>pointing to</i> SIMON). <i>Mais +il est très <a name="f11-r">bien!</a></i> +<sup><a href="#f11">11</a></sup></p> + +<p class="hang"><i>Anna Pávlovna</i>. Yes, as a butler's +assistant, but hardly....</p> + +<p class="hang"><i>Sahátof</i>. Wives never have any faith +in their husbands' work. You don't believe in anything of this +kind?</p> + +<p class="hang"><i>Anna Pávlovna</i>. Of course not. +Kaptchítch, it is true, has something exceptional about him, +but Heaven knows what all this is about!</p> + +<p class="hang"><i>Fat Lady</i>. No, Anna Pávlovna, permit +me, you can't decide it in such a way. Before I was married, I once +had a remarkable dream. Dreams, you know, are often such that you +don't know where they begin and where they end; it was just such a +dream that I....</p> + +<p class="indent">[<i>Enter</i> VASÍLY LEONÍDITCH +<i>and</i> PETRÍSTCHEF.</p> + +<p class="hang"><i>Fat Lady</i>. And much was revealed to me by +that dream. Nowadays the young people (<i>points to</i> +PETRÍSTCHEF <i>and</i> VASÍLY LEONÍDITCH) deny +everything.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. But look +here, you know—now I, for instance, never deny anything! Eh, +what?</p> + +<p class="indent">[BETSY <i>and</i> MÁRYA +KONSTANTÍNOVNA <i>enter, and begin talking to</i> +PETRÍSTCHEF.</p> + +<p class="hang"><i>Fat Lady</i>. And how can one deny the +supernatural? They say it is unreasonable. But what if one's reason +is stupid; what then? There now, on Garden Street, you know ... +why, well, it appeared every evening! My husband's +brother—what do you call him? Not +<i>beau-frère</i>—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....</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Well, who +is going to stay here?</p> + +<p class="hang"><i>Fat Lady</i>. I! I!</p> + +<p class="hang"><i>Sahátof</i>. I.</p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>to</i> DOCTOR). Do +you mean to say you are going to stay?</p> + +<p class="hang"><i>Doctor</i>. Yes; I must see, if only once, what +it is that Alexéy Vladímiritch has discovered in it. +How can we deny anything without proof?</p> + +<p class="hang"><i>Anna Pávlovna</i>. Then I am to take it +to-night for certain?</p> + +<p class="hang"><i>Doctor</i>. Take what?... Oh, the powder. Yes, +it would perhaps be better. Yes, yes, take it.... However, I shall +come upstairs again.</p> + +<p class="hang"><i>Anna Pávlovna</i>. Yes, please do. +(<i>Loud</i>.) When it is over, <i>mesdames et messieurs</i>, I +shall expect you to come to me upstairs to rest from your emotions, +and then we will finish our rubber.</p> + +<p class="hang"><i>Fat Lady</i>. Oh, certainly.</p> + +<p class="hang"><i>Sahátof</i>. Yes, thanks!</p> + +<p class="indent">[<i>Exit</i> ANNA PÁVLOVNA.</p> + +<p class="hang"><i>Betsy</i> (<i>to</i> PETRÍSTCHEF). You +must stay, I tell you. I promise you something extraordinary. Will +you bet?</p> + +<p class="hang"><i>Márya Konstantínovna</i>. But you +don't believe in it?</p> + +<p class="hang"><i>Betsy</i>. To-day I do.</p> + +<p class="hang"><i>Márya Konstantínovna</i> +(<i>to</i> PETRÍSTCHEF). And do you believe?</p> + +<p class="hang"><i>Petrístchef</i>. "I can't believe, I +cannot trust a heart for falsehood framed." Still, if Elizabeth +Leonídovna commands....</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Let us +stay, Márya Konstantínovna. Eh, what? I shall invent +something <i>épâtant</i>.</p> + +<p class="hang"><i>Márya Konstantínovna</i>. No, you +mustn't make me laugh. You know I can't restrain myself.</p> + +<p class="hang"><i>Vasíly Leoníditch</i> +(<i>loud</i>). I remain!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i> +(<i>severely</i>). But I beg those who remain not to joke about it. +It is a serious matter.</p> + +<p class="hang"><i>Petrístchef</i>. Do you hear? Well then, +let's stay. Vovo, sit here, and don't be too shy.</p> + +<p class="hang"><i>Betsy</i>. Yes, it's all very well for you to +laugh; but just wait till you see what will happen.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Oh, but +supposing it's true? Won't it be a go! Eh, what?</p> + +<p class="hang"><i>Petrístchef</i> (<i>trembles</i>). Oh, +I'm afraid, I'm afraid! Márya Konstantínovna, I'm +afraid! My tootsies tremble.</p> + +<p class="hang"><i>Betsy</i> (<i>laughing</i>). Not so loud.</p> + +<p class="indent">[<i>All sit down.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Take your +seats, take your seats. Simon, sit down!</p> + +<p class="hang"><i>Simon</i>. Yes, sir.</p> + +<p class="indent">[<i>Sits down on the edge of the chair.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Sit +properly.</p> + +<p class="hang"><i>Professor</i>. Sit straight in the middle of the +chair, and quite at your ease.</p> + +<p class="indent">[<i>Arranges</i> SIMON <i>on his chair.</i></p> + +<p class="indent">[BETSY, MÁRYA KONSTANTÍNOVNA +<i>and</i> VASÍLY LEONÍDITCH <i>laugh.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i> (<i>raising +his voice</i>). I beg those who are going to remain here not to +behave frivolously, but to regard this matter seriously, or bad +results might follow. Do you hear, Vovo! If you can't be quiet, go +away!</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Quiet, +quiet!</p> + +<p class="indent">[<i>Hides behind</i> FAT LADY.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. +Alexéy Vladímiritch, will you mesmerise him?</p> + +<p class="hang"><i>Professor</i>. No; why should I do it when +Antón Borísitch is here? He has had far more practice +and has more power in that department than I ... Antón +Borísitch!</p> + +<p class="hang"><i>Grossman</i>. Ladies and gentlemen, I am not, +strictly speaking, a spiritualist. I have only studied hypnotism. +It is true I have studied hypnotism in all its known +manifestations; but what is called spiritualism, is entirely +unknown to me. When a subject is thrown into a trance, I may expect +the hypnotic phenomena known to me: lethargy, abulia, anaesthesia, +analgesia, catalepsy, and every kind of susceptibility to +suggestion. Here it is not these but other phenomena we expect to +observe. Therefore it would be well to know of what kind are the +phenomena we expect to witness, and what is their scientific +significance.</p> + +<p class="hang"><i>Sahátof</i>. I thoroughly agree with Mr. +Grossman. Such an explanation would be very interesting.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. I think +Alexéy Vladímiritch will not refuse to give us a +short explanation.</p> + +<p class="hang"><i>Professor</i>. Why not? I can give an +explanation if it is desired. (<i>To the</i> DOCTOR.) Will you +kindly note his temperature and pulse? My explanation must, of +necessity, be cursory and brief.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Yes, +please; briefly, quite briefly.</p> + +<p class="hang"><i>Doctor</i>. All right. (<i>Takes out +thermometer</i>.) Now then, my lad....</p> + +<p class="indent">[<i>Places the thermometer.</i></p> + +<p class="hang"><i>Simon</i>. Yes, sir!</p> + +<p class="hang"><i>Professor</i> (<i>rising and addressing the</i> +FAT LADY—<i>then reseating himself</i>). Ladies and +gentlemen! The phenomenon we are investigating to-night is +regarded, on the one hand, as something new; and, on the other, as +something transcending the limits of natural conditions. Neither +view is correct. This phenomenon is not new but is as old as the +world; and it is not supernatural but is subject to the eternal +laws that govern all that exists. This phenomenon has been usually +defined as "intercourse with the spirit world." That definition is +inexact. Under such a definition the spirit world is contrasted +with the material world. But this is erroneous; there is no such +contrast! Both worlds are so closely connected that it is +impossible to draw a line of demarcation, separating the one from +the other. We say matter is composed of molecules....</p> + +<p class="hang"><i>Petrístchef</i>. Prosy matter!</p> + +<p class="indent">[<i>Whispering and laughter.</i></p> + +<p class="hang"><i>Professor</i> (<i>pauses, then continues</i>). +Molecules are composed of atoms, but the atoms, having no +extension, are in reality nothing but the points of application of +forces. Strictly speaking, not of forces but of energy, that same +energy which is as much a unity and just as indestructible as +matter. But matter, though one, has many different aspects, and the +same is true of energy. Till recently only four forms of energy, +convertible into one another, have been known to us: energies known +as the dynamic, the thermal, the electric, and the chemic. But +these four aspects of energy are far from exhausting all the +varieties of its manifestation. The forms in which energy may +manifest itself are very diverse, and it is one of these new and as +yet but little known phases of energy, that we are investigating +to-night. I refer to mediumistic energy.</p> + +<p class="indent">[<i>Renewed whispering and laughter among the +young people.</i></p> + +<p class="hang"><i>Professor</i> (<i>stops and casts a severe look +round</i>). Mediumistic energy has been known to mankind for ages: +prophecy, presentiments, visions and so on, are nothing but +manifestations of mediumistic energy. The manifestations produced +by it have, I say, been known to mankind for ages. But the energy +itself has not been recognised as such till quite +recently—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....</p> + +<p class="indent">[<i>Renewed laughter, whispers, and +giggling.</i></p> + +<p class="hang"><i>Professor</i> (<i>again looks round +severely</i>). And just as mathematical calculations have +irrefutably proved the existence of imponderable ether which gives +rise to the phenomena of light and electricity, so the successive +investigations of the ingenious Hermann, of Schmidt, and of Joseph +Schmatzhofen, have confirmed beyond a doubt the existence of a +substance which fills the universe and may be called spiritual +ether.</p> + +<p class="hang"><i>Fat Lady</i>. Ah, now I understand. I am so +grateful....</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Yes, but +Alexéy Vladímiritch, could you not ... condense it a +little?</p> + +<p class="hang"><i>Professor</i> (<i>not heeding the remark</i>). +And so, as I have just had the honor of mentioning to you, a +succession of strictly scientific experiments have made plain to us +the laws of mediumistic phenomena. These experiments have proved +that, when certain individuals are plunged into a hypnotic state (a +state differing from ordinary sleep only by the fact that man's +physiological activity is not lowered by the hypnotic influence +but, on the contrary, is always heightened—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....</p> + +<p class="indent">[<i>Laughter and whispers.</i></p> + +<p class="hang"><i>Sahátof.</i> That is quite comprehensible +and correct; but if, as you are kind enough to inform us, the +plunging of the medium into a trance produces perturbations of the +spiritual ether, allow me to ask why (as is usually supposed to be +the case in spiritualistic séances) these perturbations +result in an activity on the part of the souls of dead people?</p> + +<p class="hang"><i>Professor.</i> It is because the molecules of +this spiritual ether are nothing but the souls of the living, the +dead, and the unborn, and any vibration of the spiritual ether must +inevitably cause a certain vibration of its atoms. These atoms are +nothing but human souls, which enter into communication with one +another by means of these movements.</p> + +<p class="hang"><i>Fat Lady</i> (<i>to</i> SAHÁTOF). What is +it that puzzles you? It is so simple.... Thank you so, so much!</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> I think +everything has now been explained, and that we may commence.</p> + +<p class="hang"><i>Doctor.</i> The fellow is in a perfectly normal +condition: temperature 37 decimal 2, pulse 74.</p> + +<p class="hang"><i>Professor</i> (<i>takes out his pocket-book and +notes this down</i>). What I have just had the honor of explaining +will be confirmed by the fact, which we shall presently have an +opportunity of observing, that after the medium has been thrown +into a trance his temperature and pulse will inevitably rise, just +as occurs in cases of hypnotism.</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Yes, yes. +But excuse me a moment. I should like to reply to Sergéy +Ivánitch's question: How do we know we are in communication +with the souls of the dead? We know it because the spirit that +appears, plainly tells us—as simply as I am speaking to +you—who he is, and why he has come, and whether all is well +with him! At our last séance a Spaniard, Don Castillos, came +to us, and he told us everything. He told us who he was, and when +he died, and that he was suffering for having taken part in the +Inquisition. He even told us what was happening to him at the very +time that he was speaking to us, namely, that at the very time he +was talking to us he had to be born again on earth, and, therefore, +could not continue his conversation with us.... But you'll see for +yourselves....</p> + +<p class="hang"><i>Fat Lady</i> (<i>interrupting</i>). Oh, how +interesting! Perhaps the Spaniard was born in one of our houses and +is a baby now!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Quite +possibly.</p> + +<p class="hang"><i>Professor</i>. I think it is time we began.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. I was only +going to say....</p> + +<p class="hang"><i>Professor</i>. It is getting late.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Very well. +Then we will commence. Antón Borísitch, be so good as +to hypnotize the medium.</p> + +<p class="hang"><i>Grossman</i>. What method would you like me to +use? There are several methods. There is Braid's system, there is +the Egyptian symbol, and there is Charcot's system.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i> (<i>to +the</i> PROFESSOR). I think it is quite immaterial.</p> + +<p class="hang"><i>Professor</i>. Quite.</p> + +<p class="hang"><i>Grossman</i>. Then I will make use of my own +method, which I showed in Odessa.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. If you +please!</p> + +<p class="indent">[GROSSMAN <i>waves his arms above</i> SIMON. +SIMON <i>closes his eyes and stretches himself.</i></p> + +<p class="hang"><i>Grossman</i> (<i>looking closely at him</i>). He +is falling asleep! He is asleep! A remarkably rapid occurrence of +hypnosis. The subject has evidently already reached a state of +anæsthesia. He is remarkable,—an unusually +impressionable subject, and might be subjected to interesting +experiments!... (<i>Sits down, rises, sits down again</i>.) Now one +might run a needle into his arm. If you like....</p> + +<p class="hang"><i>Professor</i> (<i>to LEONÍD +FYÓDORITCH</i>). Do you notice how the medium's trance acts +on Grossman? He is beginning to vibrate.</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Yes, yes +... can the lights be extinguished now?</p> + +<p class="hang"><i>Sahátof.</i> But why is darkness +necessary?</p> + +<p class="hang"><i>Professor.</i> Darkness? Because it is a +condition of the manifestation of mediumistic energy, just as a +given temperature is a condition necessary for certain +manifestations of chemical or dynamic energy.</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> But not +always. Manifestations have been observed by me, and by many +others, both by candlelight and daylight.</p> + +<p class="hang"><i>Professor</i> (<i>interrupting</i>). May the +lights be put out?</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Yes, +certainly. (<i>Puts out candles</i>.) Ladies and gentlemen! +attention, if you please.</p> + +<p class="indent">[TÁNYA <i>gets from under the sofa and +takes hold of a thread tied to a chandelier.</i></p> + +<p class="hang"><i>Petrístchef.</i> I like that Spaniard! +Just in the midst of a conversation—off he goes head +downwards ... as the French say: <i>piquer une +<a name="f12-r">tête.</a></i> +<sup><a href="#f12">12</a></sup></p> + +<p class="hang"><i>Betsy.</i> You just wait a bit, and see what +will happen!</p> + +<p class="hang"><i>Petrístchef.</i> I have only one fear, +and that is that Vovo may be moved by the spirit to grunt like a +pig!</p> + +<p class="hang"><i>Vasíly Leoníditch.</i> Would you +like me to? I will....</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Gentlemen! +Silence, if you please!</p> + +<p class="indent">[<i>Silence.</i> SIMON <i>licks the matches on +his fingers and rubs his knuckles with them.</i> <i>Leoníd +Fyódoritch.</i> A light! Do you see the light?</p> + +<p class="hang"><i>Sahátof.</i> A light? Yes, yes, I see; +but allow me....</p> + +<p class="hang"><i>Fat Lady.</i> Where? Where? Oh, dear, I did not +see it! Ah, there it is. Oh!...</p> + +<p class="hang"><i>Professor</i> (<i>whispers to LEONÍD +FYÓDORITCH, and points to GROSSMAN, who is moving</i>). Do +you notice how he vibrates? It is the dual influence.</p> + +<p class="indent">[<i>The light appears again.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i> (<i>to +the</i> PROFESSOR). It must be he—you know!</p> + +<p class="hang"><i>Sahátof</i>. Who?</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. A Greek, +Nicholas. It is his light. Don't you think so, Alexéy +Vladímiritch?</p> + +<p class="hang"><i>Sahátof</i>. Who is this Greek, +Nicholas?</p> + +<p class="hang"><i>Professor</i>. A certain Greek, who was a monk +at Constantinople under Constantine and who has been visiting us +lately.</p> + +<p class="hang"><i>Fat Lady</i>. Where is he? Where is he? I don't +see him.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. He is not +yet visible ... Alexéy Vladímiritch, he is particularly well +disposed towards you. You question him.</p> + +<p class="hang"><i>Professor</i> (<i>in a peculiar voice</i>). +Nicholas! Is that you?</p> + +<p class="indent">[TÁNYA <i>raps twice on the wall.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i> +(<i>joyfully</i>). It is he! It is he!</p> + +<p class="hang"><i>Fat Lady</i>. Oh, dear! Oh! I shall go away!</p> + +<p class="hang"><i>Sahátof</i>. Why do you suppose it is +he?</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Why, the +two knocks. It is an affirmative answer; else all would have been +silence.</p> + +<p class="indent">[<i>Silence. Suppressed giggling in the young +people's corner.</i> TÁNYA <i>throws a lampshade, pencil and +penwiper upon the table.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i> +(<i>whispers</i>). Do you notice, gentlemen, here is a lamp-shade, +and something else—a pencil!... Alexéy Vladímiritch, +it is a pencil!</p> + +<p class="hang"><i>Professor</i>. All right, all right! I am +watching both him and Grossman!</p> + +<p class="indent">[GROSSMAN <i>rises and feels the things that have +fallen on the table.</i></p> + +<p class="hang"><i>Sahátof</i>. Excuse me, excuse me! I +should like to see whether it is not the medium who is doing it all +himself?</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Do you +think so? Well, sit by him and hold his hands. But you may be sure +he is asleep.</p> + +<p class="hang"><i>Sahátof</i> (<i>approaches</i>, +TÁNYA <i>lets a thread touch his head. He is frightened, and +stoops</i>). Ye ... ye ... yes! Strange, very strange!</p> + +<p class="indent">[<i>Takes hold of</i> SIMON'S <i>elbow.</i> SIMON +<i>howls.</i></p> + +<p class="hang"><i>Professor</i> (<i>to</i> LEONÍD +FYÓDORITCH). Do you notice the effect of Grossman's +presence? It is a new phenomenon—I must note it....</p> + +<p class="indent">[<i>Runs out to note it down, and returns +again.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Yes.... But +we cannot leave Nicholas without an answer. We must begin....</p> + +<p class="hang"><i>Grossman</i> (<i>rises, approaches Simon and +raises and lowers his arm</i>). It would be interesting to produce +contraction! The subject is in profound hypnosis.</p> + +<p class="hang"><i>Professor</i> (<i>to</i> LEONÍD +FYÓDORITCH). Do you see? Do you see?</p> + +<p class="hang"><i>Grossman</i>. If you like....</p> + +<p class="hang"><i>Doctor</i>. Now then, my dear sir, leave the +management to Alexéy Vladímiritch; the affair is turning out +serious.</p> + +<p class="hang"><i>Professor</i>. Leave him alone, he (<i>referring +to</i> GROSSMAN) is talking in his sleep!</p> + +<p class="hang"><i>Fat Lady</i>. How glad I now am that I resolved +to be present! It is frightening, but all the same I am glad, for I +always said to my husband....</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Silence, if +you please.</p> + +<p class="indent">[TÁNYA <i>draws a thread over the</i> FAT +LADY'S <i>head.</i></p> + +<p class="hang"><i>Fat Lady</i>. Aie!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. What? What +is it?</p> + +<p class="hang"><i>Fat Lady</i>. He took hold of my hair!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i> +(<i>whispers</i>). Never mind, don't be afraid, give him your hand. +His hand will be cold, but I like it.</p> + +<p class="hang"><i>Fat Lady</i> (<i>hides her hands</i>). Not for +the world!</p> + +<p class="hang"><i>Sahátof</i>. Yes, it is strange, very +strange!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. He is here +and is seeking for intercourse. Who wishes to put a question to +him?</p> + +<p class="hang"><i>Sahátof</i>. I should like to put a +question, if I may.</p> + +<p class="hang"><i>Professor</i>. Please do.</p> + +<p class="hang"><i>Sahátof</i>. Do I believe or not?</p> + +<p class="indent">[TÁNYA <i>knocks twice.</i></p> + +<p class="hang"><i>Professor</i>. The answer is affirmative.</p> + +<p class="hang"><i>Sahátof</i>. Allow me to ask again. Have +I a ten rouble note in my pocket?</p> + +<p class="indent">[TÁNYA <i>knocks several times and passes +a thread over</i> SAHÁTOF'S <i>head.</i></p> + +<p class="hang"><i>Sahátof</i>. Ah!</p> + +<p class="indent">[<i>Seizes the thread and breaks it.</i></p> + +<p class="hang"><i>Professor</i>. I should ask those present not to +ask indefinite or trivial questions. It is unpleasant to +<i>him!</i></p> + +<p class="hang"><i>Sahátof</i>. No, but allow me! Here I +have a thread in my hand!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. A thread? +Hold it fast; that happens often, and not only threads but +sometimes even silk cords—very ancient ones!</p> + +<p class="hang"><i>Sahátof</i>. No—but where did this +thread come from?</p> + +<p class="indent">[TÁNYA <i>throws a cushion at him.</i></p> + +<p class="hang"><i>Sahátof</i>. Wait a bit; wait! Something +soft has hit me on the head. Light a candle—there is +something....</p> + +<p class="hang"><i>Professor</i>. We beg of you not to interrupt +the manifestations.</p> + +<p class="hang"><i>Fat Lady</i>. For goodness' sake, don't +interrupt! I should also like to ask something. May I?</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Yes, if you +like.</p> + +<p class="hang"><i>Fat Lady</i>. I should like to ask about my +digestion. May I? I want to know what to take: aconite or +belladonna?</p> + +<p class="indent">[<i>Silence, whispers among the young people; +suddenly</i> VASÍLY LEONÍDITCH <i>begins to cry like +a baby: "ou-a, ou-a!" (Laughter.) Holding their mouths and noses, +the girls and</i> PETRÍSTCHEF <i>run away bursting with +laughter.</i></p> + +<p class="hang"><i>Fat Lady</i>. Ah, that must be the monk who's +been born again!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i> (<i>beside +himself with anger, whispers</i>). One gets nothing but tomfoolery +from you! If you don't know how to behave decently, go away!</p> + +<p class="indent">[<i>Exit</i> VASÍLY LEONÍDITCH. +<i>Darkness and silence.</i></p> + +<p class="hang"><i>Fat Lady</i>. Oh, what a pity! Now one can't ask +any more! He is born!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Not at all. +It is only Vovo's nonsense. But <i>he</i> is here. Ask him.</p> + +<p class="hang"><i>Professor</i>. That often happens. These jokes +and ridicule are quite usual occurrences. I expect <i>he</i> is +still here. But we may ask. Leoníd Fyódoritch, will +you?</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. No, you, if +you please. This has upset me. So unpleasant! Such want of +tact!...</p> + +<p class="hang"><i>Professor.</i> Very well.... Nicholas, are you +here?</p> + +<p class="indent">[TÁNYA <i>raps twice and rings.</i> SIMON +<i>roars, spreads his arms out, seizes</i> SAHÁTOF <i>and +the</i> PROFESSOR<i>—squeezing them.</i></p> + +<p class="hang"><i>Professor.</i> What an unexpected phenomenon! +The medium himself reacted upon! This never happened before! +Leoníd Fyódoritch, will you watch? It is difficult +for me to do so. He squeezes me so! Mind you observe Grossman! This +needs the very greatest attention!</p> + +<p class="indent">[TÁNYA <i>throws the</i> PEASANTS' +<i>paper on the table.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Something +has fallen upon the table.</p> + +<p class="hang"><i>Professor.</i> See what it is!</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Paper! A +folded paper!</p> + +<p class="indent">[TÁNYA <i>throws a travelling inkstand on +the table.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> An +inkstand!</p> + +<p class="indent">[TÁNYA <i>throws a pen.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> A pen!</p> + +<p class="indent">[SIMON <i>roars and squeezes.</i></p> + +<p class="hang"><i>Professor</i> (<i>crushed</i>). Wait a bit, +wait: a totally new manifestation! The action proceeding not from +the mediumistic energy produced, but from the medium himself! +However, open the inkstand, and put the pen on the table, and +<i>he</i> will write!</p> + +<p class="indent">[TÁNYA <i>goes behind</i> LEONÍD +FYÓDORITCH <i>and strikes him on the head with the +guitar.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> He has +struck me on the head! (<i>Examining table</i>.) The pen is not +writing yet and the paper remains folded.</p> + +<p class="hang"><i>Professor.</i> See what the paper is, and +quickly; evidently the dual influence—his and +Grossman's—has produced a perturbation!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i> (<i>goes out +and returns at once</i>). Extraordinary! This paper is an agreement +with some peasants that I refused to sign this morning and returned +to the peasants. Probably <i>he</i> wants me to sign it?</p> + +<p class="hang"><i>Professor.</i> Of course! Of course! But ask +him.</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Nicholas, +do you wish....</p> + +<p class="indent">[TÁNYA <i>knocks twice.</i></p> + +<p class="hang"><i>Professor.</i> Do you hear? It is quite +evident!</p> + +<p class="indent">[LEONÍD FYÓDORITCH <i>takes the +paper and pen and goes out.</i> TÁNYA <i>knocks, plays on +the guitar and the accordion, and then creeps under the sofa.</i> +LEONÍD FYÓDORITCH <i>returns.</i> SIMON +<i>stretches himself and coughs.</i></p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. He is +waking up. We can light the candles.</p> + +<p class="hang"><i>Professor</i> (<i>hurriedly</i>). Doctor, +Doctor, please, his pulse and temperature! You will see that a rise +of both will be apparent.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i> (<i>lights +the candles</i>). Well, what do you gentlemen who were sceptical +think of it now?</p> + +<p class="hang"><i>Doctor</i> (<i>goes up to</i> SIMON <i>and +places thermometer</i>). Now then my lad. Well, have you had a nap? +There, put that in there, and give me your hand.</p> + +<p class="indent">[<i>Looks at his watch.</i></p> + +<p class="hang"><i>Sahátof</i> (<i>shrugging his +shoulders</i>). I must admit that all that has occurred cannot have +been done by the medium. But the thread?... I should like the +thread explained.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. A thread! A +thread! We have been witnessing manifestations more important than +a thread.</p> + +<p class="hang"><i>Sahátof</i>. I don't know. At all events, +<i>je réserve mon opinion</i>.</p> + +<p class="hang"><i>Fat Lady</i> (<i>to</i> SAHÁTOF). Oh, no, +how can you say: "<i>je réserve mon opinion</i>"? And the +infant with the little wings? Didn't you see? At first I thought it +was only an illusion, but afterwards it became clearer and clearer, +like a live....</p> + +<p class="hang"><i>Sahátof</i>. I can only speak of what I +have seen. I did not see that—nothing of the kind.</p> + +<p class="hang"><i>Fat Lady</i>. You don't mean to say so? Why, it +was quite plainly visible! And to the left there was a monk clothed +in black bending over it....</p> + +<p class="hang"><i>Sahátof</i> (<i>moves away. Aside</i>). +What exaggeration!</p> + +<p class="hang"><i>Fat Lady</i> (<i>addressing the</i> DOCTOR). You +must have seen it! It rose up from your side.</p> + +<p class="indent">[DOCTOR <i>goes on counting the pulse without +heeding her.</i></p> + +<p class="hang"><i>Fat Lady</i> (<i>to</i> GROSSMAN). And that +light, the light around it, especially around its little face! And +the expression so mild and tender, something so heavenly!</p> + +<p class="indent">[<i>Smiles tenderly herself.</i></p> + +<p class="hang"><i>Grossman</i>. I saw phosphorescent light, and +objects changed their places, but I saw nothing more than that.</p> + +<p class="hang"><i>Fat Lady</i>. Don't tell me! You don't mean it! +It is simply that you scientists of Charcot's school do not believe +in a life beyond the grave! As for me, no one could now make me +disbelieve in a future life—no one in the world!</p> + +<p class="indent">[GROSSMAN <i>moves away from her.</i></p> + +<p class="hang"><i>Fat Lady</i>. No, no, whatever you may say, this +is one of the happiest moments of my life! When I heard Sarasate +play, and now.... Yes! (<i>No one listens to her. She goes up +to</i> SIMON.) Now tell me, my friend, what did you feel? Was it +very trying?</p> + +<p class="hang"><i>Simon</i> (<i>laughs</i>). Yes, ma'm, just +so.</p> + +<p class="hang"><i>Fat Lady</i>. Still not unendurable?</p> + +<p class="hang"><i>Simon</i>. Just so, ma'm. (<i>To</i> +LEONÍD FYÓDORITCH.) Am I to go?</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Yes, you +may go.</p> + +<p class="hang"><i>Doctor</i> (<i>to the</i> PROFESSOR). The pulse +is the same, but the temperature is lower.</p> + +<p class="hang"><i>Professor</i>. Lower! (<i>Considers awhile, then +suddenly divines the conclusion</i>.) It had to be so—it had +to descend! The dual influence crossing had to produce some kind of +reflex action. Yes, that's it!</p> + +<p class="hang"><i>Exeunt, all talking at once—</i></p> + +<p class="deep_hang"><i>Leoníd Fyódoritch</i>. I'm +only sorry we had no complete {materialisation. But still.... Come, +gentlemen, let us go to the drawing-room?</p> + +<p class="deep_hang"><i>Fat Lady</i>. What specially struck me was +when he flapped his wings, and one saw how he rose!</p> + +<p class="deep_hang"><i>Grossman</i> (<i>to</i> SAHÁTOF). If +we had kept to hypnotism, we might have produced a thorough state +of epilepsy. The success might have been complete!</p> + +<p class="deep_hang"><i>Sahátof</i>. It is very interesting, +but not entirely convincing. That is all I can say.</p> + +<p class="indent">[<i>Enter</i> THEODORE IVÁNITCH.</p> + +<p class="hang"><i>Leoníd Fyódoritch</i> (<i>with +paper in his hand</i>). Ah, Theodore, what a remarkable +séance we have had! It turns out that the peasants must have +the land on their own terms.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Dear me!</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Yes, +indeed. (<i>Showing paper</i>.) Fancy, this paper that I returned +to them, suddenly appeared on the table! I have signed it.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. How did it get +there?</p> + +<p class="hang"><i>Leoníd Fyódoritch</i>. Well, it +did get there!</p> + +<p class="indent">[<i>Exit.</i> THEODORE IVÁNITCH <i>follows +him out.</i></p> + +<p class="hang"><i>Tánya</i> (<i>gets from under the sofa +and laughs</i>). Oh, dear, oh dear! Well, I did get a fright when +he got hold of the thread! (<i>Shrieks</i>.) Well, anyhow, it's all +right—he has signed it!</p> + +<p class="indent">[<i>Enter</i> GREGORY.</p> + +<p class="hang"><i>Gregory</i>. So it was you that was fooling +them?</p> + +<p class="hang"><i>Tánya</i>. What business is it of +yours?</p> + +<p class="hang"><i>Gregory</i>. And do you think the missis will be +pleased with you for it? No, you bet; you're caught now! I'll tell +them what tricks you're up to, if you don't let me have my way!</p> + +<p class="hang"><i>Tánya</i>. And you'll not get your way, +and you'll not do me any harm!</p> + +<p class="hang">CURTAIN</p> + +<h3>ACT IV</h3> + +<p class="hang"><i>The same scene as in Act I. The next day. Two +liveried footmen</i>, THEODORE IVÁNITCH <i>and</i> +GREGORY.</p> + +<p class="hang"><i>First Footman</i> (<i>with grey whiskers</i>). +Yours is the third house to-day. Thank goodness that all the +at-homes are in this direction. Yours used to be on Thursdays.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Yes, we changed to +Saturday so as to be on the same day as the Golóvkins and +Grade von Grabes....</p> + +<p class="hang"><i>Second Footman</i>. The Stcherbákofs do +the thing well. There's refreshments for the footmen every time +they've a ball.</p> + +<p class="indent">[<i>The two</i> PRINCESSES, <i>mother and +daughter, come down the stairs accompanied by</i> BETSY. <i>The +old</i> PRINCESS <i>looks in her note-book and at her watch, and +sits down on the settle.</i> GREGORY <i>puts on her +overshoes.</i></p> + +<p class="hang"><i>Young Princess</i>. Now, do come. Because, if +you refuse, and Dodo refuses, the whole thing will be spoilt.</p> + +<p class="hang"><i>Betsy</i>. I don't know. I must certainly go to +the Shoúbins. And then there is the rehearsal.</p> + +<p class="hang"><i>Young Princess</i>. You'll have plenty of time. +Do, please. <i>Ne nous fais pas faux +<a name="f13-r">bond</a></i>.<a href="#f13"><sup>13</sup></a> Fédya +and Koko will come.</p> + +<p class="hang"><i>Betsy. J'en ai par-dessus la tête de votre +<a name="f14-r">Koko</a></i>.<sup><a href="#f14">14</a></sup></p> + +<p class="hang"><i>Young Princess</i>. I thought I should see him +here. <i>Ordinairement il est d'une +<a name="f15-r">exactitude</a></i>....<sup><a href="#f15">15</a></sup></p> + +<p class="hang"><i>Betsy</i>. He is sure to come.</p> + +<p class="hang"><i>Young Princess</i>. When I see you together, it +always seems to me that he has either just proposed or is just +going to propose.</p> + +<p class="hang"><i>Betsy.</i> Yes, I don't suppose it can be +avoided. I shall have to go through with it. And it is so +unpleasant!</p> + +<p class="hang"><i>Young Princess.</i> Poor Koko! He is head over +ears in love.</p> + +<p class="hang"><i>Betsy.</i> <i>Cessez, les <a name= +"f16-r">gens!</a></i> <sup><a href="#f16">16</a></sup></p> + +<p class="indent">[YOUNG PRINCESS <i>sits down, talking in +whispers.</i> GREGORY <i>puts on her overshoes.</i></p> + +<p class="hang"><i>Young Princess.</i> Well then, good-bye till +this evening.</p> + +<p class="hang"><i>Betsy.</i> I'll try to come.</p> + +<p class="hang"><i>Old Princess.</i> Then tell your papa that I +don't believe in anything of the kind, but will come to see his new +medium. Only he must let me know when. Good afternoon, ma toute +belle.</p> + +<p class="indent">[<i>Kisses</i> BETSY, <i>and exit</i>, +<i>followed by her daughter.</i> BETSY <i>goes upstairs.</i></p> + +<p class="hang"><i>Gregory.</i> I don't like putting on an old +woman's overshoes for her; she can't stoop, can't see her shoe for +her stomach, and keeps poking her foot in the wrong place. It's +different with a young one; it's pleasant to take her foot in one's +hand.</p> + +<p class="hang"><i>Second Footman.</i> Hear him! Making +distinctions!</p> + +<p class="hang"><i>First Footman.</i> It's not for us footmen to +make such distinctions.</p> + +<p class="hang"><i>Gregory.</i> Why shouldn't one make +distinctions; are we not men? It's they think we don't understand! +Just now they were deep in their talk, then they look at me, and at +once it's "lay zhon!"</p> + +<p class="hang"><i>Second Footman.</i> And what's that?</p> + +<p class="hang"><i>Gregory.</i> Oh, that means, "Don't talk, they +understand!" It's the same at table. But I understand! You say, +there's a difference? I say there is none.</p> + +<p class="hang"><i>First Footman.</i> There is a great difference +for those who understand.</p> + +<p class="hang"><i>Gregory.</i> There is none at all. To-day I am a +footman, and to-morrow I may be living no worse than they are. Has +it never happened that they've married footmen? I'll go and have a +smoke.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Second Footman.</i> That's a bold young man +you've got.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. A worthless +fellow, not fit for service. He used to be an office boy and has +got spoilt. I advised them not to take him, but the mistress liked +him. He looks well on the carriage when they drive out.</p> + +<p class="hang"><i>First Footman</i>. I should like to send him to +our Count; he'd put him in his place! Oh, he don't like those +scatterbrains. "If you're a footman, be a footman and fulfil your +calling." Such pride is not befitting.</p> + +<p class="indent">[PETRÍSTCHEF <i>comes running downstairs, +and takes out a cigarette.</i></p> + +<p class="hang"><i>Petrístchef</i> (<i>deep in thought</i>). +Let's see, my second is the same as my first. Echo, a-co, co-coa. +(<i>Enter</i> KOKO KLÍNGEN, <i>wearing his pince-nez</i>.) +Ko-ko, co-coa. Cocoa tin, where do you spring from?</p> + +<p class="hang"><i>Koko Klíngen</i>. From the +Stcherbákofs. You are always playing the fool....</p> + +<p class="hang"><i>Petrístchef</i>. No, listen to my +charade. My first is the same as my second, my third may be +cracked, my whole is like your pate.</p> + +<p class="hang"><i>Koko Klíngen</i>. I give it up. I've no +time.</p> + +<p class="hang"><i>Petrístchef</i>. Where else are you +going?</p> + +<p class="hang"><i>Koko Klíngen</i>. Where? Of course to the +Ivins, to practice for the concert. Then to the Shoúbins, +and then to the rehearsal. You'll be there too, won't you?</p> + +<p class="hang"><i>Petrístchef</i>. Most certainly. At the +re-her-Sall and also at the re-her-Sarah. Why, at first I was a +savage, and now I am both a savage and a general.</p> + +<p class="hang"><i>Koko Klíngen</i>. How did yesterday's +séance go off?</p> + +<p class="hang"><i>Petrístchef</i>. Screamingly funny! There +was a peasant, and above all, it was all in the dark. Vovo cried +like an infant, the Professor defined, and Márya +Vasílevna refined. Such a lark! You ought to have been +there.</p> + +<p class="hang"><i>Koko Klíngen</i>. I'm afraid, <i>mon +cher</i>. You have a way of getting off with a jest, but I always +feel that if I say a word they'll construe it into a proposal. +<i>Et ça ne m'arrange pas du tout, du tout. Mais du tout, du +<a name="f17-r">tout!</a></i> <sup><a href="#f17">17</a></sup></p> + +<p class="hang"><i>Petrístchef</i>. Instead of a proposal, +make a proposition, and receive a sentence! Well, I shall go in to +Vovo's. If you'll call for me, we can go to the re-her-Sarah +together.</p> + +<p class="hang"><i>Koko Klíngen.</i> I can't think how you +can be friends with such a fool. He is so stupid—a regular +blockhead!</p> + +<p class="hang"><i>Petrístchef.</i> And I am fond of him. I +love Vovo, but ... "with a love so strange, ne'er towards him the +path untrod shall be"....</p> + +<p class="indent">[<i>Exit into Vovo's room.</i></p> + +<p class="indent">[BETSY <i>comes down with a</i> LADY. KOKO +<i>bows significantly to</i> BETSY.</p> + +<p class="hang"><i>Betsy</i> (<i>shaking</i> KOKO'S <i>hand without +turning towards him. To</i> LADY). You are acquainted?</p> + +<p class="hang"><i>Lady.</i> No.</p> + +<p class="hang"><i>Betsy.</i> Baron Klíngen.... Why were you +not here last night?</p> + +<p class="hang"><i>Koko Klíngen.</i> I could not come, I was +engaged.</p> + +<p class="hang"><i>Betsy.</i> What a pity, it was so interesting! +(<i>Laughs</i>.) You should have seen what manifestations we had! +Well, how is our charade getting on?</p> + +<p class="hang"><i>Koko Klíngen.</i> Oh, the verses for +<i>mon second</i> are ready. Nick composed the verses, and I the +music.</p> + +<p class="hang"><i>Betsy.</i> What are they? What are they? Do tell +me!</p> + +<p class="hang"><i>Koko Klíngen.</i> Wait a minute; how does +it go?... Oh, the knight sings:</p> + +<p class="deep_hang">"Oh, <i>naught</i> so beautiful as +nature:<br> + The <i>Nautilus</i> sails by.<br> + Oh, <i>naughty</i> lass, oh, <i>naughty</i> lass!<br> + Oh, <i>nought,</i> oh, <i>nought!</i> Oh, fie!"</p> + +<p class="hang"><i>Lady.</i> I see, my second is "nought," and what +is my first?</p> + +<p class="hang"><i>Koko Klíngen.</i> My first is +<i>Aero,</i> the name of a girl savage.</p> + +<p class="hang"><i>Betsy.</i> <i>Aero,</i> you see, is a savage who +wished to devour the object of her love. (<i>Laughs</i>.) She goes +about lamenting, and sings—</p> + +<p class="deep_hang">"My appetite,"</p> + +<p class="hang"><i>Koko Klíngen (interrupts)</i>—</p> + +<p class="deep_hang">"How can I fight,"....</p> + +<p class="hang"><i>Betsy (chimes in)</i>—</p> + +<p class="deep_hang">"Some one to chew I long.<br> + I seeking go ...."</p> + +<p class="hang"><i>Koko Klíngen</i>—</p> + +<p class="deep_hang">"But even so...."</p> + +<p class="hang"><i>Betsy</i>—</p> + +<p class="deep_hang">"No one to chew can find."</p> + +<p class="hang"><i>Koko Klíngen</i>—</p> + +<p class="deep_hang">"A raft sails by,"</p> + +<p class="hang"><i>Betsy</i>—</p> + +<p class="deep_hang">"It cometh nigh;<br> + Two generals upon it...."</p> + +<p class="hang"><i>Koko Klíngen</i>—</p> + +<p class="deep_hang">"Two generals are we:<br> + By fate's hard decree,<br> + To this island we flee."</p> + +<p class="follow">And then, the refrain—</p> + +<p class="deep_hang">"By fate's hard decree,<br> + To this island we flee."</p> + +<p class="hang"><i>Lady. Charmant!</i></p> + +<p class="hang"><i>Betsy</i>. But just think how silly!</p> + +<p class="hang"><i>Koko Klíngen</i>. Yes, that's the charm +of it!</p> + +<p class="hang"><i>Lady</i>. And who is to be Aero?</p> + +<p class="hang"><i>Betsy</i>. I am. And I have had a costume made, +but mamma says it's "not decent." And it is not a bit less decent +than a ball dress. (<i>To</i> THEODORE IVÁNITCH.) Is +Bourdier's man here?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Yes, he is waiting +in the kitchen.</p> + +<p class="hang"><i>Lady</i>. Well, and how will you represent +Aeronaut?</p> + +<p class="hang"><i>Betsy</i>. Oh, you'll see. I don't want to spoil +the pleasure for you. <i>Au revoir</i>.</p> + +<p class="hang"><i>Lady</i>. Good-bye!</p> + +<p class="indent">[<i>They bow. Exit</i> LADY.</p> + +<p class="hang"><i>Betsy</i> (<i>to</i> KOKO KLÍNGEN). Come +up to mamma.</p> + +<p class="indent">[BETSY <i>and</i> KOKO <i>go upstairs.</i> JACOB +<i>enters from servants' quarters, carrying a tray with teacups, +cakes, etc., and goes panting across the stage.</i></p> + +<p class="hang"><i>Jacob</i> (<i>to the</i> FOOTMEN). How d'you do? +How d'you do?</p> + +<p class="indent">[FOOTMEN <i>bow.</i></p> + +<p class="hang"><i>Jacob</i> (to THEODORE IVÁNITCH). +Couldn't you tell Gregory to help a bit! I'm ready to drop....</p> + +<p class="indent">[<i>Exit up the stairs.</i></p> + +<p class="hang"><i>First Footman</i>. That is a hard-working chap +you've got there.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. 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.</p> + +<p class="hang"><i>Second Footman</i>. What peasants were they?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Peasants that had +come from our Koursk village to buy some land. It was night, and +they were our fellow-countrymen, one of them the father of the +butler's assistant. Well, so they were asked into the kitchen. It +so happened that there was thought-reading going on. Something was +hidden in the kitchen, and all the gentlefolk came down, and the +mistress saw the peasants. There was such a row! "How is this," she +says; "these people may be infected, and they are let into the +kitchen!".... She is terribly afraid of this infection.</p> + +<p class="indent">[<i>Enter</i> GREGORY.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Gregory, you go +and help Jacob. I'll stay here. He can't manage alone.</p> + +<p class="hang"><i>Gregory</i>. He's awkward, that's why he can't +manage.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>First Footman</i>. And what is this new mania +they have got? This infection!... So yours also is afraid of +it?</p> + +<p class="hang"><i>Theodore Ivánitch</i>. She fears it worse +than fire! Our chief business, nowadays, is fumigating, washing, +and sprinkling.</p> + +<p class="hang"><i>First Footman</i>. I see. That's why there is +such a stuffy smell here. (<i>With animation</i>.) I don't know +what we're coming to with these infection notions. It's just +detestable! They seem to have forgotten the Lord. There's our +master's sister, Princess Mosolóva, her daughter was dying, +and, will you believe it, neither father nor mother would come near +her! So she died without their having taken leave of her. And the +daughter cried, and called them to say good-bye—but they +didn't go! The doctor had discovered some infection or other! And +yet their own maid and a trained nurse were with her, and nothing +happened to them; they're still alive!</p> + +<p class="indent">[<i>Enter</i> VASÍLY LEONÍDITCH +<i>and</i> PETRÍSTCHEF <i>from</i> VASÍLY +LEONÍDITCH'S <i>room, smoking cigarettes.</i></p> + +<p class="hang"><i>Petrístchef</i>. Come along then, only I +must take Koko—Cocoanut, with me.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. Your Koko +is a regular dolt; I can't bear him. A hare-brained fellow, a +regular gad-about! Without any kind of occupation, eternally +loafing around! Eh, what?</p> + +<p class="hang"><i>Petrístchef</i>. Well, anyhow, wait a +bit, I must say goodbye.</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. All right. +And I will go and look at my dogs in the coachman's room. I've got +a dog there that's so savage, the coachman said, he nearly ate +him.</p> + +<p class="hang"><i>Petrístchef</i>. Who ate whom? Did the +coachman really eat the dog?</p> + +<p class="hang"><i>Vasíly Leoníditch</i>. You are +always at it!</p> + +<p class="indent">[<i>Puts on outdoor things and goes out.</i></p> + +<p class="hang"><i>Petrístchef</i> (<i>thoughtfully</i>). Ma +- kin - tosh, Co - co - tin.... Let's see.</p> + +<p class="indent">[<i>Goes upstairs.</i></p> + +<p class="indent">[JACOB <i>runs across the stage.</i></p> + +<p class="hang"><i>Theodore Ivánitch</i>. What's the +matter?</p> + +<p class="hang"><i>Jacob</i>. There is no more thin bread and +butter. I said....</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>Second Footman</i>. And then our master's little +son fell ill, and they sent him at once to an hotel with his nurse, +and there he died without his mother.</p> + +<p class="hang"><i>First Footman</i>. They don't seem to fear sin! +<i>I</i> think you cannot escape from God anywhere.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. That's what I +think.</p> + +<p class="indent">[JACOB <i>runs upstairs with bread and +butter.</i></p> + +<p class="hang"><i>First Footman</i>. One should consider too, that +if we are to be afraid of everybody like that, we'd better shut +ourselves up within four walls, as in a prison, and stick +there!</p> + +<p class="indent">[<i>Enter</i> TÁNYA<i>; she bows to +the</i> FOOTMEN.</p> + +<p class="hang"><i>Tánya</i>. Good afternoon.</p> + +<p class="indent">[FOOTMEN <i>bow.</i></p> + +<p class="hang"><i>Tánya</i>. Theodore Ivánitch, I +have a word to say to you.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Well, what?</p> + +<p class="hang"><i>Tánya</i>. The peasants have come again, +Theodore Ivánitch....</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Well? I gave the +paper to Simon.</p> + +<p class="hang"><i>Tánya</i>. I have given them the paper. +They were that grateful! I can't say how! Now they only ask you to +take the money.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. But where are +they?</p> + +<p class="hang"><i>Tánya</i>. Here, by the porch.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. All right, I'll +tell the master.</p> + +<p class="hang"><i>Tánya</i>. I have another request to you, +dear Theodore Ivánitch.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. What now?</p> + +<p class="hang"><i>Tánya</i>. Why, don't you see, Theodore +Ivánitch, I can't remain here any longer. Ask them to let me +go.</p> + +<p class="indent">[<i>Enter</i> JACOB, running.</p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>to</i> JACOB). +What d'you want?</p> + +<p class="hang"><i>Jacob</i>. Another samovár, and +oranges.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Ask the +housekeeper.</p> + +<p class="indent">[<i>Exit</i> JACOB.</p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>to</i> +TÁNYA). How is that?</p> + +<p class="hang"><i>Tánya</i>. Why, don't you see, my +position is such....</p> + +<p class="hang"><i>Jacob</i> (<i>runs in</i>). There are not enough +oranges.</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Serve up as many +as you've got. (<i>Exit</i> JACOB.) Now's not the time! Just see +what a bustle we are in.</p> + +<p class="hang"><i>Tánya</i>. But you know yourself, +Theodore Ivánitch, there is no end to this bustle; one might +wait for ever—you know yourself—and my affair is for +life.... Dear Theodore Ivánitch, you have done me a good +turn, be a father to me now, choose the right moment and tell her, +or else she'll get angry and won't let me have my +<a name="f18-r">passport.</a><sup><a href="#f18">18</a></sup></p> + +<p class="hang"><i>Theodore Ivánitch</i>. Where's the +hurry?</p> + +<p class="hang"><i>Tánya</i>. Why, Theodore Ivánitch, +it's all settled now.... And I could go to my godmother's and get +ready, and then after Easter we'd get +<a name="f19-r">married.</a><sup><a href="#f19">19</a></sup> Do tell her, +dear Theodore Ivánitch!</p> + +<p class="hang"><i>Theodore Ivánitch</i>. Go away—this +is not the place.</p> + +<p class="indent">[<i>An elderly</i> GENTLEMAN <i>comes downstairs, +puts on overcoat, and goes out, followed by the</i> SECOND +FOOTMAN.</p> + +<p class="indent">[<i>Exit</i> TÁNYA. <i>Enter</i> +JACOB.</p> + +<p class="hang"><i>Jacob.</i> Just fancy, Theodore Ivánitch, +it's too bad! She wants to discharge me now! She says, "You break +everything, and forget Frisk, and you let the peasants into the +kitchen against my orders!" And you know very well that I knew +nothing about it. Tatyána told me, "Take them into the +kitchen"; how could I tell whose order it was?</p> + +<p class="hang"><i>Theodore Ivánitch.</i> Did the mistress +speak to you?</p> + +<p class="hang"><i>Jacob.</i> She's just spoken. Do speak up for +me, Theodore Ivánitch! You see, my people in the country are +only just getting on their feet, and suppose I lose my place, when +shall I get another? Theodore Ivánitch, do, please!</p> + +<p class="indent">[ANNA PÁVLOVNA <i>comes down with the +old</i> COUNTESS, <i>whom she is seeing off. The</i> COUNTESS +<i>has false teeth and hair. The</i> FIRST FOOTMAN <i>helps the</i> +COUNTESS <i>into her outdoor things.</i></p> + +<p class="hang"><i>Anna Pávlovna.</i> Oh, most certainly, of +course! I am so deeply touched.</p> + +<p class="hang"><i>Countess.</i> If it were not for my illness, I +should come oftener to see you.</p> + +<p class="hang"><i>Anna Pávlovna.</i> You should really +consult Peter Petróvitch. He is rough, but nobody can soothe +one as he does. He is so clear, so simple.</p> + +<p class="hang"><i>Countess.</i> Oh no, I shall keep to the one I +am used to.</p> + +<p class="hang"><i>Anna Pávlovna.</i> Pray, take care of +yourself.</p> + +<p class="hang"><i>Countess.</i> <i>Merci, mille fois +<a name="f20-r">merci</a></i>.<sup><a href="#f20">20</a></sup></p> + +<p class="indent">[GREGORY, <i>dishevelled and excited, jumps out +from the servants' quarters</i>. SIMON <i>appears behind him in the +doorway.</i></p> + +<p class="hang"><i>Simon.</i> You'd better leave her alone!</p> + +<p class="hang"><i>Gregory.</i> You rascal! I'll teach you how to +fight, you scamp, you!</p> + +<p class="hang"><i>Anna Pávlovna.</i> What do you mean? Do +you think you are in a public-house?</p> + +<p class="hang"><i>Gregory.</i> This coarse peasant makes life +impossible for me.</p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>provoked</i>). +You've lost your senses. Don't you see? (<i>To</i> COUNTESS.) +<i>Merci, mille fois merci. A <a name="f21-r">mardi!</a></i> <sup> +<a href="#f21">21</a></sup></p> + +<p class="indent">[<i>Exeunt</i> COUNTESS <i>and</i> FIRST +FOOTMAN.</p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>to</i> GREGORY). +What is the meaning of this?</p> + +<p class="hang"><i>Gregory.</i> Though I do occupy the position of +a footman, still I won't allow every peasant to hit me; I have my +pride too.</p> + +<p class="hang"><i>Anna Pávlovna.</i> Why, what has +happened?</p> + +<p class="hang"><i>Gregory.</i> Why, this Simon of yours has got so +brave, sitting with the gentlemen, that he wants to fight!</p> + +<p class="hang"><i>Anna Pávlovna.</i> Why? What for?</p> + +<p class="hang"><i>Gregory.</i> Heaven only knows!</p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>to</i> SIMON). What +is the meaning of it?</p> + +<p class="hang"><i>Simon.</i> Why does he bother her?</p> + +<p class="hang"><i>Anna Pávlovna.</i> What has happened?</p> + +<p class="hang"><i>Simon</i> (<i>smiles</i>). Well, you see, he is +always catching hold of Tánya, the lady's-maid, and she +won't have it. Well, so I just moved him aside a bit, just so, with +my hand.</p> + +<p class="hang"><i>Gregory.</i> A nice little bit! He's almost +caved my ribs in, and has torn my dress-coat, and he says, "The +same power as came over me yesterday comes on me again," and he +begins to squeeze me.</p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>to</i> SIMON). How +dare you fight in my house?</p> + +<p class="hang"><i>Theodore Ivánitch.</i> May I explain it +to you, ma'am? I must tell you Simon is not indifferent to +Tánya, and is engaged to her. And Gregory—one must +admit the truth—does not behave properly, nor honestly, to +her. Well, so I suppose Simon got angry with him.</p> + +<p class="hang"><i>Gregory.</i> Not at all! It is all his spite, +because I have discovered their trickery.</p> + +<p class="hang"><i>Anna Pávlovna.</i> What trickery?</p> + +<p class="hang"><i>Gregory.</i> Why, at the séance. All +those things, last night,—it was not Simon but Tánya +who did them! I saw her getting out from under the sofa with my own +eyes.</p> + +<p class="hang"><i>Anna Pávlovna.</i> What is that? From +under the sofa?</p> + +<p class="hang"><i>Gregory.</i> I give you my word of honor. And it +was she who threw the paper on the table. If it had not been for +her the paper would not have been signed, nor the land sold to the +peasants.</p> + +<p class="hang"><i>Anna Pávlovna.</i> And you saw it +yourself?</p> + +<p class="hang"><i>Gregory.</i> With my own eyes. Shall I call her? +She'll not deny it.</p> + +<p class="hang"><i>Anna Pávlovna.</i> Yes, call her.</p> + +<p class="indent">[<i>Exit</i> GREGORY.</p> + +<p class="indent">[<i>Noise behind the scenes. The voice of the</i> +DOORKEEPER, "No, no, you cannot." DOORKEEPER <i>is seen at the +front door, the three</i> PEASANTS <i>rush in past him, the</i> +SECOND PEASANT <i>first; the</i> THIRD <i>one stumbles, falls on +his nose, and catches hold of it.</i></p> + +<p class="hang"><i>Doorkeeper.</i> You must not go in!</p> + +<p class="hang"><i>Second Peasant.</i> Where's the harm? We are not +doing anything wrong. We only wish to pay the money!</p> + +<p class="hang"><i>First Peasant.</i> That's just it; as by laying +on the signature the affair is come to a conclusion, we only wish +to make payment with thanks.</p> + +<p class="hang"><i>Anna Pávlovna.</i> Wait a bit with your +thanks. It was all done by fraud! It is not settled yet. Not sold +yet.... Leoníd.... Call Leoníd Fyódoritch.</p> + +<p class="hang">[<i>Exit</i> DOORKEEPER.</p> + +<p class="indent">[LEONÍD FYÓDORITCH <i>enters, but, +seeing his wife and the</i> PEASANTS, <i>wishes to retreat.</i></p> + +<p class="hang"><i>Anna Pávlovna.</i> No, no, come here, +please! I told you the land must not be sold on credit, and +everybody told you so, but you let yourself be deceived like the +veriest blockhead.</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> How? I +don't understand who is deceiving?</p> + +<p class="hang"><i>Anna Pávlovna.</i> You ought to be +ashamed of yourself! You have grey hair, and you let yourself be +deceived and laughed at like a silly boy. You grudge your son some +three hundred roubles which his social position demands, and let +yourself be tricked of thousands—like a fool!</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Now come, +Annette, try to be calm.</p> + +<p class="hang"><i>First Peasant.</i> We are only come about the +acceptation of the sum, for example....</p> + +<p class="hang"><i>Third Peasant</i> (<i>taking out the money</i>). +Let us finish the matter, for Christ's sake!</p> + +<p class="hang"><i>Anna Pávlovna.</i> Wait, wait!</p> + +<p class="indent">[<i>Enter</i> TÁNYA <i>and</i> GREGORY.</p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>angrily</i>). You +were in the small drawing-room during the séance last +night?</p> + +<p class="indent">[TÁNYA <i>looks around at</i> THEODORE +IVÁNITCH, LEONÍD FYÓDORITCH, <i>and</i> SIMON, +<i>and sighs.</i></p> + +<p class="hang"><i>Gregory.</i> It's no use beating about the bush; +I saw you myself....</p> + +<p class="hang"><i>Anna Pávlovna.</i> Tell me, were you +there? I know all about it, so you'd better confess! I'll not do +anything to you. I only want to expose him (<i>pointing to</i> +LEONÍD FYÓDORITCH) your master.... Did you throw the +paper on the table?</p> + +<p class="hang"><i>Tánya.</i> I don't know how to answer. +Only one thing,—let me go home.</p> + +<p class="indent">[<i>Enter</i> BETSY <i>unobserved.</i></p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>to</i> +LEONÍD FYÓDORITCH). There, you see! You are being +made a fool of.</p> + +<p class="hang"><i>Tánya.</i> Let me go home, Anna +Pávlovna!</p> + +<p class="hang"><i>Anna Pávlovna.</i> No, my dear! You may +have caused us a loss of thousands of roubles. Land has been sold +that ought not to be sold!</p> + +<p class="hang"><i>Tánya.</i> Let me go, Anna +Pávlovna!</p> + +<p class="hang"><i>Anna Pávlovna.</i> No; you'll have to +answer for it! Such tricks won't do. We'll have you up before the +Justice of the Peace!</p> + +<p class="hang"><i>Betsy</i> (<i>comes forward</i>). Let her go, +mamma. Or, if you wish to have her tried, you must have me tried +too! She and I did it together.</p> + +<p class="hang"><i>Anna Pávlovna.</i> Well, of course, if +you have a hand in anything, what can one expect but the very worst +results!</p> + +<p class="indent">[<i>Enter the</i> PROFESSOR.</p> + +<p class="hang"><i>Professor.</i> How do you do, Anna +Pávlovna? How do you do, Miss Betsy? Leoníd +Fyódoritch, I have brought you a report of the Thirteenth +Congress of Spiritualists at Chicago. An amazing speech by +Schmidt!</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Oh, that is +interesting!</p> + +<p class="hang"><i>Anna Pávlovna.</i> I will tell you +something much more interesting! It turns out that both you and my +husband were fooled by this girl! Betsy takes it on herself, but +that is only to annoy me. It was an illiterate peasant girl who +fooled you, and you believed it all. There were no mediumistic +phenomena last night; it was she (<i>pointing to</i> TÁNYA) +who did it!</p> + +<p class="hang"><i>Professor</i> (<i>taking off his overcoat</i>). +What do you mean?</p> + +<p class="hang"><i>Anna Pávlovna.</i> I mean that it was she +who, in the dark, played on the guitar and beat my husband on the +head and performed all your idiotic tricks—and she has just +confessed!</p> + +<p class="hang"><i>Professor</i> (<i>smiling</i>). What does that +prove?</p> + +<p class="hang"><i>Anna Pávlovna.</i> It proves that your +mediumism is—tomfoolery; that's what it proves!</p> + +<p class="hang"><i>Professor.</i> Because this young girl wished to +deceive, we are to conclude that mediumism is "tomfoolery," as you +are pleased to express it? (<i>Smiles</i>.) A curious conclusion! +Very possibly this young girl may have wished to deceive: that +often occurs. She may even have done something; but then, what she +did—<i>she</i> did. But the manifestations of mediumistic +energy still remain manifestations of <i>mediumistic</i> energy! It +is even very probable that what this young girl did evoked (and so +to say solicited) the manifestation of mediumistic +energy,—giving it a definite form.</p> + +<p class="hang"><i>Anna Pávlovna.</i> Another lecture!</p> + +<p class="hang"><i>Professor</i> (<i>sternly</i>). You say, Anna +Pávlovna, that this girl, and perhaps this dear young lady +also, did something; but the light we all saw, and, in the first +case the fall, and in the second the rise of temperature, and +Grossman's excitement and vibration—were those things also +done by this girl? And these are facts, Anna Pávlovna, +facts! No! Anna Pávlovna, there are things which must be +investigated and fully understood before they can be talked about, +things too serious, too serious....</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> And the child that +Márya Vasílevna distinctly saw? Why, I saw it too.... +That could not have been done by this girl.</p> + +<p class="hang"><i>Anna Pávlovna.</i> You think yourself +wise, but you are—a fool.</p> + +<p class="hang"><i>Leoníd Fyódoritch.</i> Well, I'm +going.... Alexéy Vladímiritch, will you come?</p> + +<p class="indent">[<i>Exit into his study.</i></p> + +<p class="hang"><i>Professor</i> (<i>shrugging his shoulders, +follows</i>). Oh, how far, how far, we still lag behind Western +Europe!</p> + +<p class="indent">[<i>Enter</i> JACOB.</p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>following</i> +LEONÍD FYÓDORITCH <i>with her eyes</i>). He has been tricked +like a fool, and he sees nothing! (<i>To</i> JACOB.) What do you +want?</p> + +<p class="hang"><i>Jacob.</i> How many persons am I to lay the +table for?</p> + +<p class="hang"><i>Anna Pávlovna.</i> For how many?... +Theodore Ivánitch! Let him give up the silver plate to you. +Be off, at once! It is all his fault! This man will bring me to my +grave. Last night he nearly starved the dog that had done him no +harm! And, as if that were not enough, he lets the infected +peasants into the kitchen, and now they are here again! It is all +his fault! Be off at once! Discharge him, discharge him! (<i>To</i> +SIMON.) And you, horrid peasant, if you dare to have rows in my +house again, I'll teach you!</p> + +<p class="hang"><i>Second Peasant.</i> All right, if he is a horrid +peasant there's no good keeping him; you'd better discharge him +too, and there's an end of it.</p> + +<p class="hang"><i>Anna Pávlovna</i> (<i>while listening to +him looks at</i> 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!</p> + +<p class="hang"><i>Theodore Ivánitch.</i> Then are we not to +accept their money?</p> + +<p class="hang"><i>Anna Pávlovna.</i> Their money? Oh yes, +take their money; but they must be turned out at once, especially +this one! He is quite rotten!</p> + +<p class="hang"><i>Third Peasant.</i> That's not just, lady. God's +my witness, it's not just! You'd better ask my old woman, let's +say, whether I am rotten! I'm clear as crystal, let's say.</p> + +<p class="hang"><i>Anna Pávlovna.</i> He talks!... Off, off +with him! It's all to spite me!... Oh, I can't bear it, I can't!... +Send for the doctor!</p> + +<p class="indent">[<i>Runs away, sobbing. Exit also</i> JACOB +<i>and</i> GREGORY.</p> + +<p class="hang"><i>Tánya</i> (<i>to</i> BETSY). Miss +Elizabeth, darling, what am I to do now?</p> + +<p class="hang"><i>Betsy.</i> Never mind, you go with them and I'll +arrange it all.</p> + +<p class="indent">[<i>Exit.</i></p> + +<p class="hang"><i>First Peasant.</i> Well, your reverence, how +about the reception of the sum now?</p> + +<p class="hang"><i>Second Peasant.</i> Let us settle up, and +go.</p> + +<p class="hang"><i>Third Peasant</i> (<i>fumbling with the packet +of banknotes</i>). Had I known, I'd not have come for the world. +It's worse than a fever!</p> + +<p class="hang"><i>Theodore Ivánitch</i> (<i>to</i> +DOORKEEPER). Show them into my room. There's a counting-board +there. I'll receive their money. Now go.</p> + +<p class="hang"><i>Doorkeeper.</i> Come along.</p> + +<p class="hang"><i>Theodore Ivánitch.</i> And it's +Tánya you have to thank for it. But for her you'd not have +had the land.</p> + +<p class="hang"><i>First Peasant.</i> That's just it. As she made +the proposal, so she put it into effect.</p> + +<p class="hang"><i>Third Peasant.</i> She's made men of us. Else +what were we? We had so little land, no room to let a hen out, +let's say, not to mention the cattle. Good-bye, dear! When you get +to the village, come to us and eat honey.</p> + +<p class="hang"><i>Second Peasant.</i> Let me get home and I'll +start brewing the beer for the wedding! You will come?</p> + +<p class="hang"><i>Tánya.</i> Yes, I'll come, I'll come! +(<i>Shrieks</i>.) Simon, this is fine, isn't it?</p> + +<p class="indent">[<i>Exeunt</i> PEASANTS.</p> + +<p class="hang"><i>Theodore Ivánitch.</i> Well, +Tánya, when you have your house I'll come to visit you. Will +you welcome me?</p> + +<p class="hang"><i>Tánya.</i> Dear Theodore Ivánitch, +just the same as we would our own father!</p> + +<p class="indent">[<i>Embraces and kisses him.</i></p> + +<p class="hang">CURTAIN</p> + +<hr> + +<h4>FOOTNOTES FOR <i>FRUITS OF CULTURE</i></h4> + +<p class="hang"><a name="f1">1.</a> Economical +balls at which the ladies are bound to appear in dresses made of +cotton materials. (<a href="#f1-r">Return</a>)</p> + +<p class="hang"><a name="f2">2.</a> The present +value of the rouble is rather over fifty cents. +(<a href="#f2-r">Return</a>)</p> + +<p class="hang"><a name="f3">3.</a> The Gypsy +choirs are very popular in Moscow. (<a href="#f3-r">Return</a>)</p> + +<p class="hang"><a name="f4">4.</a> <i>Betsy</i>. +Cease! You are becoming quite unbearable! +(<a href="#f4-r">Return</a>)</p> + +<p class="hang"><a name="f5">5.</a> + <i>Petrístchef</i>. I have C said +(<i>ceased</i>), B said, and D said. +(<a href="#f5-r">Return</a>)</p> + +<p class="hang"><a name="f6">6.</a> <i>Baroness</i>. But tell me, +please, is he paid for this?</p> + +<p class="hang"> <i>Anna +Pávlovna</i>. I really do not know.</p> + +<p class="hang"> <i>Baroness</i>. But he +is a gentleman?</p> + +<p class="hang"> <i>Anna +Pávlovna</i>. Oh, yes!</p> + +<p class="hang"> <i>Baroness</i>. It is +almost miraculous. Isn't it? How does he manage to find things?</p> + +<p class="hang"> <i>Anna +Pávlovna</i>. I really can't tell you. My husband will +explain it to you.... Excuse me.... +(<a href="#f6-r">Return</a>)</p> + +<p class="hang"><a name="f7">7.</a> Stunning! +(<a href="#f7-r">Return</a>)</p> + +<p class="hang"><a name="f8">8.</a> + <i>Baroness</i>. Capital! Does it not cause him +any pain?</p> + +<p class="hang"> <i>Leoníd +Fyódoritch</i>. Not the slightest. +(<a href="#f8-r">Return</a>)</p> + +<p class="hang"><a name="f9">9.</a> He uses a +Centigrade thermometer. (<a href="#f9-r">Return</a>)</p> + +<a name="f10">10.</a> <i>Leoníd +Fyódoritch</i>. You bring good luck. +(<a href="#f10-r">Return</a>) + +<p class="hang"><a name="f11">11.</a> <i>Fat Lady</i>. But +he looks quite nice. (<a href="#f11-r">Return</a>)</p> + +<p class="hang"><a name="f12">12.</a> To take a header. +(<a href="#f12-r">Return</a>)</p> + +<p class="hang"><a name="f13">13.</a> Do not disappoint us. +(<a href="#f13-r">Return</a>)</p> + +<p class="hang"><a name="f14">14.</a> <i>Betsy</i>. I have +more than enough of your Koko. (<a href="#f14-r">Return</a>)</p> + +<p class="hang"><a name="f15">15.</a> <i>Young Princess.</i> +He is usually so very punctual.... +(<a href="#f15-r">Return</a>)</p> + +<p class="hang"><a name="f16">16.</a> <i>Betsy</i>. Cease; +mind the servants! (<a href="#f16-r">Return</a>)</p> + +<p class="hang"><a name="f17">17.</a> And that won't suit me +at all, at all! Not at all, at all! +(<a href="#f17-r">Return</a>)</p> + +<p class="hang"><a name="f18">18.</a> Employers have charge +of the servants' passports, and in this way have a hold on them in +case of misconduct. (<a href="#f18-r">Return</a>)</p> + +<p class="hang"><a name="f19">19.</a> It is customary for +peasants to marry just after Easter, but when spring has come and +the field work begun, no marriages take place among them till +autumn. (See also <i>THE POWER OF DARKNESS</i> +<a href="#d2">footnote 2</a>.) +(<a href="#f19-r">Return</a>)</p> + +<p class="hang"><a name="f20">20.</a> <i>Countess.</i> Thank +you (for your hospitality), a thousand thanks +(<a href="#f20-r">Return</a>)</p> + +<p class="hang"><a name="f21">21.</a> <i>Anna +Pávlovna</i>. Thank you (for coming to see us), a +thousand thanks. Till next Tuesday! (<a href="#f21-r">Return</a>)</p> +<br> +<hr> +<br> +<br> +<pre> +*** END OF THE PROJECT GUTENBERG EBOOK, REDEMPTION AND TWO OTHER PLAYS *** + +This file should be named 8rdpt10h.htm or 8rdpt10h.zip +Corrected EDITIONS of our eBooks get a new NUMBER, 8rdpt11h.htm +VERSIONS based on separate sources get new LETTER, 8rdpt10ah.htm + + +Project Gutenberg eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the US +unless a copyright notice is included. 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